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taylorswifthongkong · 4 years ago

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Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House?

Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally?

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor?

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#ew #entertainment weekly #article #interview #folklore promo #folklore interview #quote #aaron dessner #jack antonoff #joe alwyn

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tiramisiyu · 4 years ago

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Tears of Themis: Lu Jinghe’s Birthday - 6.15 “Personal Instruction”

Translation Masterlist

Event Story: 6.13 Decision to Compete | 6.15 Personal Instruction | 6.17 Building Block Dolls | 6.19 Participating in the Competition | 6.21 Birthday Celebration

Event Story Interviews: 1 | 2 | 3 | 4

Classroom

Lu Jinghe: Next step… put these parts together. That’s right, just like that.

After deciding to rank at the building blocks competition, getting a crash course within a short time became the primary issue. Good thing I had Lu Jinghe, a building blocks master.

Lu Jinghe: Alright, then put on the last component, which finishes off this “Girl with a Pearl Earring”.

Under Lu Jinghe’s instruction, I finished off the first building blocks work that I had ever done. Thousands of building blocks overlapped, forming an indifferent-looking, unspeaking nameless girl. She surpassed centuries of lights and shadows, staring at the world quietly.

MC: How miraculous! I’ve only seen this painting online before – I never thought that it would be possible to reconstruct it with building blocks!

Lu Jinghe: Of course, this is where the charm of building blocks lies. As long as there are enough components, then the possibilities are limitless. Even the entire world can rest in the creator’s control.

MC: But… to someone with no foundations, it must be very difficult to build such a complicated work, right?

The theme of the building blocks competition came from the hosts, where not only did one have to reconstruct a specified famous artwork, but they also had to do so within the shortest time possible.

MC: (Can a rookie like me really do it?)

Lu Jinghe: Don’t worry, I’ve got an idea.

Lu Jinghe pondered for a moment, then circled behind me and stooped slightly, indicating for me to look at the just-finished work with him. The soft strands of hair brushed past the side of my face and neck, feeling ticklish and making me tremble.

Lu Jinghe: There’s not much difference between using building blocks to recreate an artwork and using art utensils to copy one. The first, most important step is to find the “shape”. Vermeer’s “Girl with a Pearl Earring” has distinct blocks of colour and simple composition – very well suited for a beginner. After setting up the shape, use colour to block out different areas and break it down step by step for the second step…

On the afternoon where the sun shone bright, Lu Jinghe’s clear voice sounded by my ear, mixing with the cool scent and gradually distracting me…

Using painting as an analogy, Lu Jinghe taught me many building blocks tricks. With the art basics I already had, I had started to get a faint understanding by the time the sun set.

Lu Jinghe: However, theoretical skills are just empty at the end of the day. If you want to ditch the drawings and start creating, aside from having talent, what’s most important is practicing.

MC: I know. I’ll practice well.

Lu Jinghe: If so, then I’ll give you some homework. I’ll be checking every day.

MC: Huh?! T-that’s not needed, is it?

Lu Jinghe: You just said that you’d practice well…

MC: …

MC: A-alright then.

For whatever reason, once Lu Jinghe revealed that cottequish expression, I couldn’t say a single word more in refusal. Sure enough, when I saw Lu Jinghe’s slight smile, I couldn’t help feeling excited too.

Lu Jinghe: That’s a deal, then. Remember, it’ll be every day.

After then, I would take some time every day to practice building blocks and take pictures for Lu Jinghe. Under his instruction, my building blocks skills became even better, and I gradually was able to reconstruct simple works. And sending a message to Lu Jinghe every day also became a habit…

#Tears of Themis #tears of themis translations #lu jinghe #marius von hagen #tot translation

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path-of-my-childhood · 4 years ago

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Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

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Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

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shemakesmusic-uk · 4 years ago

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This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to [email protected]. We look forward to hearing from you!

Bayleigh Cheek

Dallas native Bayleigh Cheek began her love affair with music at an early age thanks to her immersive upbringing. Both parents were in the music scene, exposing her to a variety of sounds ranging from psychedelic and folk to progressive rock and new wave. Some of her personal music influences include Patti Smith, P.J. Harvey, Radiohead, and Angel Olsen. Those influences led to the creation of her EP, Immortals, that was self-released in early 2020 which brought her DOMA nominations for Best New Artist and Best EP. Her latest single is ‘Release Me’. "This song is about what it means to realize you've believed a lie, or false identity of yourself, and the process of becoming free from it and knowing the truth,” explains Bayleigh. “Growing up listening to a range of genres, from psychedelic and folk to progressive rock and new wave, ‘Release Me’ opened my eyes to the world of synths and everything electronics can provide to create a whole new universe of sound. Taking something seemingly fun and cheerful on the outside, and revealing something deeper on the inside. Before I started writing my upcoming debut album, I decided to be more vulnerable, honest and raw. I've hidden behind surrealism, which is still a big part of my art and always will be, but in light of the pandemic, I felt I needed to really let myself be open and not hide anymore. I'm becoming the person I've always wanted to become, and art will always be there as gentle reminders." Listen below.

Bayleigh Cheek · Release Me

Cozy Slippers

Cozy Slippers have released their first new music since 2019’s single ‘A Million Pieces’ b/w ‘Will You Disappear?’ (Kleine Untergrund Schallplatten) and the band’s tour of the United Kingdom. Like everyone else, the Seattle indie band had to adapt to the challenges of 2020 and beyond. ‘When Will When Come?’ is the first release to come from a year’s worth of home recordings done by the band. “We started from scratch. We didn’t have any gear and hadn’t really thought about recording ourselves before. It was so great to escape the stressful outside world for a while by recording and meeting on Zoom to put it all together,” explains vocalist and bassist Sarah Engel. While the band couldn’t be in the same room at the same time, they made use of samples from their prior recordings in order to stamp their sound and personality on the song. “We did whatever we could to get this thing recorded. Some of the vocals I recorded into my phone while sitting alone in my car or late at night when everybody else was asleep. It was a challenge to find space to be creative and alone time to make the recording happen during the past year,” remembers drummer and vocalist Barbara Barrilleaux. The track was mixed by Dylan Wall (Versing, Great Grandpa, and High Sunn). Lyrically, ‘When Will When Come?’ is a plea from one person to another to embrace life’s messy possibilities -- to live before it is too late. Instead of participating in their own life, the subject of the song stares out a window and fantasizes about pink flamingos. “I remember the first time I heard Sarah singing the lyrics. I thought the idea of somebody daydreaming about traveling to see flamingos was weirdly sad. Flamingos look cool, but the world has a lot of other things I’d want to see before a bunch of birds. It seemed poignant to have such a relatively small wish and still be unwilling to make it reality,” recalls guitarist Steven Skelton. Listen below.

Cozy Slippers · When Will When Come?

Everstill

New York-based alternative rock band Everstill have released ‘In Your Dreams,’ their first single off their debut album, Longing. Singer-songwriter and multi-instrumentalist Sara Aridi (vocals, bass, guitars, keys) weaves her melodic guitars and haunting vocal harmonies with percussionist Luca Bertaglia’s pulsating drums to evoke sounds that are at once melancholic and euphoric. The group draws from disparate influences and genres including grunge, indie rock, jazz, metal, folk and more. ‘In Your Dreams,’ recalls artists like Warpaint, Wolf Alice and Chelsea Wolfe. Aridi wrote the song — something of a seductive plea to an unknowing crush — in 2015. A year later she met Bertaglia while playing in an alt-prog band, and the pair reconnected in early 2020 to bring her songs to life. They found themselves working on their debut album during the pandemic. Listen to ‘In Your Dreams’ below.

Everstill · In Your Dreams

No Lore

No Lore is unlike any other indie alt-pop duo. It all started when Manila-based visual artist Tita Halaman decided to make music out of her paintings and poetry with her brother Jerald. As an artist, she wants to elevate her audience’s experience by expounding the message of her paintings through the art of words and sound. No Lore’s goal is to continuously release a new song with a painting every month and to publish a book out of it. The band name No Lore comes from the concept of having no formal studies in visual art, music, and poetry. Both Tita Halaman and Jerald are self-taught and everything is D.I.Y. from ideation to audio and video production. New single ‘With Little Light’ is “a song about courage,” explains Tita. “I believe there is no such thing as complete darkness to a soul that thrives to seek for “light” everywhere. With all that’s happening these days, I hope that we can still see hope no matter how little it may seem. Hope prevails if we believe. I’m a visual artist here in the Philippines and my signature style is writing poems at the back of my paintings,” she continues of her creative process. “On top of that, me and my brother Jerald are also into music - we’ve been playing together and learning different instruments since we were kids. No Lore is our attempt to create a layered expression of our emotions. I’d say our songs are my art and poetry, but in sonic form. Every song is inspired by a specific painting of mine and the latter serves as the former’s cover art.” Listen to ‘With Little Light’ below.

Another Nguyen

Ngoc-Anh is a Vietnamese German independent artist from Berlin performing under the name Another Nguyen. She has just released her new single ‘My Friend’ which was entirely written, produced, mixed and mastered by women. She says of the song: “I wrote this song after a friend of mine opened up to me that her long-term partner was physically abusive towards her. Hearing her story was shocking because I had always perceived them as a very happy couple. With this song I want to tell my friend and anyone who has experienced intimate partner violence that "I see you" and "You are not alone". Listen below.

ANOTHER NGUYEN · My Friend

Noni A.

‘20s’ is the new single from the Berlin-based artist Noni A. Written in her bedroom and turned into a chill pop production by her brother, ‘20s’ talks about the aspects in your twenties that happen in the background but are not often addressed. 21-year-old singer-songwriter Noni A was born and raised in Prague in a German-Greek household. In 2020 Noni A. released her debut single ‘Losing Game’, an acoustic pop ballad. Currently based in Berlin, Noni dives into a different sonic direction in her new music. Inspired by the sound of Jeremy Zucker, Audrey Mika and Quinn XCII, Noni A. blends emotionally honest and unreserved lyrics with a clean and minimalist chill pop production. With her new single ‘20s’, Noni A. takes a new sonic direction. '20s' dives into the chill pop scene, including lo-fi elements, more samples, underlined by a strong beat. "I walked into my kitchen one evening and had absolutely no motivation to clean it,” says Noni A. “Apparently when you’re 20 that becomes a regular activity (cheers to my mom for letting me live blissfully unaware of this and cleaning up my stuff too). This realisation of my day-to-day life as a 20-something-year-old turned into the inspiration of '20s'. This song talks about all those things that everyone experiences in their twenties that happen in the background of our lives: moving out of your hometown, adjusting to life on your own, procrastinating (if you say you don't procrastinate, stop lying) and learning how to use your washing machine (in my opinion a straight-up mystery)." Listen below.

Noni A. · NONI A - 20s

Chrissie Huntley

One of Bristol’s most promising new artists, Chrissie Huntley has released her brand new single, ‘Supposed to Be’. Huntley decided to use the time granted by national lockdowns to her advantage. Collaborating with musicians across the globe and transforming her closet into a home studio, Chrissie has spent the past year equipping herself with a brand new body of work to return to the stage with later in 2021. ‘Supposed to Be’ is the first of a series of single releases set for release this year, and is one that the Brit School graduate holds close to her heart: “‘Supposed to Be’ is one of the first songs I ever wrote when I was a teenager and I just got dumped by the guy who I thought was supposed to be “the one”. I think we’ve all been in that position where you know that it’s over, but you just want to hold on and pretend just a little while longer…” Recorded in Bristol with upcoming songwriter and producer Laurence Fazakerley Buglass, the track demonstrates why Chrissie’s effortless vocals have had such an effect on her audience to date. Working with rising producers Jon Will, Gabriel Gifford (Harvey Causon, Maya Law, Lucy Lu) and Peter Beckmann (Gregory Porter, Laura Mvula, Marie Dahlstrom) to bring the song to life; ‘Supposed to Be’ is the perfect balance of collective ingenuity, creativity and talent... mixed with the exposed, emotional honesty that comes with having your heart broken. “... It’s a very vulnerable track I suppose. It was very raw at the time of writing and I never had any intention of releasing it- it was more like a therapy to me than anything else. But, seven years later and here we are! Releasing this as an introduction to my new sound seemed like the perfect fit, as it holds the part of me that first turned to music at a time where I was struggling, which went on to become the entire premise of my musical journey..." Listen below.

Karen Harding

Weaving enchanting melodies straight from the heart, Karen Harding crafts, intimate heartfelt tracks that help us become ones with ourselves. The kind of one-to-one soul conversations that dig deep into our hearts and wake emotions once thought long gone. She specializes in helping people shed away their insecurities and finally feel again in a special moment of true authenticity. Drawing from a lifetime of experience, the Melbourne-based singer crafts bittersweet melodies that move and inspire. She gorgeously crafts an entire experience with every timeless track she creates. The emerging singer has just released her debut track ‘I Didn’t Realise’. The heartbreak ballad talks on the struggle of an earth shatteringly painful breakup in a way so intimate it feels like we’re right there with her. It’s a reflective song that navigates us through every raw emotion during the healing process; from processing the pain to finally coming to terms with what’s happened. Truly a breath-taking journey that will leave you with a deep sense of wonder. The song was passionately penned in the peak of Covid-19 on a piano she played growing up. Like much of her music it came to her very organically. She had the chords already laid out and the words just flowed out of her soul naturally. It wasn’t created with the intention of being turned into a record. Rather it was a simple moment of self-expression based on the way she currently felt. The result is something deeply authentic that’s oozing in originality. She worked with acclaimed producer Josh Hennessy of Pivotal Music to bring the project to life. He helped add the magic to this simplistic yet innovative piano and vocal track. Listen below.

KarenHarding · I Didn't Realise

#submission saturday #bayleigh cheek #cozy slippers #everstill #no lore #another nguyen #noni a.#chrissie huntley #karen harding

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saintfms · 5 years ago

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hello everyone ! i originally wasn’t going to make the gif i used for this intro because it’s already midnight thirty , but i went through with it anyways . i’m bay , and this is my disaster of a disaster , saint ! he’s a fairly new muse and i’m sure there’s going to be a lot about him that i’ll develop as the rp goes on , but i think i’ll touch on a good chunk of information as well . i’m also trying out a new intro style compared to what i used to do , so .... either i’m gonna come out on top or i’m gonna be wearing a clown mask KNFDHSF . if you’d like , my di.scord is 𝐧𝐚𝐦𝐣𝐨𝐨𝐧 𝐬𝐮𝐩𝐫𝐞𝐦𝐚𝐜𝐲.#4090 , and enough of my rambling omg .

❛ ✶ ( HWANG HYUNJIN , CIS MALE , HE/HIM ) . who the hell is blasting NO RESCUE NEEDED by DPR LIVE at one in the morning ? nevermind , that’s just SANG-JUN ‘SAINT’ KIM from APARTMENT 1106 . apparently , they are a TWENTY TWO year old YOUTUBER & FASHION STUDENT AT PRATT from ATLANTA, GA , and they’ve been living at the complex for ELEVEN MONTHS . i heard they can be a bit - HEDONISTIC , but they make up for it by being so + VIVACIOUS — which makes sense , considering that they are a ARIES ! when i think of them , i imagine HAPHAZARD STACKS OF TEXTBOOKS ATOP HIS DESK, A PERFECTLY SITUATED RING LIGHT IN THE CORNER OF HIS ROOM, AND PILES OF CLOTHES DESPITE HAVING ‘NOTHING’ TO WEAR . and of course , don’t forget to follow them at ( @SNTKM ) !

NAME : kim sang - jun . NICKNAME(S) : saint ( preferred name ) . AGE : twenty - two . DATE OF BIRTH : april 10th , 1998 . ASTROLOGICAL SIGN : aries . MORAL ALIGNMENT : chaotic neutral . GENDER + PRONOUNS : cis male + he / him / his . PLACE OF BIRTH : atlanta , georgia . CURRENT LOCATION : astoria , queens , new york . SEXUAL ORIENTATION : bisexual . ROMANTIC ORIENTATION : biromantic . OCCUPATION : youtuber + fashion student at pratt institute . NATIONALITY : korean - american . ETHNICITY : korean .

you were born into the kim family as the happiest baby there could be . your mother had diamond tears staining her cheeks as she hugged you close -- it had been her first time having a cesarean , but you were healthy . your father could tell that you were when he spoke with a slight shake to his voice : ‘ he’s got a pair of lungs on him . ’ and it was true . you screamed your little head off , but it simply was because you wanted milk . the family you were born into was one of wealth . it was no house full of diamonds and designer duds , but the home was comfortable . your other brother , jong - hyeon , was five at the time and he sat at the end of the hospital bed propped up on his knees and wondering when he could hold ‘ his baby ’ .

life for you is everything that a child would want : your parents smother you with love every single day , your brother plays with you despite being older , and you’ve got a smile that brightens your eyes . your childhood comes stocked full of everything you could ever want and more , but entering your teen years comes with a hefty bump in the road . your interests are elsewhere , loving the pretty pieces that your mom owns and wears whenever there’s a dinner or gala to be attended . you’re smart and creative , but your father is against the idea .

your father wears light blue scrubs and a crisp white jacket with his name embroidered on it everyday . his office is hidden amongst the winding hallways of northside hospital’s maternity ward , highly respected by his peers and loved by his patients . your father has a passion for what he does , and he forces it upon you and jong - hyeon with an iron fist . he wants his sons to follow his lead into medicine , already bragging to his colleagues about how his sons will someday take over the medical profession just like him .

you had no interest in medicine though . your grades could speak for themselves , but you had a low interest in the sciences despite your high marks . you hated being asked by the stuffy doctors who would come to your house what field you wanted to specialize in , and despite the laughter that erupted from them when you said ‘ none ’ , but your father wasn’t entertained . you would sit on the steps as your mother would try to calm him�� down , and you’d hear that your father would refer to you as worthless , dumb , and an embarrassment . for years , tears would well up in your eyes and you’d sulk to your bedroom with your head hung low . the last thing that you wanted was for your father to berate you for crying . the pictures of your brother seem to mock you as you pass , jong - hyeon forever immortalized as the son your father always wanted .

you hope that your mother would be there for you when your father berates you , but she keeps her head down to avoid his wrath . it’s at the tender age of fourteen that you realize you have no one on your side . your brother is gone , fulfilling your father’s wishes and adding his two cents when your father decides to be snarky at the dinner table . you keep quiet at the dinner table , only answering when spoken to and avoiding the disappointed gaze of your father . no matter how much you seemed to disappoint your father , you also began to stop caring . it was evident that your parents didn’t support you the way that they did when you were a child , so you decided to go as far away as you could when applying for college .

you were over the moon when the heavy acceptance package from pratt institute showed up in your mailbox once day after school , clutching it close to your chest as you went bumbling into your house . most children aren’t excited to leave home , but you’re in desperate need of an escape . your senior year of high school can’t end fast enough , and although you can’t rid your father’s face of the scowl he wears before it’s time to board your plane , you want to believe that he’s proud of you . you want nothing more than for him to love you , to be proud of you , but he send you sends you off with the cut of the eye and a suck of the teeth .

living in new york for two years helps you to come out from under your father’s thumb . you’re happy , you grow your hair out and dye it blonde , even starting a youtube channel that has a slow start , but 802 thousand people want to know what you do in your daily life . sadly , you spend your last summer at home in the thick of a heavy disagreement with your father and brother . you’re mocked for your hair , teased for the way that you carry yourself , your brother even wonders why you even returned home . every night was filled with you slamming your bedroom door , speaking to your father in a tone you swore you’d never use , and dealing with a heartbreak you never thought you’d experience .

your mother doesn’t come to your rescue when you need her the most , but you can’t bring yourself to care . no matter what happens , you swear to yourself that you’ll never return home . you leave , and thanks to the money you’ve been saving , you move into the tower 28 apartments . you need a roommate , but you don’t really care . somehow , your mother convinces your father to continue to pay for your schooling , but all you do is send him pictures of the cleared balances as a thank you .

in terms of saint’s personality , he’s a chaotic boy with a heart of gold . he has mastered the art of being fake -- he knows how to put on a brave face in public , but he’s struggling when he’s alone . saint covers up his insecurities with his youtube channel , where he comes across as your typical college student living in new york , but he’s the furthest from it . he doesn’t handle confrontation well and he hates the sound of yelling , and not the fun kind that you might hear at a party . he has a tendency of apologizing sometimes even when something isn’t his fault by a long shot , but he’s also a chaotic mess at times ! he flirts like there’s nothing to it with anyone who has a pair of legs , and he quite honestly might call someone d*ddy just because he can ORUEFSDS .

i’m going to create a tag of wanted connections that i’d love to have for saint , but i’m gonna do that tomorrow since i’m finishing this intro at nearly 3am . outright though , i would love to have :

an angsty ex boyfriend 👀 like yes PLEASE hand it over i promise i’ll make you cry :D

a best friend ! probably one of the only people who can see right through his ‘ i’m okay ’ bullshit

someone that tries to make him workout but in reality he’s sitting and eating a bagel on the weight bench

something soft ? something really sweet and enough to make my freaking teeth rot ? could either be a boyfriend or girlfriend thing or i don’t know something literally anything just give me the softness that i’ve been craving for my boy .

give me a plot where they full on hate each other . no lingering feelings , no soft moments – give me a full bred spicy hate ship that literally gets your blood pumping . it’s all i want in life , thank u .

SKINNY LOVE DO NOT PLAY WITH ME

i’m really feeling a one night stand with some substance ? like yeah , they have their fun together but they don’t pretend to not know each other in public ( unless they have like a fierce rivalry going on or something ) so they probs tend to be a little like confidants at times but it’s still them having fun !

#astoria.intro #i promise to mssg everyone tmrw i am sleepy !

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diveronarpg · 5 years ago

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Congratulations, LIA! You’ve been accepted for the role of OLIVIA. Admin Julie: It’s always a delight to see you in our inbox, Lia -- imagine our joy when we saw you’d returned to us in the shape of our favorite sparrow, Omi! It’s been some time since we had her in play, which is a shame, because she’s one of our personal favorites. But you’ve pinned everything about Omi down to a T, from their characteristic skill and allure in trapping others with a few words and sharp gaze, to the way they’re wound around Verona’s fingers and don’t seem to realize... or choose not to. You’ve enthralled us once again, and we cannot wait to have you back on the dashboard and knee-deep in the chaos with Omi in your hands. Please review the CHECKLIST and send your account in within 24 hours.

WELCOME TO THE MOB.

OUT OF CHARACTER

Alias | Lia.

Age | 22

Pronouns | She/Her/Hers

Activity Level | I’m about to start my summer program, but since I’m only in class three days during next semester on online, I imagine I’ll have plenty of freetime. But knowing me, I’ll most likely log on every few days to knock out a few replies.

Timezone | EST (PST in two months (~:)

How did you find the rp? | The tag a few centuries ago.

Current/Past RP Accounts | honestly, all of my best characters were in DV :/ All 17 of them

IN CHARACTER

Character | Olivia AKA Yamamoto Omi

What drew you to this character? |

Omi is a character I’ve eyeballed during my time at DV, but someone I’ve never quite had the nerve to apply for. But it is the qualities that I initially shied away from that have inspired me to apply for them this time around. Even upon searching the origin of Omi’s name, I was fascinated by the worldliness and elusiveness it implied about their character. I came across two definitions, both of which I believe represented her character accurately:

1. OMI— magnificent; the sound of the universe

She is a walking contradiction— the product of love and violence— never truly lacking in either aspect within her lifetime. Maybe that is why she finally found community and comfort within Verona after venturing all over the world. As much as she might hate to admit, this very love and violence is what she’s comfortable with— it’s how she’s learned to thrive and survive. Though they never truly felt like themselves as they ventured around the world, they kept small pieces of each place they visited, all of which have made them into the Sparrow, the performer, that they are today. This is why I began viewing Omi as the sound of the universe. Vast and immeasurable, and not quite able to pinpoint to a single source. She is representative of an assembly of realities. She is never quite the same with each person she encounters, with them only receiving a snapshot or illustration of who she is, with the people she’s closest to receiving the most authentic parts of herself. To be a Sparrow is to participate— in Omi’s opinion— in one of the most precise crafts— an art form that only a select number can master. It is a performance, one in which they give their entirety to, oftentimes to the point that they sense themself slipping away, forgoing what they thought to be their true self and instead opting for the persona they have created. Somehow, being Omi the Sparrow is a far less difficult reality for her to face. What is expected of her is straightforward, her desires and fulfillment never changing very much. Omi the Sparrow always gets what she wants. Their heart is unbreakable, yet shared with everyone they encounter. The power and agency can be detected in her words, her mannerisms— she is completely sure of herself, and what she represents. But Omi— just plain Omi, questions herself constantly. She desires to be seen more than anything but is hesitant to show herself to another person. The weight of the secrets of others sometimes threatens to topple her over. What would their patrons think of their constant doubt? This was something they would never discover because she values her position more than she doubts herself. She loves luxury and security more than she questions who she is and who she’s become. She thrives in this simplistic power far more than she finds herself succumbing to it. And this leads me to what I love most about Omi. Her position allows her to wield a form of power that isn’t flashy or overt, or as obvious and clear cut as many people within the mob. It is subtle and it is dangerous. It is a power you least expect, which will certainly make her someone to look out for within the Verona. It is a power that she does not quite comprehend the magnitude and weight of as of now, but something I hope to develop over time.

What is a future plot idea you have in mind for the character? |

MONA— Their saving grace. There are seldom things Mona could do that would lessen the admiration that Omi holds for her, as this is the woman who they believed to have saved them, to introduce them to the boundless and limitless potential that they had. She did not introduce anything that was not there but instead nurtured the qualities that Omi already possessed for her to become one of the best, if not the best Sparrow that has glided through the various rooms and crannies of The Dark Lady thus far. Omi looks upon Mona as a big sister and is always aiming to please her, whether she recognizes that she’s actively doing so or not. But she is bound to cross her eventually— whether it is slight or monumental, and I believe Omi temporarily or permanently (dear lord idk if I could handle Mona not loving them pls sotkgoerkgose) falling from their grace would be an interesting concept to explore. So much of her existence is tied to Mona’s, and I think that it would take something like that occurring for her to recognize this. Who exactly would she be without Mona rescuing her? Would she have survived a day in the city without her? Having Omi deal with being without Mona would introduce some harsh truths. Could they truly rely on themself? Though she adamantly expresses her desire not to be possessed, is it that she truly enjoys being subjected to the whims of another person, so as long she is given the autonomy, luxury, and ability to wield some form of power? Would she simply be transferred from the hands of one power player to another, seeking out one of the mobs knowing they were the only other people who could give her what she truly desired?

FRIENDS ON THE OTHER SIDE— In the short time that Omi has spent in Verona, she’s acquired quite a few patrons from various walks of Veronesi royalty, but as much as she’s done her best to keep people at a distance, she’s also made a few friends. Chiko— whose hopes and dreams she’s carried with her since childhood— with them being one of the sole people to know Omi to near entirety. Felipe— the man who made her realize that even ghosts were capable of creating trouble for themselves, who she’d dared to offer real information about herself for whatever reason, finding something odd and compelling about the handsome enigma before her. Calina— their true match of wits, words, and worldliness— the person in which she’s entrusted with not just her fears and shortcomings, but her hopes and dreams, as well as them being that very person to set her heart aflutter. All of these people have something in common. In some shape or form, they are familiar with more than just Omi the Sparrow. I wonder what danger this could pose for her in the future. Would it be the person they are in essence that would land her in trouble? Chiko, the ruthless social climber, Felipe, who they knew trouble was always a short distance behind, and Calina, whose ties with the mob could only naturally come with trouble… couldn’t they? I want Omi to eventually land in some more trouble (maybe this could be something intertwined with my first plot, or potentially something entirely unrelated), and truly test how far she’s willing to go for the friendships she hopes to keep. Maybe it has to do with some information told to her in confidence; information she almost feels obligated to share with Mona. Will she refuse to do so, at the risk of the life and livelihood that she’s created for herself?

LOOSE ENDS— The past will always be the past for Omi— unless that past happened to make an appearance in the city of Verona. This isn’t something they would expect to occur, given that they have two dead parents, no siblings, or any known extended family. Maybe this would come in the form of Chiko— maybe some other unknown source would manage to dig up some sort of information to potentially be used against them. Regardless, I want Omi to be confronted with her past life, and for her to realize that the horror will always be apart of her, no matter how long that she’s attempted to evade it.

Are you comfortable with killing off your character? | Yes, but I think I would miss her more than any of my other characters ngl :(

IN DEPTH

In-Character Para Sample:

tw: mentions of death and violence

In The Dark Lady, Omi transformed into a blossom tinted mirror in which men and women alike looked upon in order to divest the realities they so desired. This functioned the similarity to a rose-tinted glass, their very persona the result of a thousand borrowed realities. In Omi, they sought the best version of themselves. They had the ability to morph into everything their patrons wanted, yet could not own, making them all the more desirable. There was something especially tantalizing about what appeared to be accessible, but ever so slightly out of a person’s reach. Even if the reality of things were that there was no chance in hell. Even if there had been a burgeoning disgust for each and every one of the wealthy, and corrupt person they encountered. Even if she’d been unable to scour away their caress no matter how many showers she subjected herself to in the early hours of the morning. How effortlessly she’d sold them a dream. How effortlessly they’d become enamored with The Dark Lady’s very own Japanese Cherry Blossom, a hand-picked artifact from Sakura to enjoy in their very own Verona. She bartered away a fantasy, and in exchange they fed her in secrets, each whisper only intensifying her power and allure. No amount of repulsion would change that they were damn good at their job. No amount of repulsion would change that she’d finally found where they’d belong.

They were notorious for their collection of extremely high heels, and rumor had it that not even a misstep had occurred in a single pair of them. Eyes danced over her as she glided into the casino, garnering an especially large crowd probably because of the fresh pixie cut she’d been sporting. Some days, Omi would linger, never quite sure whose attention she’d capture that day, but on other days, her presence had been requested by a specific patron. Today’s patron had been of particular importance. A well known Italian bureaucrat she’d actually managed to find rather endearing at times, despite her suspicion that he’d been spending more time with her than his own family. Nevermind that though. They had a sneaking suspicion that they were only moments away from stumbling upon a goldmine of information. They reckoned that this particular information could potentially make not just Mona, but both mobs particularly happy. Soon as they’d reached the Blackjack table, the patron, Patron E, swept her merrily into his arms, spinning her in place, resulting in her delighted laughter, clutching onto his shoulders to maintain her balance. Once he’d gotten his fill, she carefully placed a single kiss on each of his cheeks, taking in the scent of whiskey on his lips. No wonder he’d been especially playful. The whiskey had only begun their job for them. “Why, if it isn’t the most lovely person in all of Verona,” Patron E stated, grinning ear to ear. “I absolutely adored your old hair, bella, but with this cut, you somehow managed to become even more magnificent."

She smiles coyly, hands traveling down the lengths of his arms until meeting his hands, which he brought promptly to his lips for a kiss. "I was feeling spontaneous, E, but knowing you like it lifted a significant weight off my shoulder. Everyone else’s opinion be damned, but yours has always meant the world to me,” they coo in flawless Italian. “Is there anything else you noticed?"

His eyes drank her in hungrily, almost hungrier than usual, before returning to her eye level. "You’re wearing my good luck charm,” he responded with an almost childlike euphoria. Patron E had been referring to the deep V-Neck Dolce & Gabbana gown that had been purchased for her by another Patron of hers— Q— with the jet black of her hair only accentuating the Black sequins of the gown. She took it upon herself to take his hand and lift it above the both of them, completing a graceful, yet playful twirl to show off every sparkle and curve of the length of her body.

“Is that so?” she mused with her head tilted curiously on an axis. “It’s almost as if I wore especially for you, mio callo. You did tell me tonight was a big night for you, after all.” His eyes twinkled gratefully as he pulled out a seat for her at the blackjack table, settling into the seat next to him, her body positioned perpendicularly to his, taking absolutely no interest in the game before them. It had been a game she’d witnessed by the side of many men before him and would witness many men after him. Her knees were pressed against his thigh, with the leg closest to the table occasionally finding itself absentmindedly caressing his own. One hand consistently remained attached his shoulder, with their other hand assisting them in the delivery of their sweet nothings, cupping his ear to whisper everything he’d ever wished to discover. Together they laughed, flirted, and whispered— he drank and she carefully sipped, until the game finally came to a close, with him losing per usual. After that, the pair of them moved to a more intimate section of The Dark Lady, the place in which Omi would officially make her move for the information she sought. There he sat on the couch, with her comfortably positioned horizontally in his lap, her slender legs coiled around her legs, with her hand absentmindedly stroking his hair. She’d been telling him some story she’d invented ages ago, half-truths tumbling effortlessly from her lips as she illustrated her last days in Sakura. Once she was done, she began studying his features intently.

“See anything you like?” he asks her quietly, and she cups his chin before deciding he’d been worthy of an answer.

“I see something I like, but something different,” she began with faux perplexion. “Even beneath this red light, I can sense the excitement almost vibrating off of you. “It suits you. I wish you were always this happy when you saw me. Far less tense than usual.”

“Now, Omi, you know I feel most like myself when I’m with you. You always receive the best parts of me,” he says seriously as his hand cups her wrist. “But, to tell you the truth, I’ve come across some very good fortune. A good fortune that I believe will alter the trajectory of my life. I’ve struck a life-changing deal.”

“That’s amazing! I couldn’t be happier for you!” she exclaims softly, before falling into a demure pout. “This… deal won’t take you away from me now, will it?”

He chuckles at her pout as if him parting from her would truly be the most unfortunate occurrence in her 30 years of life. “Don’t you worry your pretty little head about a thing, Tesoro. The deal I’ve made has allowed me to acquire a large sum of money. And I have no plans of parting from you anytime soon.”

She smiles gratefully, yet sadly as if she can’t believe it. He looks at her, searching for an answer to her sadness. “What is it, il mio amore? Why do you look so blue?”

At that moment— the slightest pang of sadness sped through her. How effortlessly he had succumbed to her charm, to the point that she’d almost felt bad for the fool. “Well… the way you aren’t giving much information about the deal is only forcing me to draw my own conclusions. Ones in which I can’t help but assume that you’ve been put in a dangerous predicament, which is stopping you from telling because you’re afraid to get me into trouble.” He drew her closely, placing a soft kiss on each of her temples, then her forehead, then her lips.

“I wouldn’t let them harm a hair on your head, Omi. I hope you know that I mean that.” She resisted chuckling. She’d been nearly divinely protected. If anything it was him who wouldn’t be able to harm a hair on her head.

“Is this them you speak of…” she looks around carefully, knowing there was no one near, but doing it as if to accentuate her supposed fear. “The government…?” she offers him, and when he does not react, she places a long, lacquered pinky nail upon her lip. “Don’t tell me you’ve gotten yourself mixed up with one of the mobs, E—”

“Mixed up with the mobs?” he interrupts with a haughty chuckle. “Why, they’ve gotten themselves mixed up with me, dearest Omi. Sooner rather than later, both the Capulets and the Montagues will be feeding out of the palm of my hand.” How drunk had the man had to have been to have confessed such a silly sentiment? Or was it not the liquor at all, and simply Omi bearing witness to the limitless bounds of the male ego? Probably a mixture of both.

She shoves his shoulder gently, feigning shock. “You’ve either done something insanely brilliant or incredibly stupid. But I’ve always known you to be far too clever for the latter.”

With each curious caress, they’d managed to extract more and more information from their subject, his ego centering itself above all else— even his desire to live. He had to have known that, hadn’t he? Or had he simply been too foolish to even consider the danger he’d been putting himself in by leaving every detail of his plan upon Omi’s lips? How foolish he had beenShe shoves his shoulder gently, feigning shock. “You’ve either done something insanely brilliant or incredibly stupid. But I’ve always known you to be far too clever for the latter.”

“Someday…” he slurs, faced resting comfortably on her chest as she stroked the top of his head, his arms wrapped lovingly around her waist. “I’m gonna whisk you away. And just like that, you’ll be mine. Forever and always.”

Omi chuckles at this sentiment— ones she’s heard nearly a dozen times before. She’d had no desire to be one of his pretty things, not by him or any other person in this world for that matter.

“Why, E— I know if that were to occur, you’d be doomed to break my heart.” “Omi, you can’t truly believe that now… can you?” he says tilting his head upwards until their lips are only mere inches apart.

“I’m afraid I do, mi caro. Because the moment in which the magic begins to dwindle from your eyes when you look at me is the moment my heart is sure to break. I know that if we continue our occasional rendezvous that I’ll continue to be the loveliest I could be in your eyes. Oh— and I’m a terribly loud snorer. You wouldn’t sleep a minute in my presence.”

That had been enough to satisfy him, if only for a single moment. The very thought of him truly breaking her heart had been absurd, but the very thought of the blossom mirror cracking, the idea of her carefully constructed persona being exposed for being exactly that, alarmed her. Anything short of near perfection was unacceptable. She owed her to that and Mona. It would be at that moment that Omi would understand that she was no longer as good at her job as she needed to be. Surely that would not leave them desolate, they would still be a top-performing Sparrow after all. But they would no longer be the best, and no man or woman would ever take that away from them. Even if they meant keeping the majority of the world at a safe distance. Not when they’d finally found their people. Not when they’d finally answered their calling. Not when Verona was finally starting to feel like home.

Little did she know that this would be the last time she’d ever see Patron E. Just as she’d suspected, the information had been of immense value. Her reputation as the top Sparrow only increased tenfold, and she remained in Mona’s good graces, never tiring of her constant praise and doting. Word of his death returned to them from another one of their patrons even before it appeared even in the papers. Omi couldn’t help but feel a pang of sadness for his widow and children. No woman and family should have their livelihood threatened by the likes of a stupid, stupid, stupid man.

She did not wear Q’s dress after that day. When she asked about it the next time he saw her, she began whispering a delightful tale about how her suitcase had mysteriously wound up missing upon returning from a brief trip to Paris, knowing she’d wind up with a new one before the conversation concluded…

#accepted #accepted: olivia

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smokeybrandreviews · 5 years ago

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The King of Iron Fist

I don’t talk about this much but i am a massive, massive, fan of fighting games. I’ve been playing these things for decades, since all the way back in ‘92 with the release of the original Mortal Kombat. Watching the growth, decline, and then resurgence of the fighting game community has been a goddamn treat for me. Admittedly, i suck at the Capcom titles. Absolutely terrible. I do okay with the Rival Schools franchise, but outside of that, straight up balls, man. Never my forte. I’m pretty good with the original MK trilogy, the sprite based one, but absolutely awful with Deadly Alliance through Deception. I hated the fighting styles in those games. They were so goddamn awful, it was sickening. I do okay with the MKIX, MKX, and MKXI titles, though. They feel like the old games which lends itself to my old timey skill set. That said, my strength lies with the two Namco headliners; Tekken and Soul Calibur.

I mastered every Tekken title through 7, though, admittedly, I'm not so godly in the newest release, only great. Personally. For me, Tekken 5: Dark Resurrection is the title I'm best with. I love that game, man. I can use literally everyone in the roster to perfection. All of their moves. All of their ten-hits. I maxed out my rank in the Ghost Battles with several of the characters and ranked in the top-10, worldwide, leader boards when it was first released. I was feeling a bit nostalgic and wanted to revisit my favorite fighting franchise, giving a little love to my favorite fighters, kind of like how i did with my Persona 5 mains. They are ranked, top to bottom, in order of my skill with them. I even threw in the rank i reached in their respective Tekken games, just for good measure. Since 6 is the last one i really spent any time with and there might be a few characters introduced in 7 or, like, the Tag titles that I'm pretty good with but don’t really have a correlation in rank, I'll have to approximate my skill with a Tekken 6 rank, just to keep things equal.

1. Emilie De Rochefort - Tekken 5 - Tekken God

Lili is my main from 5 onward. Her speed, power, and cross-ups are ridiculous. There is a fluidity to her style that makes for an amazing number of possibilities. All of those flips, somersaults, and hopping knee pokes make for a varying arsenal of devastating stuns. If you can time your attacks right, you can string one, long ass, chain of hits that will deplete an enemy with a Perfect within seconds. Her strength carried over into Tekken 6, easily winning me over in that title, too. I haven’t played much of 7 but what i did get into, Lili feels a little nerfed. She just feels a bit slower than she should. That’s not a problem or whatever, but it is kind of annoying that have to have so many gaps in my assault.

2. Hwoarang - Tekken 3 - Tekken God

Hwoarang was my main for years. He was the very first character that i mastered in any Tekken title. See, my older brother would come over with his PlayStation and commence to beat my ass in Tekken 3 for hours. One day, he told me to actually get good and lent me his Sony for a week. Welp, i did just that. I got good. Real f*cking good. Hwoarang uses Tae Kwon Do, which is dope because it’s easy to combo with, but this dude’s strength is in his juggle potential. His kicks lack the power of his master, Baek Doo San, but they come out faster and in more numbers. Within that week, i was able to string together a flurry of devastating kicks that not even my big brother could counter. Twenty-three years later, he still hasn’t beat me in a single game. If Lili isn’t available, Hwoarang is my guy. Even so, i am probably equally skilled with both, i just prefer the stylish flourish my darling Emilie has with her style.

3. Steve Fox - Tekken 4 - Tekken God

Steve was a quandary when he first released. Dude has no kicks and it was ridiculous to see in a game with such an expansive roster of fighters like Tekken, especially in the fourth iteration. His addition was ridiculous to me. And then i tried him. My, god, was his speed stupid. See, in a fighter like this, speed kills. If you can bust a quick combo, maybe juggle a cat, maybe fired off a quick combo before retreating out of counter range, you can destroy an opponent in seconds. That’s why i love Lili. That’s why i love Hwoarang. Steve Fox has that same potential but it’s different. You can’t launch characters too easily and being a puncher, his reach is limited, but you can juggle the f*ck out of them if they end up airborne. Steve has a lot of weapons to f*ck you up in a near infinite juggle if you’re not careful and i know all of them. Interestingly enough, he’s gotten better with age. I prefer his 5 version but 6 and 7 are pretty beefy, too.

4. Kazuya Mishima - Tekken - Tekken Lord

Kazuya is my power hitter. I’m a speed guy, admittedly. I love the juggle. I love the chains. I love the artistry in forging a string of consecutive, devastating, combo hits. The issue is, there are motherf*ckers like Paul Phoenix who can punch a planet into retrograde in this game. Now, against a computer, I'm fine with my main three Tekken Gods. I’ll dog walk a computer, no matter how high the difficulty. Once you’ve beaten Jinpachi on the highest setting in Tekken 5, you are ready for anything. However, against a real person who knows how to use a power character like the f*cking bears or goddamn Jack? Nah. If they’re good with that heavy-hitter, i have to bring in my own and Kazuya is that ringer. Dude’s probably the second strongest character in the the game after his pops, Heihachi Mishima. The difference? Kazuya’s cross ups are f*cking ridiculous. All of that twirling and overhead kicks make for some confusing hurt when you know how to execute.

5. Eliza - Tekken 7 - Tekken Lord

Eliza was an interesting character for me to pick up. I was curious about her so i bought that money pit Tekken Revolution or whatever. I hated that game so much but i played enough Eliza to feel borderline conceited in my ability. Imagine my elation when my darling drowsy vampire made her cannon appearance in Tekken 7. Again, i didn’t play much, but i did find that my Revolution skills translated well and i was even able to pick up a few new tricks. Eliza, admittedly, is super wonky to master, she’s similar to Alisa Bosconovitch that way, but her mix ups are superb. If you put in the time, Eliza is a very rewarding character to play.

6. Marshall Law - Tekken - Tekken Lord

The elder Law is my guy. I’m a sucker for a Bruce Lee facsimile and Marshall is one of the best out there. He has a good combination of speed and power but it’s his mix ups that endear him to my heart. That and i learned how to play with him because Forest Law, Lee’s son, was the character my brother beat my ass so handily with for months in Tekken 3. I learned Forest out of spite but, when his pops returned in 4, i made sure to master that version, as well. Over time, i grew to love playing with Marshall. He has a very unique, very acrobatic and showy style, like his real life inspiration.

7. Jun Kazama - Tekken - Tekken Lord

Jun ain’t no joke. That Kazama style martial art is something nasty. I could have probably put Asuka here, i am about as good with her as i am Jun considering how similar their styles are, but i have to give respect to the original tooth fairy. Jun Kazama is a f*cking problem, man, She’s deceptively powerful but quick with those hands. She will poke the f*ck out of you with such insidious precision, you won’t even realize you died even after the match is called. The way her blows flow make for some unwieldy mix ups and stupid juggle stuns. I hated fighting her in 2. I hated fighting her even more in the Tag titles. But i love fighting WITH her, especially if you can master that funky timing she has.

8. Lee Chaolan - Tekken 4 - Tekken Lord

Lee is bit of a detraction form my usual fighting fare. He’s kind of a gag character. A little effeminate and a little cruel, Lee’s kicks are the real deal. This cat sends those footsy out at blinding speed and you know how much i love my speed. The thing is, he lacks the power of, say, Hwoarang, Baek, or Bruce. I actually picked up Lee n 4, then Violet, on a whim because i thought it would be funny to beat someone with a character i had no idea how to play. After that first round, though, i was on it.Dude felt good in my hands. I knew Lee was something special and spent the rest of the night with his pokey kicks and flying drop kicks. It was f*cking incredible. I couldn’t believe i slept on such an amazing character for so long. I went back to Tekken 2 and spent weeks with him just to get a proper feel from start to finish. Now, he’s a staple of my rotation. Only when I'm feeling flamboyant, though.

9. Devil Kazuya - Tekken 2 - Dragon Lord

I picked up Devil Kazuya way back in Tekken 2 because i liked the design. Also, the face laser. That sh*t was stupid. As time went on, and the games advanced, i always went back to Tekken 2 in an effort to hone my skills with the original Devil. To my surprise, when Tekken 7 dropped, Devil Kazuya was playable once again and my skills translated perfectly. Dude has a few new tricks and i immediately ate those f*ckers up but it felt so good taking to the air once more. It sucks he only has two, official, appearances but this is one of those cats that i played a lot with in the Tag titles. Like, SO much. Devi was my second choice after Hwoarang in the original Tekken Tag and, like, my fourth in Tekken Tag 2. Obviously, I'm just as good with Angel, too. I mean, they’re the same f*cking character so i better be!

10. Anna Williams - Tekken 2 - Dragon Lord

Oh, the Williams sisters. Similar to the case of Jun and Asuka, I'm probably equally as good with both the Williams but Anna is my preferred character. I just like her design better. That and her deceptive ass sexuality. Anna is gorgeous but she will f*ck you the f*ck up. The Williams sisters are power characters and you can’t tell me otherwise. These chicks will ruin your life as a fast as Paul Phoenix if you’re facing off against someone who knows how to use them. I know how to use them very well. Again, Anna over Nina, but I'll mess you up regardless.

11. Zafina - Tekken 6 - Dragon Lord

Zafina was a surprise. Her style is all over the place. I read somewhere it was designed after a snake or something. That sh*t is fitting because she is a slippery motherf*cker, man. Zafina took me a while to master, kind of like Eliza, but once you understand her strengths, this chick can be a proper powerhouse. She’s quick, juggles well, but pokes like a f*cking champ. If your poke game is strong with her, there’s a good chance you can stun lock an opponent into a perfect or two.

12. Devil Jin - Tekken 5 - Dragon Lord

Admittedly, i wanted to put Jin from Tekken 3 on this list. His mixture of Kazama and Mishima style martial arts is mad potent. I love the way dude plays. It’s like fighting with Jun and Kazuya at the same time. However, with the release of Tekken 4, Jin unlearned literally everything about the Mishima style and decided to master normal karate. That sh*t was whack, man. I mean, it was fine, i learned the new Jin fine, but it wasn’t MY Jin. That said, my Jin was in the game, only he took the form of a devil. Devil Jin is f*cking ridiculous. I understood a lot of his abilities because of my mastery of Devil Kazuya but, with the addition of the Kazama style martial arts, Devil Jin was a f*cking beast in that game. He’s kind of a beast in every game he makes an appearance. between the two, i prefer Devil Kazuya, but I'll wreck a guy with Jin if necessary.

13. Bryan Fury - Tekken Tag Tournament - Dragon Lord

I love Bryan Fury. The design, the inspiration, the brutal fighting style, that ridiculously evil laugh; Dude is just amazing. I got pretty good with Bruce Irvin in Tekken 2 so when he wasn’t around in Tekken 3, i was a little bummed. It took awhile for me to pick of Fury, i actually first really got into the character in Tag but i did fool around with him in 3 a little bit. That was after i was surprised by how effortlessly powerful he was in Tag. Dude ain’t Bruce, but he’s still pretty dope.

Honorable Mentions: Unknown, Armor King, Ling Xiaoyu, Alisa Bosconovitch, Heihachi Mishima, Bruce Irvin, Kazumi Mishima, Miguel Caballero Rojo, Josie Rizal, Eddy Gordo

#Tekken #Mishima Zaibatsu #G Corporation

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smokeybrand · 5 years ago

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The King of Iron Fist

I don’t talk about this much but i am a massive. massive fan of fighting games. I’ve been playing these things for decades, since all the way back in ‘92 with the release of the original Mortal Kombat. Watching the growth, decline, and then resurgence of the fighting game community has been a goddamn treat for me. Admittedly, i suck at the Capcom titles. Absolutely terrible. I do okay with the Rival Schools franchise, but outside of that, straight up balls, man. Never my forte. I’m pretty good with the original MK trilogy, the sprite based one, but absolutely awful with Deadly Alliance through Deception. I hated the fighting styles in those games. They were so goddamn awful, it was sickening. I do okay with the MKIX, MKX, and MKXI titles, though. They feel like the old games which lends itself to my old timey skill set. That said, my strength lies with the two Namco headliners; Tekken and Soul Calibur.

I mastered every Tekken title through 7, though, admittedly, I'm not so godly in the newest release, just great. Personally. For me, Tekken 5: Dark Resurrection is the title I'm best with. I love that game, man. I can use literally everyone in the roster to perfection. All of their moves. All of their ten-hits. I maxed out my rank in the Ghost Battles with several of the characters and ranked in the top-10, worldwide, leader boards when it was first released. I was feeling a bit nostalgic and wanted to revisit my favorite fighting franchise, giving a little love to my favorite fighters, kind of like how i did with my Persona 5 mains. They are ranked, top to bottom, in order of my skill with them. I even threw in the rank i reached in their respective Tekken games, just for good measure. Since 6 is the last one i really spent any time with and there might be a few characters introduced in 7 or, like, the Tag titles that I'm pretty good with but don’t really have a correlation in rank, I'll have to approximate my skill with a Tekken 6 rank, just to keep things equal.

Emilie De Rochefort - Tekken 5 Dark - Tekken God

Lili is my main from 5 onward. Her speed, power, and cross-ups are ridiculous. There is a fluidity to her style that makes for an amazing number of possibilities. All of those flips, somersaults, and hopping knee pokes make for a varying arsenal of devastating stuns. If you can time your attacks right, you can string one, long ass, chain of hits that will deplete an enemy with a perfect within seconds. Her strength carried over into Tekken 6, easily winning me over in that title, too. I haven’t played much of 7 but what i did get into, Lili feels a little nerfed. She just feels a bit slower than she should. That’s not a problem or whatever, but it is kind of annoying that have to have so many gaps in my assault.

Hwoarang - Tekken 3 - Tekken God

Hwoarang was my main for years. He was the very first character that i mastered in any Tekken title. See, my older brother would come over with his PlayStation and commence to beat my ass in Tekken 3 for hours. One day, he told me to actually get good and lent me his Sony for a week. Welp, i did just that. I got good. Real f*cking good. Hwoarang uses Tae Kwon Do, which is dope because it’s easy to combo with, but this dude’s strength is in his juggle potential. His kicks lack the power of his master, Baek Doo San, but they come out faster and in more numbers. Within that week, i was able to string together a flurry of devastating kicks that not even my bog brother could counter. Twenty-three years later, he still hasn’t beat me in a single game. If Lili isn’t available, Hwoarang is my guy. Even so, i am probably equally skilled with both, i just prefer the stylish flourish my darling Emilie has with her style.

Steve Fox - Tekken 4 - Tekken God

Steve was a quandary when he first released. Dude has no kicks and it was ridiculous to see in a game with such an expansive roster of fighters like Tekken, especially in the fourth iteration. His addition was ridiculous to me. And then i tried him. My, god, was his speed stupid. See, in a fighter like this, speed kills. If you can bust a quick combo, maybe juggle a cat, you can destroy an opponent in seconds. That’s why i love Lili. That’s why i love Hwoarang. Steve Fox has that same potential but it’s different. You can’t launch characters too easily but you can juggle the f*ck out of them if they end up airborne. Steve has a lot of weapons to f*ck you up in a near infinite juggle if you’re not careful and i know all of them. Interestingly enough, he’s gotten better with age. I prefer his 5 version but 6 and 7 are pretty beefy, too.

Kazuya Mishima - Tekken - Tekken Lord

Kazuya is my power hitter. I’m a speed guy, admittedly. I love the juggle. I love the chains. I love the artistry in forging a string of consecutive, devastating, combo hits. The issue is, there are motherf*ckers like Paul Phoenix who can punch a planet into retrograde in this game. Now, against a computer, I'm fine with my main three Tekken Gods. I’ll dog walk a computer, no matter how high the difficulty. Once you’ve beaten Jinpachi on the highest setting in Tekken 5, you are ready for anything. However, against a real person who knows how to used a power character like the f*cking bears or goddamn Jack? Nah. If they’re good with that heavy-hitter, i have to bring in my own and Kazuya is that ringer. Dude’s probably the second strongest character in the the game after his pops, Heihachi Mishima. The difference? Kazuya’s cross ups are f*cking ridiculous. All of that twirling and over head kicks make for some confusing hurt when you know how to execute.

Eliza - Tekken 7 - Tekken Lord

Eliza was an interesting character for me to pick up. I was curious about her so i bought that money pit Tekken Revolution or whatever. I hated that game so much but i played enough Eliza to fell borderline conceited in my ability. Imagine my elation when my darling drowsy vampire made her cannon appearance in Tekken 7. Again, i didn’t play much, but i did find that my Revolution skills translated well and i was even able to pick up a few new tricks. Eliza, admittedly, is super wonky to master, she’s similar to Alisa Bosconovitch that way, but her mix ups are superb. If you put in the time, Eliza is a very rewarding character to play.

Marshall Law - Tekken - Tekken Lord

The elder Law is my guy. I’m a sucker for a Bruce Lee facsimile and Marshall is one of the best out there. He has a good mix of speed and power but it’s his mix ups that endear him to my heart. That and i learned how to play with him because Forest Law, Lee’s son, was the character my brother beat my ass so handily with for months in Tekken 3. I learned Forest out of spite but, when his pops returned in 4, i made sure it master that version, as well. Over time, i grew to love playing with Marshall. He has a very unique, very acrobatic and showy style, like his real life inspiration.

Jun Kazama - Tekken - Tekken Lord

Jun ain’t no joke. That Kazama style martial art is something nasty. I could have probably put Asuka here, i am about as good with her as i am Jun considering how similar their styles are, but i have to give respect to the original tooth fairy. Jun Kazama is a f*cking problem, man, She’s deceptively powerful but quick with those hands. The way her blows flow make for some unwieldy mix ups and stupid juggle stuns. I hated fighting her in 2. I hated fighting her even more in the Tag titles. But i love fighting WITH her, especially if you can master that funky timing she has.

Lee Chaolan - Tekken 4 - Tekken Lord

Lee is bit of a detraction form my usual fighting fare. He’s kind of a gag character. A little effeminate and a little cruel, Lee’s kicks are the real deal. This cat send those footsy out at blinding speed and you know how much i love my speed. The thing is, he lacks the power of, say, Hwoarang, Baek, or Bruce. I actually picked up Lee n 4, then Violet, on a whim because i thought it would be funny to beat someone with a character i had n idea how to play. After that first round, though, i was on it. I knew Lee was something special and spent the rest of the night with his pokey kicks and flying drop kicks. It was f*cking incredible. I couldn’t believe i slept on such an amazing character for so long. I went back to Tekken 2 and spent weeks with the character just to get a proper feel with I'm from start to finish. Now, he’s one that’s in my rotation. When I'm feeling flamboyant.

Devil Kazuya - Tekken 2 - Dragon Lord

I picked up Devil Kazuya way back in Tekken 2 because i liked the design. Also, the face laser. That sh*t was stupid. As time went on, and the games advanced, i always went back to Tekken 2 in an effort to hone my skills with the original Devil. To my surprise, when Tekken 7 dropped, Devil Kazuya was playable once again and my skills translated perfectly. Due has a few new tricks and i immediately ate those f*cker up but it felt so good taking to the air once more. It sucks he only has two, official, appearances but this is one of those cats that i played a lot with in the Tag titles. Like, SO much. Devi was my second choice after Hwoarang in the original Tekken Tag and, like, my fourth in Tekken Tag 2. Obviously, I'm just as good with Angel, too. I mean, they’re the same f*cking character so i better be!

Anna Williams - Tekken 2 - Dragon Lord

Zafina - Tekken 6 - Dragon Lord

Devil Jin - Tekken 5 - Dragon Lord

Admittedly, i wanted to put Jin from Tekken 3 on this list. His mixture of Kazama and Mishima style martial arts is mad potent. I love the way dude plays. It’s like fighting with Jun and Kazuya at the same time. However, with the release of Tekken 4, Jin unlearned literally everything about the Mishima style and decided to master normal karate. That sh*t was whack, man. I mean, it was fine, i learned the new Jin fine, but it was MY Jin. That said, my Jin was in the game, only he took the form of a devil. Devil Jin is f*cking ridiculous. I understood a lot of his abilities because of my mastery of Devil Kazuya but, with the addition of the Kazama style martial arts, Devil Jin was a f*cking beast in that game. He’s kind of a beast in every game he makes an appearance. between the two, i prefer Devil Kazuya, but I'll wreck a guy with Jin if necessary.

Bryan Fury - Tekken Tag Tournament - Dragon Lord

I love Bryan Fury. The design, the inspiration, the brutal fighting style, that ridiculously evil laugh; Dude is just amazing. I got pretty good with Bruce Irvin in Tekken 2 so when he wasn’t around in Tekken 3, i was a little bummed. It took awhile for me to pick of Fury, actually i first really got into the character in Tag. I fooled around with him in 3, sure, but that was after i was surprised by how effortlessly powerful he was in Tag. Dude ain’t Bruce, but he’s still pretty dope.

Honorable Mentions: Unknown, Armor King, Ling Xiaoyu, Alisa Bosconovitch, Heihachi Mishima, Bruce Irvin, Kazumi Mishima, Miguel Caballero Rojo, Josie Rizal, Eddy Gordo

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chaniters · 5 years ago

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Cellmates

Awan and Elyise have time to talk, as they seek to escape their cell.

Part 13 of @kruk-art‘s Awan Cormac’s fic, and the longest thing I’ve written so far. The end is nigh though.

___________________________________________

“Are you awake?!” A voice says to your left.

You turn lightly, to notice Elyise chained to the ceiling, her feet dangling over the ground.

Looking up you realize you are similarly restrained, and that you are dangling just as she is.

“ARE YOU AWAKE?” she insists.

“I think I am” you state.

“About time” she grumbles.

“What’s going on…?” you asks just an instant before your mind decides to reboot and provide all the missing memories. “Oh. Reaper is a jerk.” Your suit seems to be still on, and there’s a pair of burn marks where Reaper shot you. So this is where you ended up it seems.

“Precisely.” she nods.

“He got you too?” you ask rather calmly. By your standards, being suspended is pretty tame… unlike the farm’s numerous pressure tests.

“No, I just came to stretch my arms… OF COURSE, HE GOT ME TOO, GENIUS!!” she states dangling to the side furiously.

“Ugh, don’t yell, my head’s killing me”

“He’s the one who’s gonna kill us if we don’t do something”

“Relax. If he wanted us dead we wouldn’t be even talking up here”

“RELAX? You want me to relax?!”

“I’m the one who should be mad, you’re darn liar, remember? What the fuck is your deal, Elyise?”

“My deal? Getting out alive is my deal, always!”

“You worked for Hollow Ground, you had links with the Loanshark and then you helped Reaper? What side are you on?!”

“I’m on my own side ok?. Someone has to be,”

“You could have mentioned that YOU HELPED KILL HOOD!”

Oh, that struck a chord. She turns to you, angrily.

“Do you think it was my idea? I don’t know what you heard, but I was FORCED to help in that.”

“You could’ve said NO!”

“Because that was a great choice for me, right? If I hadn’t helped Hollow Ground would have thrown me out for mom to find. She had precogs in her little cult. Wouldn’t have lasted a day on my own”

“You also helped Reaper murder a ton of people just to keep your secret!”

“Those people? They’re SCUM! And I don’t know if you noticed but everyone in their right mind approved of what Catastrofiend did”

“So if you’re so happy about it, then why aren’t you helping Reaper anymore?!”

“BECAUSE HE WASN’T SUPPOSED TO HURT YOU GUYS, OK? I DONT KNOW WHY HE DID THAT! HE SHOULD HAVE TOLD CATASTROFIEND TO LEAVE WHEN YOU SHOWED UP. I QUESTIONED HIM AFTER OUR CHAT, AND HERE I AM!”

“Hurting us, huh? That’s what bothered you? What about, oh I don’t know DATING CHARGE for example? Did someone force you to do that too?!

“I knew this was about it! You never liked me around him! I saw how you looked at us!”

“That’s not...”

“Admit it already!” You’re definitely NEVER going to admit something like that.

“You know he worshipped Hood, and you’re accessory to his murder! Don’t you think he had at least the right to know about something like that?!”

“...” she starts to say something, but her voice breaks and she looks away. You won the argument, clearly.

“Yeah, that’s what I thought!” you say annoyed, looking at the binds. Maybe you can find some way to get out and leave her here.

“...I just wanted to be normal, ok?” she says after a while, turning back at you.

“Normal?”

“He talked to me about so many things… And he listened… And I… I had never been with anyone before… and he was so darn nice I just… I just wanted to be happy”

“Don’t. Just don’t! Don’t you dare... No.. don’t you… crap” you say looking at her teary eyes.

It’s not the physical crying that does it but the inner mess of emotions. It actually shuts you up, mainly because you understand where she’s coming from all too well.

Are you just being one big hypocrite?

You escaped the farm to kill someone in the first place.

Shit, she’s making it harder to hate her.

“What?” she says as you fall silent “aren’t you going to go on about how am I a total piece of shit?”

“... No…” you grumble

Silence. Only interrupted by the clinking of the chains.

If only you could walk out of the room and have some time to think about it… But no. You have to return to reality.

Realty being you’ve both been captured by a skull-faced homicidal maniac

“Listen… I assume you’ve tried to get us out with your telekinesis?”

“I did. There’s some sort of security system that prevents it.

“Can you show me?”

She nods slowly

“This cell gets even funnier when I try that” You can sense her concentrating and….

The walls start shinning in bright blue, the room filling with static, followed by a deafening booming sound from every side, stronger. She screams something… and then you’re screaming something too… so loud…

Until it all dies out, your ears still ringing echoes of it.

“Ugh, this is a nasty one… Sonic pain inducers” you yell.

“WHAT?” she yells back, still half-deaf.

Probably on par with some of the Farm’s tests. Just your luck, Awan, you say to yourself.

A console lights up on the far end, with Charon’s logo on it…

“For the fourth time Prisoners, I advise you not to attempts that again. This room can be electrically magnetized and will counter any telekinetic attempt to escape. It is also equipped with sound blasting technology that will castigate unruly behavior.” The console shuts down soon after the last word is said.

“Shit!” you say

“I know. Do you have any skills to escape something like this?”

You study the binds. They seem simple chains and manacles and you’ve got nothing to pick the lock with. THere’s no other mind than Elyise’s close enough for you to reach either.

“Nope”

“Then we’re royally fucked” she states.

“Indeed” you sigh.

“Distract Charon. I will try to send a telepathic message to the rangers” you send the words into her mind so Charon won’t overhear. She seems startled, but nods in silence.

You start clearing your mind for the task at hand. Never attempted communication at this range, and there’s no guarantee that it would work at all even if you had been practising. It doesn’t help that there are millions of people in Los Diablos and you want to find a single mind.

Piece of cake, Awan.

________A few hours later._______________

Your arms hurt like hell from dangling and you’ve lost track of time, but you’re not giving up, repeating the message over and over… impossible to tell if you are being heard or not.

“HEY CHARON!” She yells. Elyise has been doing a superb job of distracting the AI. You wish she wasn’t that good because it distracts you as well.

The screen turns on, and the display comes online once more. If AI’s had human personalities you would say Charon is surprisingly gossipy. He probably doesn’t get many people to chat with since the Defenders Society disbanded.

“What? I’ve already told you I’m not going to let you go”

“Just wanted to ask you when did Reaper decide he wanted to kill all those drug-dealers”

“Whatever do you mean? Master has killed drug-dealers many times in the past.”

“Oh c’mon! He hasn’t killed anyone in almost a decade!”

“It’s true… he took a long hiatus after retiring from the crime-fighting life. His focus fell almost entirely upon charity projects after his cancer got worse”

“Was it hard, overcoming it?”

“He did not overcome it.

“What do you mean? He told everyone he was doing great!”

“That was a lie he repeated many times. His doctors gave him months to live and he dismissed them. And then the Hauswald foundation burned down, sending him into a deep depression”

“What?” you interrupt. Elyise gives you an angry look, her mind telling you to focus on your own thing. She’s right… back to send your signal.

“Months to live? Is he dying? I saw him standing up earlier!”

“He was dying, right until he wasn’t. My research into the subject he brought in changed everything!”

You can barely hear what they’re saying… you’re picking up something… something getting closer...

“You mean my mother?”

“Affirmative. The subject possessed impressive regenerative properties never seen before on a boost. I theorized that a series of transfusions could heal him by making his own tissues more competitive than the cancer-cells”

It’s clear now. Someone picked up your message and is very close to Reaper’s complex…

“He has… my mother’s blood?”

“Indeed. He was reluctant, thus I had to administer it hidden in his medication.”

“You… gave it to him without him knowing?!”

“Indeed. I would do anything to preserve my master.”

“Aren’t there secondary effects?”

“Oh yes. Many in fact. I discovered most of them after the third transfusion took place”

“What side effects?!”

“Psychological mostly. Sharp aggression increases, self-restraint, almost nullified. Morality ambiguity and…”

Someone’s walking up to the Manor’s gate… with a vengeance. You sense some sort of fight taking place.

“I am sorry. Someone’s being rather rude at the main gate. We can finish this conversation later” the screen says before turning off.

“Did you get someone?” she asks

“I think so?”

“Who?”

“I’m not really sure… I think it’s…”

The sound of fighting interrupts you, along with blaring sirens.

There is only one presence in the complex asides from her, and it doesn’t take you long to figure out who.

“It’s Anathema!” you say. “They’re fighting a lot of security drones”

“about time we got some good luck. Guide them to us?!”

It’s not hard to send Anathema a signal they can follow. They’re used to working with you.

Finally, you can hear the noise coming up to your cell, with gunshots and skittering of metallic legs and the sizzling of acid.

“CEASE AND DESIST INTRUDER! THIS IS PRIVATE PROPERTY AND YOU ARE TRESPASSING!”

“I’ll give you trespassing and then some, you dumb toasters!”

“GET AWAY FROM THE PREMISES!”

“Will you shut up already? I can’t hear my own thoughts and I think I’m getting some that are not even mine…”

“Get out before you are hurt human!”

“Hurt? You know your spider-things can’t hurt me! I’ve gone through three dozens of them already!”

“Losses are meaningless. I have an immense reserve of combat drones!”

“And I have like the worst case of reflux in mankind’s history, so give me a break will you?” he sounds like he’s just in front of you now…

“HERE! WE’RE IN HERE!” You shout out, with Elyise joining you.

“About time! I thought I was going mad with all the talking toasters”

The door starts smoking and dissolving under the acid shower from the other side.

Soon, Anathema steps in, looking up at the two of you.

“Oh, so you’re doing some stretching up in here?” he jokes, looking relieved.

“Very funny” you answer.

“Yeah, hilarious” Elyise adds

“Oh c’mon, It was a good one-liner!” he grins looking up at the chains. “Now how do I get you out without dripping acid on your hair…”

“Can you deal with that box on the corner?” Elyise says looking down at it.

“Can do” Annie states, letting a few drops off at it. Always amazes you, how it goes through almost anything.

Elyise inhales deeply and puts her powers in motions, both sets of chains bursting open to pieces. She floats gently to the ground…. While you land less gracefully.

“Ouch,” Anathema says helping you.

“My poor arms” Elyise complains, stretching some. Yours do too, but you’re a bit more used to this kind of stuff.

“How long have we been here?” you ask.

“A day and a half? I realized something was wrong when you didn’t come back… But I expected you were behind it all” Annie says looking at Elyise. “No offense”.

“I do get that sometimes…” she sighs

“It’s not her Annie. It was Reaper all along”

“R… Reaper? Are you for real?”

“Afraid so…”

“RETURN THE PRISONERS AND SURRENDER!” Charon’s voice reaches from afar, the sound of metal legs coming in closer.

“Ahh crazy computers, love me. Ok, you two stay behind me, and don’t step on the acid, ok?” he says grinning.

The way out is plagued with spider terror drones but they are simply no match for Anathema, who marches you to the exit without a hitch. You find your gun on the way out along with the data rod. Elyise gives you a terrifyed look as you take it, but you don’t say a word about it to Annie.

Not yet, at least.

___________________________________________

My Fanfics: https://chaniters.tumblr.com/post/181692759294/my-fanfiction-for-fallen-hero

DISCLAIMER: This is a work of fan fiction using characters and the setting of the Fallen Hero: Rebirth and upcoming Fallen Hero: Retribution games written by Malin Riden. I do not claim ownership of any characters from the Fallen Hero wold. These stories are a work of my imagination, and I do not ascribe them to the official story canon. These works are intended for entertainment outside the official storyline owned by the author. I am not profiting financially from the creation of these stories, and thank the author for her wonderful game/s, without which these works would not exist.

#fallen hero: rebirth #Fanfiction #Sidestep #Elyise #Anathema

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tenrk · 5 years ago

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➜ EVENT: star bright casting ➜ LOCATION: park hyatt hotel - interview room ➜ DATE: sunday 28th 2020

why was he doing this? subjecting himself to this ordeal all over again? was this what he wanted? did he really want to start himself on this journey that lead him down the path of self destruction all over again?

to put it simply, yes, he did want to do all this again. when he’d come back from his three month long disappearing act he’d known from the moment he set foot in seoul that he’d be fighting for this dream once more. of course, people would judge - he’d had his chance, and he’d blown it. but performing, being on stage, dancing and singing for people was something ten had always wanted to do, and probably always would want to do. so, it’d be a disservice to himself if he didn’t take every opportunity presented to him to get back to where he was before.

being judged was what led ten to his breakdown, and he knew it’d be hard to deal with being judged all over again, even more so now, but his therapist was on speed dial if he needed her, so he couldn’t let his fears take over again. not this time.

he has his doubts as he’s filling out the form, wondering whether he’s too old to try again, or if he’ll be judged poorly for throwing everything he had away, but somehow the form gets filled out and then he’s just waiting to be interviewed. he’d never gone to something like this before. when he was signed in the past he’d been noticed through an event and invited to audition, rather than go out of his way to attend one. the second time he’d only had to send in a few videos he’d filmed himself.

this feels different.

eventually, his names called, and though he notices the heads of some other people waiting snap up to look at him, recognising his name, he ignores them and heads into the interview room. he’s not sure what his chances are like, since they might just write him off because they’re worried he’ll quit like he did before, but he knows he’d got experience in front of cameras, and with being interviewed, so he’s not nervous.

he stands, perfectly at ease in front of the camera while they check the sound and the video, then give him to cue to introduce himself.

“my names chittaphon leechaiyapornkul, or ten. i’m 22 years old and a dance teacher at 1million dance studio, and a first year dance student at korea national university of arts.” it’s short, but sweet, and punctuated by a relaxed smile at the end. he wonders for a moment whether whoever will watch these will recognise him - he’s changed a lot since he was in the idol world.

the interviewer, eyes on her clipboard, finally glances up at him and speaks.

“thank you. now, i’ve just got a few questions to ask. please look at the camera while responding.” ten nods, glancing to the camera, then back to her.

“so, why do you want to be an idol?”

ten’s not entirely sure how to answer, having already been one, and given it up. “ever since i could walk and talk i’ve loved to sing and dance. i can’t remember a time in my life where i wouldn’t have rather been dancing.” he smiles, a genuine smile as he thinks about his greatest passion. “i was lucky enough to have the chance to be an idol for a while. dancing and singing on stage, interacting with the people who really cherished my performances and my skills gave me the biggest rush of euphoria. there isn’t a single thing in the world that’s comparable to the feeling of knowing you’ve brightened someone’s day just by doing something you love. i wasn’t able to keep ahold of my dream for a long, due to health issues, but now that i’m better, i know i can’t just give up on my dream. it’s not too late for me to try again.”

“you mentioned both singing and dancing - which is your best skill? do you have any other notable talents?”

“i’m a dancer, first and foremost, but i do love to sing as well.” he responds with a smile. “i started out focusing more on rapping, but found i preferred singing after a while, so focused my energy on improving in that area more so. but, really, dancing is my biggest passion. i’m at my best when i’m dancing. nothing makes me happier than dancing. i love all styles!” he beams, thinking of all the styles he has yet to master. “i’m mainly based in hip hop, but i’ve been dabbling in contemporary recently, and have taken a few ballet and tap classes over the years. my ultimate goal would be to master all styles of dance, even if that is a little far fetched.” he laughs as he finishes speaking.

“you wrote on your form that convex are an inspiration to you - your former group, correct? could you elaborate more on how they’re an inspiration to you?”

this question tugs at something still raw in ten’s chest and he finds it hard to push a proper smile onto his lips this time. “everyone in that group were, and still are, like brothers to me. i don’t personally know the new members, but even so, i care very deeply about them by association - they’re carrying on the convex name when i couldn’t, and just seeing them all work so hard to continue to do something i know we all loved to do, and all still do, despite us being separated, inspires me to work harder to get back to that level. so that maybe i can perform on the same stage as them again one day. i’d like to meet them again on award shows, maybe even watch them win right there beside them.”

“you had to leave convex for health issues, you say. could you tell us more about that? were there any other obstacles in your life you’ve had to overcome that were bigger than that?”

ten’s quiet for a moment as his stomach twists and turns, recalling the day he had to leave sphere, leave convex, leave his family. he knows it was for the best, but it doesn’t help to dull the pain. “yes. i... became a trainee at a very young age, when i hadn’t fully figured myself out yet. being a trainee is hard, harder than a lot of people expect or anticipate. harder than i anticipated, that’s for sure. i never really had the time to learn healthy coping mechanisms before i entered the entertainment industry, and because of that i wasn’t able to look after myself very well when things got hard. being an idol was ever harder, and i refused to ask for help until it was too late. i had to step back for my health, even if it was the hardest thing i ever had to do. i knew if i didn’t i could really hurt not only myself but the group, so i did what have to be done. i took some time away to get help and learn those coping mechanisms i didn’t have before, and i’m much better now. i’m ready to face the hardships of being a trainee, and an idol, again.” he thinks about the second part of the question and hums. “my childhood was tough. my older brother and i never got along, and he made growing up around him pretty difficult. i didn’t really do much to overcome that, sadly, as we’re still not on great terms, but i did move away with my mum, which helped a lot. being away from him, i think, probably helped us both out. we just have clashing personalities.” he says, knowing he’s sugar coated and underplayed the whole thing to hell and back.

“through these hard times, did your family help you out? could you tell us about them?”

family. something ten still hasn’t found a good balance with. it’s not something he enjoys talking about, but it is something he’d had to talk about with his therapist, had to face up to and figure out. “they wanted to, but i had to do it on my own, i think. it was right for me to take the time to be on my own and focus on myself and being happy in myself without needing outside help, at least at first. my dads side of the family, apart from my sister, well, i’m not very close to them, and likely wouldn’t ask them for help. my older sister though helped me a lot growing up, and still helps me now. she’s one of the few people i feel comfortable going to for help. my mums side was definitely a lot of help when i came back to seoul early this year. i have two younger siblings on my mums side, a brother and a baby sister, and spending time with them is always fun and relaxing, so whenever i feel stressed i make sure to visit them.”

“okay, only one more question. if you weren’t trying to be an idol, what do you think you’d be doing right now?”

ten thinks hard, struggling to find an answer as he realises he’s never even thought of an alternative. “i’ve never thought much about it. not being an idol never seemed like a possibility. i feel like it’s what i’m destined to do. but i suppose i’d be finishing university, probably teaching dance as i am right now. i’d always be doing something to do with dancing. i can’t see my life any other way.”

“thank you, that’s all. do you have any questions?”

“no, i don’t think so.”

“alright, well, have a nice day.” the interviewer stands and heads over to the door to hold it open for ten to exit through.

“thank you, you too!” he replies with a smile, walking through the open doorway and out past the other people waiting. as he makes his way out of the hotel he wonders whether a rejection would sting as badly as he thinks it might. would his fear of never having another chance, having been blacklisted for quitting, be realised?

#;solo #starbright20audition #solo;starbright20 #( 06 . 20 )#wc:1718

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dragonrajafanfiction · 5 years ago

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Dragon Dancer II: Project - Leviathan

I’d used my father’s Nibelungen gate to steal away with Johann for Hanami in Chizuru in the middle of the night, and felt much better for it. Johann had gone to Chizuru and sent me a picture as I instructed. I visualized the place in my head and stepped through the gate to be with him, wearing the blue and white kimono gifted to me by Caesar over a year ago. Chizuru was twelve hours ahead of Paris, it was the middle of the night. It was a lovely two hours in the sun and the glory of the flowers. Anjou was none the wiser.

Returning to my hotel room in the dark made it seem even more like a dream. My fingers ran across my lips. They still burned where Johann had kissed me. My body still reacted to the memory.

Master List

The room was huge and alien and it made it hard to get any sleep. I tossed and turned in the unfamiliar bed. My thoughts turned back to my Chicago home, not to Cassell. That burned too, taking my whole foster family with it. It was the last place I’d truly felt at home. Ever since I left there, I’d never slept in so many different beds in my entire life.

Back in January, Johann told me that after graduation he would find a place for us. I had thought it was just him being dramatic. He’d been upset and tired at the time he said it. But now as I lay in the dark, in strange surroundings yet again, I realized he might have been completely serious, that he picked up on the fact that we’d both been uprooted, and looking for a place to settle.

The sun came up and I was still tired. Dressed in a plush robe provided by the hotel, I spoke with Johann over video call. He was in an airport, preparing to return to Chicago.

“Do you know who you’ll be working with?” He asked.

“An Agent Robertson…” I yawned. “Sorry, still a little jetlagged.”

To this day, I was captivated by the strands of dark hair framing the golden eyes that peered over his dark glasses, his cool so-called expressionless face. It wasn’t expressionless to me any more. The subtle flicker of his eye lids, the inflection of his voice, the tilt of his head said far more than his words did. To me, they spoke to his quick wit and profound intelligence, the ability to sort and catalogue his thoughts to say and express exactly what he wanted to in a single precise motion.

“I know him. You’re in good hands.” Johann nodded his stoic approval. “He’s been with the Executive department for about fifteen years. His skill is called Desolation and will turn anyone who stands in front of him to solid rock to a distance of 50 feet. It’s an A-rank devastating talent I’ve only seen him use once. He’s also very conscientious and hardworking. He’ll keep the other agents in line.”

I rubbed my eyes and blinked. “Anjou said something about being concerned about the agents here.”

“There was a scandal about three years back. Robertson was assigned from New York to get a handle on things. But some of the people who were responsible for it still work there. I’d be cautious around the French Agents if I were you.”

“Noted.” I rested my chin in my hands. “Are you doing alright?”

His eyelids lowered and my heart skipped a beat at the ghost of a smile. My persistent worry for him never failed to provoke a reaction. “Don’t worry about me. I want you to have a good time in Paris.” The amusement left his face. “I mean it. You’re going to Fashion Week starting today. I want you to get lots of cute outfits and take pictures for me. Eat pastries at La Pâtisserie du Meurice par Cédric Grolet. Take pictures of those too. The pastries they make are very cute.” He ticked these things off as if they were a list of objectives on a mission. But that’s not what drew my attention.

What made me sit up a little straighter was his flawless pronunciation of the name of the bakery. “Johann… do you speak French?”

He tilted his hand back and forth, but didn’t comment. “I’ll send you a care package through Robertson. That way, you won’t have to worry about anything but having fun. Europe doesn’t have the same products that you’re used to.”

Johann had become well studied in the concept of black hair care. My braids and my curls were unique to me and he understood that these locks would accept no substitutions.

“I love you, Chu Zihang.” I said in Chinese.

“I love you, Bai Meixiu.” He said. “Call me again after Fashion Week. I’m interested in this mission of yours.”

“I have to get ready but… can I ask you something?” When prompted by a nod, I continued. “When you said you would find a place for us after graduation… did you mean it? What did you mean?”

He suddenly wasn’t meeting my eyes any more, a faint color coming to his face.

I explained, one hand running down a thin braid. “I was just thinking last night… how hard it was to sleep in so many different beds. It sounded nice to have a real home again. I think I’d like that.”

The color on his face suddenly deepened. “I’d prefer to talk about that in person.”

“Okay… I’ll see you again soon.”

*****

Apparently, the Paris Fashion shows themselves were so exclusive that you had to receive a personal invitation or be a member of the media to attend. Even so, the city was packed. Our ritzy accommodations were fully booked. The fact that we could stay where ever we wanted, eat wherever we wanted, and go to the shows all over Paris spoke volumes about the level of clout Anjou had. Never once were we refused entry, or had to wait. Our tickets of admission were immediately accepted by the staff.

He mingled about the immaculately dressed crowd at the show, shaking hands, giving hugs and leaning in to give little kisses on the cheek. He was introducing me to the people he knew. I suddenly realized that as the top student at Cassell, Anjou was showing me to his inner circle of friends, getting me acquainted with the top brass of Hybrid hierarchy throughout the world. Many were successful businessmen. Many were ancient families with a long history of wealth and power. Some were currently heads of state.

All of them were Hybrids.

I wore a long white dress with white gloves up to my elbows and a white fluffy hair piece in the shape of angel wings. It immediately attracted attention to me. I didn’t speak any French, but I didn’t have to to understand that they were very curious about Anjou’s little debutante.

We took our seats for the actual show. “Am I doing okay?”

“You’re doing just fine my dear.” Anjou, holding his own glass of wine, smiled. “Ah… this never gets old.”

“Can we buy some of the outfits?” It was the first time I had asked to buy anything.

Anjou laughed. “So you’ve finally come around to Paris! Just point to whatever you like!”

I rubbed my hands together eagerly watching for anything cute that I liked -- that Johann might like. With sudden motivation, I found myself spinning in dressing rooms, feeling the fine fabric on my skin. My dancer’s physique was perfect for the French style and the women there had more than enough fun dressing me up for my own personal fashion show. There was even a photographer. A burly African man leaned over with a camera to take pictures of me pretending to be a model. I noticed a familiar emblem on his jacket.

“You’re from Cassell!”

His bright smile glowed on his face. “Agent Robertson at your service!” His New Yorker accent was obvious.

My eyes widened. “They sent you to take pictures of me? Someone as experienced as you?”

He smirked. “Heh. I’ve been following you two all over town. My assignment is to be your security detail… but discreetly.”

“Are the other agents here too?” I asked.

“That they are. Once fashion week is over, you’ll be off to work.”

“Johann Chu says hello.” I swayed in the mirror, making my skirt swirl.

“That guy…” He flipped through the photos on the camera. “Tell him to come back to Paris so I can beat him at basketball again. Nobody else here play.”

I turned to him the moment he said that. “I play.”

His jaw dropped. “Well, well, well… this is going to be a fun assignment.”

My security doubled as paparazzi as I made my way around Paris. I hung out in the first Arrondissement, admiring the parks, the fountains, and the Louvre Museum. I stalked A-list celebrities and got Robertson to take photos of them for me.

All the photos were sent to my social media account at Cassell. Johann Chu liked every one of them. He left comments of which clothes I should take home. When I asked if he wanted a souvenir, he simply replied. “No, this is enough.”

The heat rose in my face. “Sweet talker…”

When it was time for me to leave the hotel, Anjou left a final message for me on a gold embossed perfumed card. “Congratulations on your first assignment. May it be the first in a long career.”

Under a bright spring sun, we traveled in a convoy of black armored vehicles to the safe house. Men brandishing AK-47s opened the gate to allow us in. We drove down a winding narrow road through a forest to the massive chateau.

Robertson grew quiet and serious, constantly on his walkie-talkie, giving orders and receiving feedback and updating our position. He referred to me as ‘The Asset’. I was escorted to the heavy wooden door. It opened. Four other men stood before me. They were all European, in suits and sunglasses despite their being indoors.

“Agent Lavigne, IT. Monet, Logistics. Blanchet, Security. Garnier, Security.”

The French agents. I nodded to them politely. “Nice to meet you. I’m Charlotte.”

Agent Lavigne, lowered his glasses to reveal bright green eyes. He was pale with freckles and a shock of red hair. “Allow me to show you where you will be working.”

My heels clicked against the marble tiled floor. There were columns and statues and art everywhere. We went up the stairs to a large master suite. “This room has all the amenities you need. Unless required, you should be able to stay here and not leave it. There is a balcony in the back for fresh air.”

“Not leave my room?” I asked in dismay.

“There is an extensive amount of work you must do here. Your playtime is over.”

I pressed my lips together, glaring.

“Don’t antagonize her. Anjou said she needs to be kept happy.” Robertson immediately placed himself between me and Lavigne. I glanced between them, unsure of why there was this sudden tension.

Lavigne cleared his throat. “I meant no offense. My English is not that good.”

Lame excuse, I thought, but I nodded.

“The laptop you’ll be working with is directly connected to EVA. Your task will be translation and interpretation of the text. Nothing more.”

“Why fly me all the way out here if I’m just going to work with EVA?” I asked. “Wouldn’t it have been easier just to stay at Cassell? What’s with all the security?”

“That information is unfortunately classified.” Robertson said. Despite his serious demeanor, he smiled a little. “I will tell you this. Sometimes, Cassell doesn’t want to show it’s directly involved in a project.”

“Oh… … Okay…” I said. I nodded once in determination. “I’ll work hard!”

“We’ll leave you to it.” The two agents shut the door.

I jumped up onto yet another strange plush bed and opened the laptop. “Agent Meixiu!” I declared.

Immediately, the machine registered my face and voice. It spoke to me in EVAs vocal AI. “Welcome. I hope your stay in Paris was enjoyable.”

“It was! So what are we doing here?”

“We’re interpreting and translating the draconic text found underneath the slums of Mumbai. It’s a densely populated place, but the ruins are accessible through the sewers. Wells dug by Cassell are reaching even greater depths.”

Pictures of the locations of the dig sites and maps flashed across my screen.

“Your initial assignment will be to translate this document. It is composed of 15,000 symbols, 5,000 of those are unknown draconic.”

“Five thousand?!” I whispered. I sighed. “Okay… Let’s get to it.”

“Your acceptance of the mission has been logged. Welcome to Project: Leviathan.”

The reams of draconic script opened themselves before me. There were so many unfamiliar words mixed in with familiar ones. One thing was immediately clear. These weren’t ancient chants, prayers or curses. This was a history, a record of actions. What was stranger was that the actions weren’t of a dragon, but of a human man.

I stood up and looked around the room. It would take me months to translate all this and I was not interested in spending that much time away from Johann. There were several framed pictures on the wall. I got off the bed and pulled down one. Then I fished out a permanent marker from my luggage and drew a time dilation rune on the wall. When activated, three hours here would only be one hour outside the room. I rehung the picture over it.

I would not need EVAs assistance. As a supercomputer, she could only make guesses based on available information, and that was not always accurate. I had someone who had direct access to draconic script and was a native speaker. She spun out from my dragon scale necklace, floating there.

Ielia, a version of me from another dimension, appeared like a glowing ghost in the room. “Please help me translate this?”

She gave me a solemn nod.

#Johann Chu #Dragon Raja #Fanfiction #Writing

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homenum-revelio-hq · 5 years ago

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Welcome to the Order of the Phoenix, Gina!

You have been accepted for the role of SEVERUS SNAPE with the faceclaim change of Aneurin Barnard! We really enjoyed Severus’ ambiguous motivations that might come back to bite him in the butt later on! Your personality section was on point and we’re looking forward to having the resent grump come back to the Order. We are so excited to have you as part of this roleplay!

Please take a look at the new member checklist and send in your account within 24 hours! Thank you for joining the fight against Voldemort!

OUT OF CHARACTER:

NAME: Gina

AGE: 25

TIMEZONE: MST-Arizona

ACTIVITY LEVEL: First and foremost, I’m a promotions producer at a local news station, so I’m on call if breaking news happens. Thankfully, for my job, doesn’t happen too often. Also, my boss is currently on maternity leave, but will be back mid-March. In the meantime, I’ve been given a lot of extra tasks that sometimes make me work 60 hour weeks. Luckily, The Academy Awards was one of our biggest nights with deadlines, news, etc., so things have somewhat calmed down. Thank goodness! Weekends are usually when I’m on the most. I’ll try to get on during the week – especially on my early days. All that being said, I’ll definitely will be able to post at least once a week! As long as writing is still fun, and doesn’t feel like a chore, I’ll be on the dash frequently (and I’m very good about keeping admins informed if there’s ever going to be an issue with activity check)!

ANYTHING ELSE: trigger: non-con.

CHARACTER DETAILS:

NAME: Severus Snape

AGE: 21

GENDER, PRONOUNS, and SEXUALITY: Cis-Male, He/Him, Heterosexual.

BLOOD STATUS: Halfblood

HOUSE ALUMNI: Slytherin

ANY CHANGES: Request FC change: Aneurin Barnard. I can see Adam Driver work as well. Either way, I am comfortable - just happen to have more resources of Aneurin.

CHARACTER BACKGROUND:

PERSONALITY:

Generally, Severus is seen rather than heard.

The mind of Severus Snape is complex – to be sure. Filled with calculations, fragile threads of truths and lies he’s told and webbing them all together, and innovations for many different forms of magic. To keep all of these thoughts collected, Severus keeps a journal that he has heavily bound to keep secret. There, he states the deepest parts of his soul, creates new potions, spells, and whatever else he deems worthy. It is protected by a blood spell that only he knows the enchantment to. Like him, everything is kept very private and close to his chest.

While Severus has plenty of thoughts coursing through his brilliant mind, he does not initiate conversation. In fact, he says much more with his eyes. Even if they can be cold. However, this does not mean Severus will keep silent – nor is it out of shyness. When Snape graces others with his opinions or ideas, they should not be taken lightly. Every single word uttered has meaning.

Being around Death Eaters and the Dark Lord, he’s kept a keen eye – finding everyone’s tells and when it is best for him to speak his true sentiments. As well as this, if he feels provoked or given an opportunity to speak freely, he will not cower. Often, his retorts have a bite to them, thick with sarcasm or bitterness; or both.

Severus Snape is profound in potions – and dare we say even more skilled in the Dark Arts. Books were a comfort for him growing up, finding company with leather-bound pages and becoming well-versed in their contents. A strength he chooses not to boast about is his ability to create new spells, new magic, even. Most of these, however, were being saved to get a slight revenge over his old school enemies. And therein lies the rub. Snape’s insecurities are tightly bound to Hogwarts and being bullied – not to mention his inability to reveal his true feelings toward the one girl who showed him kindness all those years.

BRIEF OVERVIEW OF FAMILY:

A broken family. That was the home of Tobias Snape and Eileen Prince.

A Muggle father and a Pureblood mother. Such parents didn’t give Severus an opinion on blood purity – but rather if an individual could prove themselves. While his parents may have had married for love at some point, something shifted their feelings.

For Snape’s father, nothing seemed to please him. Except for, perhaps, a bottle of gin. This instilled a primal instinct for Severus to do better; be better. Strive for power.

As for Snape’s mother, she grew sickly and thin. Her grief taught him empathy. It also made him value any comfort; starving for any sort of love and affection. This was, most likely, the cause for Severus’ immediate interest in Lily Evans – and the roots of his near-obsession with her.

Both of his parents were unhappy, and let it affect both their home and their son. Living near-destitution, the Snape house was filled with hateful words, arguments, loud shattering of priceless heirlooms or objects, and other things that still haunt Severus to this day. When thinking back on his past, Severus prefers the memories of when they both neglected him altogether, rather than any other aspects of his upbringing.

OCCUPATION:

Potions Apprentice to Professor Slughorn.

Invaluable to the Dark Lord, the talents of Severus Snape brought him closer to his inner circle. For Voldemort, it also meant he could manipulate the young man’s talents to foil any plots that the Order may have against him. Knowing his passion for potions, Voldemort encouraged Snape to take on an apprenticeship with Professor Slughorn – while also peeking behind the curtain at Hogwarts and keeping an eye on the Headmaster.

ROLE WITHIN THE ORDER/THOUGHTS ABOUT THE ORDER:

**I read the following note: “Severus will not be in the plotline until a player is accepted in his role. Him turning on the Death Eaters and coming to the Order as a spy will be considered a “roulette” plot drop whenever he becomes a taken character. Until that happens, players should write as though he is not yet in the Order.” AND he plot drops, *so I’m writing him as if he’s newly joined the Order at first as a DE spy, but now as a means to win Lily’s friendship back. 😊

Walking a thin line between hero and villain had never once crossed Severus’ mind. Yet, here he was. An Order member. At first, in a plot for the Dark Lord, carrying out the order to spy on the organization; find out how it could crumble. The young wizard had already grown steadily in their ranks, garnered enough trust, and was even listening to Voldemort’s other requests like his employment. All for the sake of war. It was a task daunting enough for anyone; however, Severus knew pretending to be an Order member would bring him closer to Lily. That, and potentially erase any suspicions Frank Longbottom might have if he thought he saw the Slytherin’s face during the arrest. At first, it was all an act.

Now, within the Order, Severus is a black sheep. Many of his childhood bullies are within their ranks, and many who distrust him. Although, with Severus’ lust for power, proving himself is nothing new to him. In fact, he thrives on it. No more fighting behind a mask…watching those he cares for nearly meet their end. An easy task to spy, being a great reader of both people and their minds. However, an overwhelmingly difficult task to want to continue fighting for something he didn’t believe in. Not that he believes in the Order either, but his lust for power has now been overcome with a desperate need to win an old friendship back. Perhaps to take Lily Evans far away from any wars as well, forgetting the two sides; no more choosing between what is right, and what is easy. Severus faces this new challenge, while fighting off those he once stood beside. For now, he’ll leave it to fate – if he’s able to win Lily’s friendship back. Maybe even try and win her heart as well.

SURVIVAL:

Severus Snape survives purely relying on his skills – and providing them to whichever side he feels is winning. It was part of the reason why he joined the Death Easters in the first place. Unfortunately for the Order, Snape believes the Dark Lord will win; that they will fall – and not rise from the ashes, as their namesake. A lust for power has blinded him most of all. But with it, he’s earned the trust of Voldemort, become invaluable. A faithful servant. Once the war s over, Severus believes he will be rewarded for his acts. At least, as long as he continues to do his bidding…

While with the Order, Severus has taken up housing in Hogwarts during the school year under his apprenticeship with Slughorn. During the summers, he’s found a small flat down near Hogsmeade to keep close enough. Beforehand, he often stayed with Lucius Malfoy in their incredibly large manor. It made it easy to stay near his comrades and to carry out any dark deeds.

Until there seems to be a clear winner, Severus will carry out his work as a spy. Even if it means slightly changing sides to do it as time goes on. The skills he carries with Occlumency are not to be trifled with. It seems he’s one of the few to have mastered such magic, making him the perfect soldier for espionage.

RELATIONSHIPS:

Severus’ relationship with Lily Evans was broken long ago. However, he will try and make peace with her, at the very least. If they rekindle their friendship, Severus would likely switch sides; happily die for her and prove himself. If it blossomed even more (something he fears even daydreaming about will jinx it), Severus would give up everything with the Dark Lord and his following. Everything with the Order. All to be with her – away from the rotting parts of the Wizarding World.

OOC EXPLORATION:

SHIPS/ANTI-SHIPS:

Ships: Snape/Lily & Snape/Chemistry.

Anti-Ships: None

WHAT PRIVILEGES AND BIASES DOES YOUR CHARACTER HAVE?

Having gone through a very traumatic animalistic incident in his years at Hogwarts, Severus has a large bias against werewolves. The whole experience left a nasty memory for him, left in complete shock and disagreement with Dumbledore. And having Fenrir Greyback at the Dark Lord’s disposal certainly didn’t make matters any better.

There is one thing that will never chance for Severus Snape, and that is his hatred and bitterness towards certain Gryffindor boys he now has to work with in the Order. The thought alone makes his blood boil and skin crawl. Yet, he will do what he must for his cause…and maybe even throw in a snide remark or two every so often.

Muggleborns are something of a mystery to Snape now. When he first met Lily, he thought she was different from any other one – slumping the rest together with the likes of his father. Although seeing how fierce Dorcas has become – and so well integrated with the Wizarding World – Severus has gained a new understanding. Of course, he’s still untrusting, at first, and even a little cold; but, that doesn’t mean his mind cannot be changed.

WHAT ARE YOU MOST LOOKING FORWARD TO?

Jess and I were talking because I’ve been itching to write again. She linked me to the RP, and there was a spark to my muse once more! Had to apply because I love the Wizarding World and exploring it. This is an interesting take on the Marauders era, in that it’s concentrating on one organization and its inner workings. I’m excited to explore that!

PLOT DROP IDEAS:

There was a head cannon I had once read where Irma Prince is actually Severus’ mother in disguise. That might be something to play around with! Perhaps to prove his loyalties to the Dark Lord, he must eliminate his parents. Instead of this, Severus uses his connections to hide her as the librarian at Hogwarts and keep her safe.

ANYTHING ELSE? Super excited to be applying! 😊

#homenumaccepted #harry potter rpg #harry potter rp #marauder rp #Marauders RP

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marginalgloss · 6 years ago

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the name of the door

‘Every move I send out begins with the same word: You. When I first wrote most of them, so long ago now that it’s incredible to think of it, I had in my mind only a single player, and of course he looked almost exactly like me: not me as I am now, but as I was before the accident. Young and fresh and frightened, and in need of refuge from the world. I was building myself a home on an imaginary planet. I hadn’t considered, then, how big the world was; how many people lived there, how different their lives were from mine. The infinite number of planets spinning in space. I have since traveled great distances, and my sense of the vast oceans of people down here on the Earth, how they drift, is keener. But you, back then, was a singular noun for me, or, at best, a theoretical plural awaiting proof.’

Wolf in White Van is a difficult novel to summarise. I knew next to nothing about its author, John Darnielle, before I began reading. I was aware that he’s a fairly popular musician, but I don’t think I’ve ever heard one of his songs. Being a famous songwriter can cover all kinds of sins in novelistic terms. But by the time I finished the book I felt as though I had been through one of the most solipsistic and forbidding novels I’d read in some time. I don’t mean ‘forbidding’ in the sense of difficulty: the language is mostly quite plain, and the plot is not complicated. I mean that there is something about this novel which looms large over the imagination. It is haunting in its implications.

The book is written from the perspective of Sean, a middle-aged man who suffers from a severe facial deformity that has him living a reclusive life. It will be some time before we learn the cause of his injury. Sean makes his living by running a play-by-mail game of his own invention called Trace Italian. (The name comes from ‘trace italienne’, a certain kind of renaissance fort intended to resist cannon fire. There is much else that seems fortress-like about Sean.) This game takes place in a post-apocalyptic version of America; players write to Sean describing their moves, much like in any other role-playing game, and he writes back with the results. Somehow the player subscriptions pay well enough to keep him going.

Trace Italian isn’t improvised: every ‘move’ in the game has been charted in advance, meticulously documented in a series of filing cabinets. It is effectively a labyrinthine concept novel, through which players move over the course of days, months, years. Nobody can ever see it all except Sean, and in this respect it is unlike any other book, any other game. For as long as he lives it is inviolable; a perfect private universe where every threat can be contained, every secret can be secured. There are places in it only Sean knows about:

‘…Charts and notebooks lie open around the corpse in a constellation; if you marked its points and drew a line connecting them, you’d have a shape that would later help open a door deep within the Trace, but nobody will ever notice this, or learn the name of the door, which you have to say when you open it or you end up in a blind corridor that traps you for at least four turns, which would probably outrage any players who made it that far. But who knows. What it would be like to make it that far is sheer conjecture…’

The most appealing part of the novel is its detailed portrait of fandom in the pre-internet era. We see how the young Sean was captivated by the genre science fiction and fantasy of the times. Mainstream references like Star Trek and Star Wars take a back seat here — it is all about Friz Leiber, the Gor novels, and weird VHS-era movies like Krull. It’s about finding inspiration in the album art for obscure prog-metal bands, and writing to adverts in magazines to order a cassette tape of music inspired by the Conan books by Robert E. Howard.

Some of this is the same tone that Stranger Things leant on — kids playing Dungeons and Dragons in the era of the Satanic Panic — but there is something altogether more obscure and threatening going on here. Stranger Things is exciting because of the sense of togetherness engendered by D&D, whereas Sean’s hobbies only serve to lead him further into himself. He never falls in with a gang of like-minded kids, so he becomes a Dungeon Master unto himself. Eventually, under his influence, a young couple go on an adventure through the Trace Italian. They think they are on the trail of something important, much like those kids in the Netflix series. But it doesn’t end well for them.

There aren’t many characters in this novel outside of Sean. The inside of his head is a bleak, violent place, surreal and unpredictable and paranoid compared to the controlled world of the Trace:

‘There was a small, strange moment during which I had this feeling that someone was filming me, which was ridiculous, but it was that specific—“there’s a camera on me”—and then some hard ancient pushed-down thing, a thing I’d felt or thought or feared a long time ago, something I’d since managed to sheathe in an imaginary scabbard inside myself, erupted through its casing like a bursting cyst. I had to really struggle to recover. Something was dislodging itself, as from a cavern inside my body or brain, and this situation seemed so divorced from waking reality that my own dimensions lost their power to persuade. I craned my great head and saw all that yellow-brown plastic catch the light, little pills glinting like ammunition, and then my brain went to work, juggling and generating several internal voices at once: someone’s filming this; this isn’t real; whoever Sean is, it’s not who I think he is; all the details I think I know about things are lies; somebody is trying to see what I’ll do when I run across these bottles; this is a test but there won’t be any grade later; the tape is rolling but I’m never going to see the tape. It is a terrible thing to feel trapped within a movie whose plot twists are senseless.’

Like the players of his game, the reader only exists in the world Sean has created for us. The effect is compelling, and claustrophobic. Sean’s narrative is intense and evocative. He is specific and articulate in his writing, but almost silent in his social life. His thoughts are frantic, anxious, self-perpetuating machinations; we are given very little idea of how he is perceived by society at large. There are moments of contempt and of friendship, but they’re only brief islands of contact in a sea of loneliness.

It is some time before it becomes evident what Wolf in White Van is really about. The story pivots around two big questions: what happened to Sean’s face? And what happened to that couple on their adventure? But even when the reader is told the facts of those matters, they may not understand the implications. Certainly Sean has no answers for us. There is something forlorn about his world. He writes beautifully, and the reader will likely think him a good person because they can see into his heart and his mind; but there’s a sense that he is somehow beyond help — not because of his disfigurement, but because of his isolation. He is a prisoner inside a game of his own making. And as the pages go on it seems increasingly clear that he will never get out.

We are accustomed, in novels and films like this, to another party breaking through to the narrator. Something will happen to shake them through their desperation so that their evident state of insecurity doesn’t become all-consuming. They might fall in love. Perhaps there will be a reconciliation, or an epiphany. But that never happens here. The only connections made in Sean’s world are brief and incidental, but the pain from discord resonates below all that. By the end it feels as though the world around the narrator has grown smaller and smaller, draped in a perpetual shroud, while his inner life has expanded out of all knowable proportions; the effect is mesmeric, and terrifying.

‘…I remember my anger at hearing my real dreams spoken out loud by someone else’s uncomprehending voice. “Number five, sonic hearing,” she said. “Number four, marauder. Number three, power of flight. Number two, money lender. Number one, true vision.” Some of the other kids shot laughing looks at one another. It was horrible. People talk sometimes about standing up for what they believe in, but when I hear people talk like that, it seems like they might as well be talking about time travel, or shape-changing at will. I felt righteousness clotting in my throat, hot acid: the other kids were suppressing laughter and exchanging glances; the whole thing was so funny to them they had to punch their thighs to keep from cackling out loud. None of them had actually made a true list like mine, I thought, though this was conjecture…I remember this scene because it was embarrassing to live through it, and because remembering it is a way of knowing that I am half-true to my beliefs when the time comes. I sit silently defending them and I don’t sell them out, but I put on a face that lets people think I’m on the winning team, that I’m laughing along with them instead of just standing among them. I save the best parts for myself and savor them in silence. Number three, power of flight. Number four, marauder. Enough vision to really see something. A stack of gold coins and a ledger. People want all kinds of things out of life, I knew early on. People with certain sorts of ambitions are safe in the Trace.’

#books #wolf in white van #john darnielle

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ohmymymytay · 6 years ago

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Application letter for the 🥰💗 City of Lover Concert 💕✨

If by any chance @taylorswift or @taylornation has any spare invitations to send to French Swifties, I’d like to apply. Here is my story!

At some point in 2007, I stumbled upon a Youtube video, which happened to be a lyrics video to I’d Lie. I had no idea who this Taylor Swift was, but that song became my jam for weeks.

Then I grew curious. Who was this person who could pen lyrics that so accurately portrayed the crush I had on my best friend’s older brother who happened to be born on the 17th and love the color green??? Turns out this girl had a few singles out at that point, and let me tell you, I was immediately hooked. With each song I discovered, I found even more relatable lyrics that would eventually grow to accompany my late teens.

Cut to 2012, and the closest I’d ever been to witnessing this lady in the flesh was at Madame Tussaud’s in NYC.

I had just moved to Paris to pursue a life-long dream, when one morning a few tweets caught my attention. She was filming the Begin Again music video in my new home. She had been seen at the Ponts de Arts. I was out of the door in seconds and ran as fast as I possibly could, but got there too late. I must admit timing is everything, and ours was totally off miss Swift…

The Fearless tour never stopped in Montreal. Speak Now did, but my parents wouldn’t let me go alone. Red never came to France after I moved. For 1989, I was ready to travel to London, but the concert happened to be on the weekend right before I had to defend my master’s thesis…

I was pretty bummed, but kept hoping, because this woman was the creator of the music that had gotten me through periods so difficult at this point, I just had to hear it live at least once in my life. When the reputation tour came along, I went, truth be told, batshit crazy. No Paris stop? No Montreal stop? Oh well, I’ll just grab my craziest friend and buy us tickets to the Philadelphia show. Let’s worry about the logistics later.

In short, I did make it happen. Flew to Montreal and drove 10+ hours to get there. From our nosebleed seats, I bawled my eyes out when I glimpsed a teeny tiny blonde-haired sparkly dot move her way from the back of the stadium to the stage. Then proceeded to have the best and happiest time of my entire existence.

I thought I could never top that night. But a few weeks short of a year later, Taylor came back to Paris, for the first time in years, to promote Lover. So of course I showed up to the NRJ studios. Because the timing was finally right, and it wasn’t forced.

I expected I would maybe sneak a peek of you, from a distance that would appear a lot shorter than in Philly. But oh, was I wrong. Instead, you took the time to greet every. single. person. that had showed up. Which led me to possess and cherish a beautiful photo of the two of us.

I was able to quickly thank you for everything you’ve done for me. I never expected I would ever get that chance, but somehow I did and it made my heart burst with joy. I have no idea if you even heard what I said, with all the noise and so little time, but still, it felt amazing to tell you.

Before I wrap this us, here are a few more miscellaneous facts that I’m sure you will appreciate:

- I now choose my friends on whether or not they let me do an exposé on your songwriting abilities after I’ve had a few glasses of wine.

- I once filmed a Gorgeous music video in the middle of Leadenhall Market just because my friends and I love you that much.

- There’s a shelf in my bedroom that’s slowly growing into a shrine dedicated to you. It wasn’t its intended purpose back when I screwed it to the wall, it just happened over time ok?

- I dressed as a politically-engaged serving of french fries for my 4th of July party.

Taylor, after more than a decade of missed opportunities, I feel like we might finally have gotten timing right. For once, I’ll be available, AND on Parisian soil, on September 9th. This is why I want to be there so bad, to be able profess my love to you in the City of Love itself. I wouldn’t miss it for the world. I’ve already entered all the contests I could find to win tickets, but have sadly been unlucky so far. Love you forever, Jess 💜

#city of lover concert #city of lover #the city of lover concert #french swiftie #french swifties #personal

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didon · 6 years ago

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My two cents on this whole Taylor Swift drama

I normally only reserve my rants for tv shows, but I’ve seen enough crap in the last day that I kinda want to add a little to it.

First of all, I’m not a swiftie or whatever her die hard fans call themselves. Do I like some of her music sure, but there are other songs that make me cringe the same way there are things that happened with her that made me dislike her and others where I’m now looking back at and thinking that it was just me wanting to fit in and that it was ‘’cool’’ to hate on her. Cause I think that there really is a movement where you have to hate on successful women because they are not perfect until the point where they are no longer human beings but actual mythological creatures that we must revere or die otherwise (Beyonce and the Bee Hive come to mind). Has Taylor always been right? Nope. It’s that simple, she has done some not so great things and instead of trying to understand them, I just went with the motion of hating her because I thought it made me special (it did not).

Secondly, to the people saying that he didn’t bully her, that it was his client, remind me his job again? Dudebro is a manager. His job is literally to MANAGE people, to make sure that the celebrities he has under his care not only receive the best but are also perceived as great. Seems like him allowing Bieber to post a dig at a woman for no reason and then not issue an apology right after was a bad managing decision because the only thing it did is make him and his clients seem like pissy little boys that can’t take people not agreeing with him. Him allowing Kanye (because tell me how he could not have vetoed that whole video that I’ll talk about later) to show someone that he knew Kanye had a troubled relationship with naked WITHOUT that person permission is a bad management decision. Especially since it could have led to more than one lawsuits toward his client. I feel like a manager normally tries to avoid his clients getting sued. So either he allowed her to be bullied by his clients and probably had his own hand in it or he’s shitty as his job and should not be allowed to manage anybody. Because it has to be one or the other, there is no third options where he didn’t advise his clients not to do bad things and had no knowledge of it. If anything, he could have at the very least if that was the case wrote his own appology for being in Bieber instagram. No instead he chose to stay silent, giving his approval toward it and to keep people that were attacking a female celebrity for pissy reasons as clients.

Thirdly, concerning the whole Bieber thing. Dude has to stop talking. He is not someone that can truly speak having grown up being influenced by Dudebro. Didn’t he sign Bieber when he was still a minor and everything? And yet he allowed him to make a fool of himself more than once, to be agressive toward more than one person knowing that it could cost sales. Dudebro was both a bad manager and a bad friend toward Bieber. Bieber who seems to act as if a lot of his fanbase isn’t young influencable girls that he is pushing toward not only bad decisions like bullying someone else because the friend of a friend doesn’t like them and also supporting people that are homophobic. Because let’s remember that for a long time (and I think still now but I’m not 100% sure), Bieber was friend with this pastor who was known for being homophobic. You can’t call someone coming at your friend a bully, but then have one of your close friend be someone telling others that something they have no choice in makes them bad, evil in some cases and that the one person that is supposed to love them (I’m talking about God here for the Catholics) hates them. How many queer people are we going to lose to suicide because they are constantly told by some biggots that God hate them, that they are going against everything that is good, that they shouldn’t be allowed near children, etc.? And no saying that just because you attend his congregation and hang out with him doesn’t mean you don’t agree with him. This isn’t the same as someone prefering strawberry milk over chocolate milk, this is someone spewing hate to who not only are you giving a platform by being near them (because yes it does), but are listening to. How many young teens are going to see that guy and go ‘’hey Bieber follow him so maybe he’s right’’? When you chose to be a celebrity, yes it means that you lose part of your privacy, but it also means that you should be obligated to lend your voice to those who aren’t listened to. Taylor Swift did that with her letter against homophobia, with her video and her support of queer artists. Bieber does that by giving a biggot relevance and then getting mad when his ‘’friends’’ are called out on their bad behaviours.

Fourtly, the whole Kardashian/Kanye thing. I can’t believe it’s 2019 and it has to be addressed but it is NEVER okay to showcase somebody else’s naked body even if it’s for ‘’Art’’ without their permission. His video was not only revenge porn, it’s an attack on her. Revenge porn is mostly defined as sharing private pictures of someone. This isn’t the case. She didn’t send his a naked wax art of her body. As far as I’m concerned, this is straight up violating her privacy and her body. And not only hers but the one of everybody else included in that video. Sure he probably has the signed statement from his wife saying it was okay, but does he has the one from every single other person? Also stating where their wax double would be placed? Because I’m pretty sure that Rihanna wouldn’t have said yes to her body being exploited by a man and placed next to someone who’s biggest relevance is the fact that he ABUSED her. It’d be the same as a celebrity asking fans to stop drawing porn of them and then getting backlash from their fans because they believe that they own that celebrity body. Your body is your own and no egomaniac should be allowed to have a naked wax statue made of it and put it in his video. Speaking of videos, Kim’s one is void. Not only is it clear that the video has been edited, but it was ILLEGAL!! A court would not take it as proof of anything just based on this alone. This is the same as a cop breaking and entering to get proof to arrest someone because a warrant takes too long and he’s sleeping with the other suspect. I don’t care if she actually agreed to one line and not the other or whatever. The whole video is void and should never be mentionned because it’s something illegal that again violated someone’s privacy which a celebrity should really know about. Especially Kim. The whole claim that Kanye made Taylor famous is ridiculous too. Bitch didn’t make her famous, he made an ass of himself. She became famous with her own hard work and good strategy (something her manager might have a hand into). What he did at that award show was just stealing a moment from a woman because he was prissy he didn’t get his way. There’s a reason why Beyonce gave the stage to Taylor and that everybody got mad at him. He took a young woman achievement and try to ruin it because it wasn’t what he wanted. That shows clear immaturity and if anything it made him more famous that it made her. She wasn’t known as Kanye’s victim, she was known as a singer while he was known as the guy that made an ass of himself and ruined a 20 years old big moment. I don’t care who deserved the award more or if he was right, nobody else does it and for a good reason. I may not have always have agreed with award winners, but you haven’t seen anybody stopping Matthew McConaughey speach saying sorry to interrupt but Chiwetel Ejiofor had one of the best performance ever. It’s almost like his manager should have stopped him from making a fool of himself.

Fiftly, just a little mention for Demi Lovato that came to Dudebro defence. Girl is coming out of a very emotional situation, is probably not 100% okay yet so don’t send her hate. Plus, she has known him about two months and he makes money off her so he has probably not been a dick to her. Her entire defence may even have his hand in it since people around her may be employed by his company. I almost killed myself over a year ago and I know that I’m still very emotional and that people can still have a big influence on me depending on how I’m feeling. I can’t imagine being around people that may not have your best interest 24h/7. On her claim that he is not homophobic because he signed her though, I will say that she can’t refute somebody’s experience with the man simply based on her own especially since she’s a famous artist that probably brings him a lot of money. Plus, while she’s a queer woman that consider herself fluid (and good for her tbh), it doesn’t mean that she has the same experience as a gay person. She has (mostly) dated men in the recent years and biphobic people will use it as an excuse to say that while she is ‘’fluid’’ she’s mostly straight (which is bull, but that might be how they see her in her mind). She can’t come at a gay man and say that because she’s also queer, the man cannot be a bigot toward anybody in the queer community. Heck, queer people in the queer community are bigots toward other members. How often do we hear transphobia or biphobia coming from queer people? The answer is too often. Especially black queer people who are often erased from their own history (*cough* stonewall and camp *cough*)! My own father was super friendly toward a trans tennant he had, calling her by her name and the right pronouns like it was nothing, only using her deadname on the official papers since it wasn’t officially changed, but to me he told me that if I came out as trans he would kick me out because I am his daughter not his son. If you asked that woman than yeah my dad is a great ally, but she wouldn’t know how he interacts with other queer people including his own daughter.

Finally, on the whole master thing. Shut up. She wrote the songs so I don’t care who owns the right right now or if they gave her a chance to ‘’buy’’ them back. This is her own work. When Devianart started selling artists art without their consent because they ‘’owned’’ it, how many people did I see on this website calling for a boycott? How many people were pissed and swore that it was horrible and that no artist should ever lose the right to their own art? Well, it’s exactly the same for her. Yes even for those songs of hers I hate. She put her time, her effort in them and so they should be hers. The idea that some white dudebro has right over them is ridiculous. The fact that he will own her feelings, a part of her soul should be upsetting especially since one of his artist already violated her body by showing it naked without her consent. I would be furious if I was raped and a friend of my rapist got the right to some of my writing. Heck, I would probably be a lot more agressive than she was in that post. The fact that she managed to stay polite and calm is a miracle if you ask me. Especially since he will be making money of a video that his friend and client didn’t even deem good enough to win an award!! Cause let’s remember that as cringy as it might be to look back at how we were all obsessed with some of her music video (god knows I was even though I would have never admitted it at the time), a man representing someone who put her down for one of them is going to make money off them.

This is in no way acceptable and I encourage people to raise their voices against this and to keep those boys (because they are not men let’s be honest) accountable for their actions. Cause when Kesha needed help getting away from her rapist, Taylor Swift gave it to her and no matter how famous you are, you deserve to have people stand up for you. I’m not saying send hate, but keep holding men accountable for their shitty behaviours and for the creepy thing they say about women. We are not their objects, they do not own us in any way and we need to unite to stop them disrespecting us!! No matter your feeling on Taylor Swift and her music or her previous actions, this is something hateful that’s happening to her and women need to stand up and support each other! We own it to each other!!

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tattooartistsblog · 5 years ago

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The Evolution of Western Tattooing

I’ve had a weird summer but things have been in flux for almost 2 years now. Most of this coincides with my having children (who are fantastic) and being forced to travel a lot for work.

Along with these major life changes, I have also been going to school and doing a lot of reading about philosophical ideas. Lately, I have been reading some of the works from Peter Singer (Act Utilitarian). He is famous for many different thought experiments over the past 40+ years but the one I felt compelled to toss into this article was the drowning child problem. (Rewritten for simplicity - Source)

This experiment has many aspects but I will take only a single part of it to make a point further on:

“If you were walking by a stream and saw a child had fallen into the stream, would you stop and save that child from drowning?”

If you were to answer, “Yes, I would stop and save that child from drowning!”, ask yourself: Why?

Why would you take time out of your day, when your happiness and energies could be better spent increasing the experiences you only have one chance to obtain in this lifetime? If you spend time helping this child in need, you will never get that time back. How can you be sure that the child is a good person (here and forever forward) or that they will have a life of value? You have no idea. Yet, in most people’s case, they would take action to save a child because they are not (or do not want to be considered) what society would label a monster or heartless person.

I may have taken a bit of a leap there but, as a society (local or global), we look to the children as something pure and malleable. They are something that has been untouched by the efforts of work-life balance or the politic that make up our daily existence.

So let’s take another run at the previous thought experiment:

What if you are walking by a stream and you see two children drowning. You only have the ability to save a single child at a time. In saving one child you may neglect the other so there’s a chance that the other could perish.

If confronted with this dilemma, how would you act? How would you triage this? Would you check to see if one was bigger than the other in hopes that the bigger one may be able to save itself? Do you go to the closer or further one? Do you save a child based on hair color? Do you let them both drown? What if one was your own child? Or both?

Regardless of any action taken in this situation, a rational person must always attempt the best possible outcome, for any and all involved. Their actions must result in what gives the greatest utility to those involved, regardless of how it affects themselves. Without this effort, society is prone to disruption as the efforts of the individual fracture from the cohesion necessary for mutual benefit in society. When removing the idea of an individual ego, we are forced to look outside our own worldview to see how our actions create positives or negatives. This can be applied universally among groups of people, or people and the environment that they exist within.

The practice of considering what is good and bad by picking apart our actions seems to be less organic than it had in the past. In more recent years, I have observed a loss of identity, a greater hive-mind collective and a less objective society. Given our thought experiment above, I think there would be a greater crisis among members of society when presented with the need for immediate action. I believe this is due, in larger part, to social networks and the identity manufacturing that accompanies the use of such technology.

Social Networks

Our use of technology has been of benefit in many ways. We have been able to advance progress in every field of study. Schools are offered via institutions that have gone online; We can send correspondence across the world in milliseconds and we are able to modify genetic structures to assume a godlike control of the physical world. In most ways, technology has been of benefit for society but when applied individualistically, our lives have become a shadow of what is required to be a social being. Our use of social networks has removed the social aspects of society and is leading to the destruction of individuality altogether.

There are a few aspects of ethics and social networks that we can go over. First I look at social network. What I think is absurd about it and what people can do to avoid being sucked into the marketing machine I assume it to be. After that, a bit about language and how we can never be confident when presented with written/texted/typed representations. Finally we will look at what it means to be a responsible person when using these forms of social connections. Throughout this essay I will point out how to critically examine this social network machine and why we should offer a harsh critique to this new aspect of society.

Social Media and Responsible Viewing - My perspective

Social media is a linchpin of interpersonal connectedness in our modern world. Global citizens focus large amounts of their lives on the assumptions others will make when viewing an online portfolio of statements, pictures or videos of their lives. This exclusive access (in some ways, depending on your security settings) gives voyeurs an insight into your life. Your followers and prowlers can choose to live vicariously through you and you never know what they are up to behind their digital device’s screen..

The idea of being a “follower” of a person or brand has always struck me as weird, maybe even a little awkward. In fact, as soon as I had written “follower” above, with those appended quotation marks, I felt a little sick. Why is it that without these markings I am less provoked by an emotional response but with them I feel more separate from the connection? If we look to the past, in our societies, the label of being a “follower” had been attached to something crazy like Purple Kool-Aid or compounds with militant weapon caches. It was a descriptor that labeled a person as being unable to think for themselves.

Followers were always an integral part of a larger mass that, while being led, shook the critical inquiry that accompanies life and disposed the efforts of free thinking while idolizing individuals that benefited from their obeisance. Our lives now fit perfectly into the idea of being a “follower” and we choose to propagate this lack of critical thinking.

From tattooing to social media

I work as a tattoo artist and part time as a thinker. My focus in the tattoo industry is putting what you think looks good into your skin. It is a permanent adornment that creates a myriad of emotions for some, and is quasi cathartic to me when doing a procedure. As tattooers, we utilize artistic skills and technical knowledge to make our clients happy - when they have the urge to make a permanent change to their body. As a free thinker I am always trying to understand what surrounds me and what my place in the world is. Combining these two efforts has been very difficult at times as I am forced to reconcile my want for understanding with the needs of my clientele.

As a tattoo artist, the focus for the business in modern times has been trying to figure out how best to adorn our clients body with an ageless piece of art. When we make a design for the skin we are always looking forward to ensure a tattoo looks great for the next 15+ years. At least, this had been our effort in the past. We have slowly evolved away from this effort due to the amount of knowledge necessary when designing a piece. It is an insanely difficult endeavor.

Becoming a craftsperson

Growing as an artist combined the study and effort of generations who previously made mistakes so that the future could avoid them. The study of art, tattooing and the body was an immersive experience, wherein people wishing to achieve a mastery were forced to learn all aspects of the trade to become proficient. Once proficiency was obtained, a person practicing the craft was forced to understand their place in the industry. They developed their own “voice” in their artwork and honed this application so they could master their process. This process, once mastered, could be passed down to future generations and the art would evolve to fit a best practice that would ensure survivability and growth of the art form.

A mastery in tattooing included making pigment and needles; understanding and developing your tools of use; drafting and application of art to skin and the actual procedure; client management and running your business. Since the inception of regional and national supply companies, this practice of evolving a personal mastery has slowly devolved and an art-centric focus. The idea of mastery has shifted from the total knowledge accrued in a lifetime's work to something that can be obtained through social media acceptance and a single applicable style of art. An artisan’s efforts can be so focused that mastery can be achieved in as little as a year.

Short term benefits

The industry has evolved away from mastery due to the inconvenience of time in everyday life. In many ways, it has become easier to learn with the invention of technologies that make designing a tattoo far easier. We also have the ability to capture lost hours with premade, pre dispersed pigments (although the safety of such products is of question), premade needles and, what are treated as disposable tattoo machines and supplies, that can be delivered to your door in a matter of days. Suppliers became an integral part of the operations and, in time, grew to service the entire industry, on demand.

With an increased amount of free time, what were tattoo artists in search of a mastery going to do to fill the time? Newly freed time was applied to becoming a better artist and learning how better to market their products. This is not as it always was…

This shift in free time occurred (in the west) at about the same time media started showcasing a new wave of personalities who sported tattoos. After that, television shows started to come out that introduced legions of captivated viewers the inner workings of a tattoo shop and, through careful manipulations and editing, humanized the tattoo artist. What was once considered an evil, drug-riddled trade for bikers and sailors, was being broadcast on networks across the globe. Viewers were given the chance to learn about the trade, become attached to the artist’s personal struggles and see that tattooing wasn’t occupied by fat-white-dudes riding Harleys. It was the normal folk that were getting tattooed.

This progress of acceptance was amazing for the wallets of those who were already established, competent artists. The influx of tattoo clientele created a ripple effect, where shops that were previously hidden in a basement or the back of a barber shop, were expanding into strip malls and large common areas. The money rolling in was exponentially greater than anything that had been seen before. It was like a biker rally on steroids, and it was happening everyday, all year long.

With the exposure granted by TV and massive marketing campaigns, most tattoo shops became a place where hopeful artists would flock so as to gain a chance to be like the new stars on TV. Walking into a shop in the early 2000’s was not comparable to how things looked in the 80’s and 90’s. Church groups getting a tattoo for God were sitting next to Hells Angels getting a tattoo for Satan, and the hopeful apprentices walked into a scene that secreted a different lifestyle than previous generations. The industry was in the midst of an evolution.

The evolution

The free time that had been granted by the supply companies was again absent from the lives of tattoo artists everywhere as clients packed tattoo shop floors. Demands for new and exciting artwork forced tattooers to evolve into offering custom designs, otherwise they would lose the newly found financial security granted to them. That peaceful nights and weekdays off had vanished. They were being replaced with something tattooers were not prepared for:

Artwork. Lots of artwork.

With this influx of new client demands, shop owners were hungry to open up apprenticeships so new tattooers could fulfil the wants of clientele. Contrary to the demand placed on shop owners, the industry did not become easier to break into. Even if they were desperate, shop owners were what we call now, “old school”, and they were prone to distrusting new people in their shops. They had learned a trade that was far different than the one they resided in and, being overrun with new demands, they were a little cranky about the swift evolution of the industry. It became very difficult to train a new apprentice as the traditional tools and tricks one needed to acquire in an apprenticeship were, at times, meaningless or outdated. Couple this with the shop owners having been thrust into a position of needing to develop new skills, the apprentices were in a unique position to advocate for an exchange.

As soon as they were done scrubbing the toilet.

The exchange and eventual breakdown of the system

Most apprentices were not being utilized to the best of their abilities during the great expansion (I think I will coin that term for this era of tattooing). With new art being demanded by the increased clientele, apprentices were chosen based on their artistic abilities, as well as how their personalities meshed with shop owners. Artists were chosen based on what they were capable of artistically, not on their drive to become craftspeople. Due to this change, shop owners were placed in a role where the power dynamic would become upended and the masters of old were placed on a pedestal next to their apprentices.

In traditional apprenticeships, the master has acquired all necessary fundamental knowledge that will be passed down, as well as their own individual expression of the craft the have mastered. The apprentice is forced to learn by watching and asking questions. The apprentice is forced to learn at their own speed by slowly learning the foundational elements of the craft. But when confronted with the great expansion, shop owners were forced to take a demotion (in a way).

The master’s skills in artistry were subpar in comparison to those their agreed to train. They were put in a place where the apprentice, who had been chosen solely on how much the master was able to learn from their association, held as much power as the shop owner. The master and apprentice had become equals, and in doing so, masters, in desperate need of education, instilled a level of competency that was unearned by the new apprentice. It became easier for a new apprentice to challenge the master and, when conflicts arose, the exit of the apprentice did not accompany their exit from the industry, as it had in the past.

Tattoo Artists - The new masters

As the industry evolved and apprentices were forced out of shops that had started their apprenticeship, many of these new talents had little background knowledge of how to obtain mastery in the trade. The trade master being labeled as a tattooers had vanished. The new masters were tattoo artists.

These new masters had been promoted through the apprentice ranks quickly due to the shop owners need to grow as an artist. Their skills were traded for acceptance in the industry and a basic training the encompassed enough to ensure a modicum of quality in the least amount of time.

The new masters had been brought up in a time where “custom was king” and all the efforts of a tattooers were based solely on their artistic abilities. As the industry evolved, the passing of knowledge to the new masters left behind skills necessary to fully understand the craft.

Suppliers came in and filled the want of freedom for time consuming tasks. Shop owners outsourced all aspects of the operations so they could focus on their growth as an artist to meet the demands of clientele. This shift in applied mastery created a new baseline for artists wishing to join the industry. Art comes first. You can learn by mistake. As the new masters evolved and opened shops, previous shop owners were being run out of business by these dismissed, art focused new masters.

A break in the chain

The apprentice leaving with a lack of complete understanding left a rift in place where, historically, the master was invested in the success of their apprentice and was a part of their future expressions of the craft. By creating a situation where apprentices had moved into independent operations before fully understanding the craft, and by granting apprenticeships based solely on what they could take from the new generations, the masters of the past were dismissed and labelled as the outdated problems inside an evolving craft. To the new masters, the artistic skills of the past couldn’t compete with their own and they did not know what had been missed due to an incomplete education. In driving their own need of evolution towards a new expertise, the old masters created an environment where they were made obsolete.

The new masters had come into the craft without a bridge to the past. They were thrust into a position of power in an industry that was growing at an alarming rate. The new masters were left without a foundation for how to educate the next round of apprentices as mastery was only focused on a single aspect of the craft. Their own lack of apprenticeship was now something that had the potential to ruin the industry.

As it happened before, the growth in the industry made it difficult for these new masters to succeed, as they did not have a complete knowledge of the craft. They were bound to the failures of the previous generation, unable to make growth built on a solid foundation, and were forced to adapt to a new way that would leave a large gap in knowledge moving forward. Social media.

The evolution continues

In the last 10 years or so, tattooing has become something that is a part of who we are as individuals and allows us to better define who we are inside society. The efforts of the new masters created an industry in which a client had the freedom to design something that fit their personality. To the new masters, the collaboration between clients and artists was always present in the manufacture of designs. It was their goal to do something unique as this would set them apart from their competition. Not having a master to help guide their efforts had a positive effect on many in the industry in this way as customization became king. The individual voice of artists worldwide became more pronounced and defined the culture of tattooing we see today.

Without being tied to the techniques of the past, artists were able to push the boundaries in how designs were made and how they were applied. Innovations in style were consistently being shown through access made possible via social networks and were supported by the industry suppliers that made increasingly vivid products. These amazing feats of artistic ability led hungry artists, new to the craft, in making attempts to replicate these newly displayed tattoos. We had superstars of art in the industry, sponsored artists and a lifestyle that was being sold as a way to become something bigger and better than what had been seen before.

For the adventurous artist, there had been little effort to guide or instill a sense of mastery in the techniques being developed. Efforts to spread the information to the new generation were being hampered by what some have identified as “trade secrets “that were able to be purchased by going online, attending trade seminars or paying those in control of such knowledge to give wanting artists a tattoo.

For those who were unlucky, or had little funds to chase the information that was for sale, the guidance given was separate from this practice. Those without time or funds were told: practice on paper so you don’t make a mistake in the skin; clients will willingly give you money to learn on them; you can make mistakes; this is how we learn now; you must sacrifice your client to improve; you can be the best if you focus on one aspect of tattooing.

Social media makes it mark

Those in modern tattooing were faced with the dilemma of training the next generation of masters as the industry continued to grow and evolve. Art was still at the forefront and artistic applications of tattoos were continually being developed. The next generation came into their training in the same way the previous generation had, with a skill that was unknown to their masters; the use of social media as a way to market your ability.

What had happened before with the new apprentices happened again. The new masters fulfilled their obligations by developing the new apprentice in the same way they had been brought into the craft. Their teachings were focused on personal development in art. The training was focused on learning by making mistakes. The imbalance in the exchange of information continued to grow as the new masters exchanged their knowledge and the apprentice gave new techniques to improve the masters business. While this exchange happens, the apprentice slowly becomes detached from the master who is grooming their entry into an industry devoid of the history that holds the fabric of understanding together. There is not enough information left to pass along to the new members of the industry and a greater separation from the past occurs. The new apprentices are pushing the boundaries of evolution and leading the industry in a new direction, just as their were shown by the new masters. Alone.

I fear that this may continue to occur for the foreseeable future. With new innovations that accompany the growth of a new generation, there will always be a tool that the new apprentice can utilize to level the master-apprentice interaction. This aspect of devolution is ever apparent in modern western tattooing. Social media became the new tool that the new masters did not understand and the apprentice was able to utilize these evolutions of society to their favor.

The new class - social networks

We have delved into the idea that modern apprenticeships are undertaken by a master who has less than the necessary experience to pass along an adequate foundational understanding. Now let’s look to the future.

In my opinion, this degradation of knowledge has accelerated in the past decade This is due to the influence of social networks and mass media representations of the tattoo industry. The media is a tool with great power over the populations that choose to enjoy its benefits. Our civilizations have evolved in magnificent ways that allow transfer of knowledge and ideas at lightning speed. We have evolved to know each other over great distances. Our lives are moving towards the true expression of a global society wherein our lives are inextricably intertwined. We will be forced to fight common threats together or face extinction.

While all of this is going on, a cult of personality is raging rampant in many industries. People are held aloft based on “likes” and “followers” and trends that define the generation are bought and sold as commodities to the highest bidder. The media giants have shifted from those who presented ideas on television or radio to those who sell space on portable devices. The new idols of a generation are those who sell lifestyles or products that guarantee - fame if emulated or happiness and longevity if purchased. The lifestyles of the rich an famous are at your fingertips. If you like and follow, you can be a part of it.

Social Media and Ethical Standards

We are confronted with images of what we want by large technology companies that sell advertising space. This spaces of influence are available for a price and are gobbled up by those in society that wish to extort a level of control or influence on others. Advertising is a monster that has adapted to the changes in society better than any industry. Billions are spent so that companies know how to get you, the potential client, to purchase things you do not need. Social networks are a culmination of this knowledge, spanning decades, that collectively alter our perceptions to influence our behavior. As the tech companies has evolved, the idea of social connections have deteriorated as well. Now, our societies are more comparable to the 1984 version of existence. We love the Company and they will tell us what to do.

These companies have little regard to change their practices, regardless of the pressure civilizations, politicians or global alliances put on them. Not to be separated from the global society of this new age, the new class of tattooers are fully entrenched in their grasp. They have mastered navigating this new realm of representation and are rewriting the idea of success hand-in-hand with the social networks and they have brought this mastery to the table when negotiating their apprenticeship.

Social networks and influencers

Since the inception of social networks, our focus has slowly turned towards what I interpret as instant gratification of our cult of personality. We are focused on building followers like a non-sanctioned church. To do this, we develop a personality that is far separate from who we are in reality and sell a story that falsely implies our mastery.

Most of our efforts inside the social network realm are focused not on stealing money or selling products that are misleading or fake; our efforts are focused on building an Image…(dramatic typing there). They are here to influence opinions and trends and to manipulate the followers that hold them aloft. For a price, they can select a product and deliver its benefit to millions of enrapt individuals with nothing better to do than look at a screen while waiting for a social update.

Social networking Influencers are forced to make a product that has a limited shelf life as the media, being delivered to billions globally, must adapt to keep people's attention. The influencer’s focus is to bring in as many likes as possible and offer a service that is so exclusive that it has bloated industry. So many products are being represented by egocentric individuals who utilize their fame as a way to reconcile their high cost of service.

Influencers are skilled at building a persona that attracts people who are less than willing to think critically. Followers accept the image that is displayed on their phone/computer screen and seek validation of such images by evading critical inquiry. Validation is presented by agreements presented by influenced followers.

We see the numbers associated with an account and determine validity through insecurity. If numbers are great enough, those without mind enough to question will blindly follow representations put forth by the influencers to be a part of the “in crowd”. By denying inquiry, a person can be a part of something larger. They gain acceptance where otherwise they would be denied and, regardless if there is a physical presence to associate the person with the group, commenting on social networks allows users to segregate their ideals, likes, and beliefs to ensure less confrontation when interaction does occur.

Attempts to mislead

New apprentices or young artists in tattooing utilize social networks and media in the same way as influencers. Efforts made to display work that is impossible is a constant and misleads the public by imbuing a level of trust in clientele that is impossible to uphold, while misleading the populace under the guise of mastery. The new artists working towards mastery supplant the ideas of the past and extort a new version of true mastery. To obtain new mastery, follow these simple rules - The process and design are personal possessions of the artist. The client is no longer required to have input; they are canvasses utilized to impress or gain acceptance from competitors. This may seem Machiavellian in away but social networks are not a true representation of quality. The ability of a person to mislead the populace to increase personal value is theft.

We, as an industry cannot fault the new generation for taking such actions. This is our fault. We walked away from our responsibilities in search of fame and riches and were taken into the industry in the same vein. We are focused on personal growth rather than the growth of the industry collectively. The efforts of this new generation in utilizing ignorance to build a brand is reminiscent of how the new masters were used to gain artistic ability by previous generations. This epidemic is cyclic and the industry (as well as the majority of the world) is faced with a choice: Slow down and fix what is broken - or - kick it into high gear and get out before the ship sinks.

Sound familiar?

It’s all about appearance

When I go onto a social network, I am always presented with well groomed pages when searching for something entertaining. It is rare that I find many followers on pages that aren’t built to look a specific way and those that aren’t well groomed are not the first to appear in a search. When looking at my social networking pages, or those of some of my friends, we are not spending time developing an image or brand that represents our position in the world. Comparing our pages to influencers is like comparing fire and ice. Normal social media pages are utilized for updating close proximal relations and sharing statuses so friends and family can stay in touch with each other. Influencer pages are polished and are prime real estate for paying companies. I feel that this is due to grooming tactics these social networks have worked tirelessly to promote. In practice, you are attracted to a specific cult, or style, and the pages that have the most “followers” are delivering products more efficiently than others.

When a person joins a social networks, they only want to follow what mirrors what they feel mostly resembles who they are, what they like or who they wish to embody. In joining the ranks of a social media influencer, a person becomes attached to those who release entertaining material. Some wish to emulate it. For those who are bringing forth the next generation of tattooing, their ability to manipulate social networks has become key in their success and those who are not willing or able to competent on this new battlefield are left to fail.

Where the future lies

We are moving ever forward in society. Tattooing has evolved in so many ways that the art form it is today is a mere shadow of what it had once been, in some ways. Artists are marching forward towards a more efficient manner in delivering works of art to wanting clientele. Looking at social networks, tattooers are creating a platform wherein the “flash” of the past is what currently pays the bills. They are creating images, posting them online and clients are free to pick and choose the designs that hand on a digital wall. Social networking has turned our practices into a giant marketplace where social connections are ignored and the idea of customization is absent.

It’s funny when you look at it. We have come full circle and are reduced to the same practices that were commonplace before the great expansion. The only thing that is missing is the link to the past.

As the industry moves forward, they are confronted with a problem: Continue the march of progress and further remove themselves from the idea of mastery or, critically question the practices currently in use to rebuild the knowledge lost from the past.

Final Thoughts

I see the next generation of tattooers evolving in one of two ways: One Way. I see the same mistakes being remade again. The master will need skills from the apprentice therefore creating an imbalance in power during training. Once the apprentice feels they have gleaned enough knowledge, they will break from the master and lose a little more of the past as the industry evolves. This will continue until tattooing becomes something lost in the translation of society’s evolution. The Other Way. Tattooing slows down and becomes intertwined with the idea of mastery again. The new apprentices are given a full foundational experience when introduced to the industry and new knowledge is introduced as it becomes available. The industry works together in a way that promotes specialization and spreads knowledge effectively. Artists become attached to the process with their clientele. Insert a whole bunch of goodness!

This leads me back to the thought experiment we started with: If you come upon someone or something that is drowning, do you make an effort to save it?

Or do you just continue walking by?

Without our intervention in this industry, it will likely drown.

Hello and thanks for taking the time to read some of the ideas I have bouncing around in this “gettin’ -older” head. I haven’t written in awhile due to the work that was being put into the pigment articles. Funny enough, the depth of work that went into that study put me into a bit of a crisis. Professionals around the world were taking the time to talk with me and I feel so much more informed about the safety and efficacy of products that are being used in the U.S.

Authors Note*

Regarding the efforts moving forward with the website, I will stick to describing the ethics and philosophy of tattooing in the west (in my interpretation), tattoo history and some aspects of technical tattooing. I will not be doing the in-depth science articles that have little effect on people’s actions or choices. This may seem like a defeatist attitude, which is not something that I espouse, but in the future I may revisit them. If anyone is interested in what was found during my pigment research, please feel free to send me an email and I will give you a link to the references I had collected over the past 6 months.

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