#people: tim healy

[tayfabe75]

"Bonfire Night, 2007, I was 18, and I'd just written Robbers. We'd been playing it for hours, and when I left the bedroom, my father was calling, 'MATTY!' in a stern voice. And I'm thinking, when he talks like that, that is not a good sound. I'm in trouble. And he goes, 'That song – that song is going to be a hit.' I was like, 'Cheers,' all awkward, and he's like, 'No, no. Listen to me. That song is going to be the most important song you've ever written.' And he was right. He was right."

December 1, 2018: Matty reveals that he wrote the song 'Robbers' on Bonfire Night, November 5, 2007. (source 1, 2)

[partoftheairforce]

matty as a little boy always makes me cry it’s too much to handle. i want a son so bad universe bless me with a baby boy i would love him and care for him forever. he would like bunnies, horses, reading his books, christmas, travelling to devon during spring break for the costume festival, big sur, automated train sets, hot chocolate, thrift shopping in edinburgh in the winter, swimming in santorini in the summer, harry potter, and listening to music he enjoys. he’d grow into a beautifully gentle man who would be kind to people who deserve kindness, would help people that needed to be helped and love people that needed to be loved, he would stand up for what is right. he’d have children of his own, daughters, and he would raise them to be strong minded and opinionated, lifting them up in situations where most fathers would lift them down, raising them to believe they could be and achieve anything. he would love me and his father endlessly, and would send us letters about his life at the moment, telling us when our granddaughters took their first steps, or laughed their first laughs. his family would visit us at christmas until we got old and frail, and would carry on living as the amazing man he would be even after i die. please universe fix me this is too much.

[somerabbitholes]

hello! it's been a while since you've posted any essay collection 👀 would you be willing to share your favourites of this year with us?

yes! here you go —

Disunited Kingdom by Fintan O'Toole

South Asia's place in contemporary climate fiction by Evan Tims

What's the matter with men? by Idrees Kahloon (archived)

Power to the Caribbean people by V. S. Naipaul (archived)

Can Russia ever be democratic? by Kyle Orton

Death by Design by Daniel Callcut

Joshimath: once upon a town by Rahul Pandita

Exposed by Sadie Levy Gale

In the Shifting Embrace of the Ganga by Arati Kumar-Rao

(Less essay, more interview) Matty Healy by Alexis Petridis

The Roots of Global South's New Resentment by Mark Suzman

How TikTok Became a Diplomatic Crisis by Alex Palmer (archived)

This review of Oppenheimer by Richard Brody of the New Yorker (archived)

India's new growing elite by Shekhar Gupta

There are definitely more I'm forgetting and which I will try to excavate!

[allamericansbitch]

Genuine question. What do you think about all of the political pundits and news anchors and other celebrities praising Taylor for the endorsement? They’re all saying she made such an eloquent statement but it wasn’t that good…?

I feel like both 'sides' of this are missing the point because it's the internet and all nuance is lost. Taylor finally endorsed Kamala and took an actual political stance for the first time in 4 years, and that's great. That act is gonna do wonders for the election and really helped move eyes and ears toward Kamala, Tim, and their campaign. There's no doubt it'll make a huge impact. So the reporters who are saying she made an 'eloquent statement' are correct, she did. So people who are looking to hate on that have no reason to hate on that aspect. She did a good thing by endorsing Kamala.

However, that's not what the issue was that people were talking about for years prior that hit a peak a few days ago- it's a part but not the whole picture. Her statement about the election missed the big picture, it never once condemned what people have seen her tolerate personally. Taylor, for the past 3-4 years has repeatedly surrounded herself with close-minded, ignorant, and actively bigoted people. From the people she's voluntarily chosen to work with (i.e David O Russell; a known abuser) to people she chooses to publicly be friends with (Brittany Mahomes, Lena Dunham, Zoe Kravitz, etc) and even repeatedly defended dating vocal bigot Matty Healy. She has repeatedly surrounded herself with people who actively go against everything she says she believes, and actions speak louder than words. How can you say you're an ally to the LGBTQ+ community and publicly be besties and lend your spotlight to someone who doesn't believe trans women are women and shouldn't be in women's sports (Brittany Mahomes). How can you support victims of SA/DV when you're friends/work with abuse apologists and actual abusers? How can you be an ally towards POC when you defended dating a man who publicly said he gets off to porn of black women getting beaten, or while you wear jerseys and support your current partner's team- a team that has made a mockery of Indigenous people who have repeatedly begged for them to stop? How can you be an ally for women when you haven't spoken up for Palestine, where women are being treated in unimaginable ways due to the ongoing genocide. That's the issue, her actions vs. her words.

She can say she believes in these subjects, and that's good it's better than nothing, but we all know the words are pretty empty and for show. A show is good but it always ends and you're left with nothing afterwards. She probably won't say much else about the election because in her mind she did her duty, and that to her is the bare minimum. Half-baked activism is applauded because we are so used to getting nothing. Endorse a candidate and go back to being friends with people who don't see certain groups as human beings. Tell people to vote but don't condemn their hatred, because then you'd also be condemning some of your friends. Enable that behavior and live in that privilege, it'll work out for her and that's what matters the most.

[tillthelandslide]

my humble request: dinner with Healy’s family after Finsbury, the boys and their families as well

Love this here's a short little blurb:

The room would be absolutely bursting with people, buzzing with laughter and chatter. You're sat in-between Matty and Louis, Matty's hand never leaving you, either resting around the back of your chair or placed on your thigh.

You can't help but stare at him, having to be told something twice just to test your eyes off him. He'd be talking at Ross or George from across the table, your elbow would be resting against the table, your face resting in your palm. Your body is turned towards him, practicing blocking Louis out although he's in a deep conversation with Hann and Carly.

Your eyes are scanning his features, the huge smile that hasn't left this face since he got off the stage and it makes your heart swell. You sigh a happy sigh at one point, drawing his attention towards you, eyebrows furrowing in hopes you're okay. His hand squeezes your thigh as he asks "everything okay my love? Not ignoring you am I?" The fact he even cares makes tears well at your eyes. This dinner was about him, about the boys, about the success but he still just HAS to make sure you're okay.

You nod as your hand makes it's way to his cheek, swiping a thumb over his cheekbone, making his eyes flutter for a second.

"I'm so proud of you" you say, utter pride laced in your voice, his heart picks up at the way you say it and he can't help but lean forward to press his lips to yours. He tastes like the wine you had all been drinking during the evening and you hum against him.

"I love you" he says and you repeat the words back to him before he's talking to his parents and you're joking with Louis.

At some point, when Denise has drunk a little too much (she had previously said she wanted to do a speech) you picked up your fork from the table, clinging it against your glass, and suddenly everyone's eyes are on you. You stand and raise your glass, Matty stares up at you, nothing but love in his eyes.

"Denise wanted to do a speech and I promised I'd do it if she couldn't" you'd say and everyone would laugh, Denise would look at you and smile, silently thank you with tears in her eyes.

"Boys, we are so unbelievably proud of you, we are so lucky to have you in our lives and to be on this journey with you. Everything you do makes us so proud but Finsbury was truly amazing, a beautiful show and we're so thankful we got to share it with you all" you say and everyone smiles, raising their glasses.

"Matty" you say, the man taking your other hand in his "I am so unbelievably proud of everything you have accomplished, this band, your music... You should be so proud of the man you are today and we love you so much" she features to Denise, Lincoln, Louis and Tim, all of whom nod.

"Thank you love" he says, face nuzzling into your neck as you sit down. He pulls back, bringing his face closer to yours and you share a sweet kiss.

[god-has-entered-my-body]

𝙻𝚎𝚗𝚊'𝚜 𝚍𝚛𝚎𝚊𝚖 𝚕𝚘𝚐: 𝚒 𝚐𝚎𝚝 𝚔𝚒𝚕𝚕𝚎𝚍 𝙰𝙽𝙳 𝚒 𝚔𝚒𝚜𝚜 𝚝𝚛𝚘𝚢𝚎 𝚜𝚒𝚟𝚊𝚗

second instalment (tw: death and violence)

Right so i'm basically just in my house ad i leave for some reason? I walk down this little road and suddenly i see my (extremely religious) next door neighbors on this weird car platform thing but its driving nonetheless.

She litch just starts charging at me screaming about faith and god and how i'm going to hell and she's like two feet behind me when i leg it back into my house and NOW she's got a full gun but my windows are semi-bulletproof so im okay (literally like. okay queen pleek calm DOWN)

I'm like genuinely fearful for my life and this absolute CUNT breaks into my room and just shoots me in the face and like. fully kills me for some reason but thats okay whatever. I'm still watching this unfold from a weird third person perspective and she starts praying over my body and its super like. uhm. okay whatever moving on

Then im just randomly in an airport yay im wearing green and jeans which i vividly remember and also on the phone with my partner? At some point we board but we don't actually we kind of go down this massive ramp onto a field thing that reminds me of Rock am Ring? Whatever so i'm just walking with my (empty) suitcase and around the corner of this weird tent thing that's also a food shop i see a few people just standing around.

This is when said previously mentioned weird tent thing turns into a festival stage and i recognise none other than troye sivan in his slutty little black top he always wears (i don't even listen to troye i just think he's fit).

So i see him and obviously i'm like let me get a picture with this absolute specimen to show to the little people in my phone (you lot) and i go up to him only to be literally thrown back by some security guy who looked a lot like tim healy but we don't talk about that. I make it to troye and he's being a bit of a cunt but i ignore it because he's prob nervous to perform or something.

We take the pictures and the flash is really dizzying for some reason and i turn to hug him goodbye and he's just like "okay now giz a smooch for the camera" and i DO and it felt weird because his hair was in my face and also the camera is STILL going off but im happy nonetheless.

To understand the vividity of this dream i need to mention that when i woke up, first i checked my pulse to see i was alive and second i flicked through my camera roll fully expecting to see me and troye sivan making out.

i need to start doing these more they get weird and i feel like i should MAYBE get this checked out because i'm still semi convinced the first bit was real and i'm just dreaming writing this which is only a bit freakish

[autistpride]

How many of these famous autists do you recognize? And this isn't even a complete list!

So many amazing wonderful people are autistic. I will never understand why people hate us so much.

Actors/actresses/entertainment:

Chloe Hayden

Talia Grant

Rachel Barcellona

Sir Anthony Hopkins

Dan Akroyd

David Byrne

Darryl Hannah

Courtney Love

Jerry Seinfeld

Roseanne Barr

Jennifer Cook

Chuggaaconroy

Stephanie Davis

Rick Glassman

Paula Hamilton

Dan Harmon

Paige Layle

Matthew Labyorteaux

Wentworth Miller

Desi Napoles

Freddie Odom Jr

Kim Peek

Sue Ann Pien

Henry Rodriguez

Scott Steindorff

Ian Terry

Tara Palmer -Tomkinson

Albert Rutecki

Billy West

Alexis Wineman- Miss America contestant

Athletes:

Jessica- Jane Applegate

Michael Brannigan

David Campion

Brenna Clark

Ulysse Delsaux

Tommy Dis Brisay

Jim Eisenreich

Todd Hodgetts

John Howard

Anthony Ianni

Lisa Llorens

Clay Matzo

Frankie Macdonald

Jason McElwain

Chris Morgan

Max Park

Cody Ware

Amani Williams

Samuel Von Einem

Musicians:

Susan Boyle

Elizabeth Ibby Grace

David Byrne

Johnny Dean

Tony DeBlois

Christopher Dufley

Jody Dipiazza

Pertti Kurikka

James Jagow

Ladyhawke

Kodi Lee

Left at London

Red Lewis Clark

Abz Love

Thristan Mendoza

Heidi Mortenson

Hikari Oe

Matt Savage

Graham Sierota

SpaceGhostPurp

Mark Tinley

Donald Triplett

Aleksander Vinter

Comedians:

Hannah Gatsby

Robert White

Bethany Black

Scientists/inventors/mathematians/Researchers:

Damian Milton

Bram Cohen

Michelle Dawson

Carl Sagan

Writers:

Neil Gaimen

Mel Bags

Kage Baker

Amy Swequenza

M. Remi Yergeau

Sean Barron

Lydia X Z Brown

Matt Burning

Dani Bowman

Nicole Cliffe

Laura Kate Dale

Aoife Dooley

Corrine Duyvus

Marianne Eloise

Jory Flemming

Temple Grandin

John R Hall

Naomi Higashida

Helan Hoang

Liane Holliday Willey

Luke Jackson

Rosie King

Thomas A McKean

Johnathan Mitchell

Jack Monroe

Caiseal Mor

Morenike Giwa- Onaiwu

Jasmine O'Neill

Brant Page Hanson

Dawn Prince-Hughs

Sue Robin

Stephen Shore

Andreas Souvitos

Sarah Stup

Susanna Tamaro

Chuck Tingle

Donna Williams

Leaders:

Julia Bascom

Ari Ne'eman

Sarah Marie Acevedo

Sharon Davenport

Joshua Collins

Conner Cummings

Kevin Healy

Poom Jenson

Amy Knight

Jared O'Mara

David Nelson

Shaun Neumeier

Master Sgt. Shale Norwitz

Jim Sinclair

Judy Singer

Dr. Vernon Smith

Artists:

Miina Akkijjyrkka

Danny Beath

Deborah Berger

Larry John Bissonnette

Patrick Francis

Goby

Jorge Gutierrez

Lina Long

Johnathan Lerman

Julian Martin

Haley Moss

Morgan Harper Nichols

Tim Sharp

Gilles Tehin

Willem Van Genk

Richard Wawro

Poets:

David Eastham

Christopher Knowles

David Miedzianik

Henriette Seth F

[magxit]

Every time Matty Healy opens his mouth, somebody gets annoyed. Long before his rumoured relationship with international sweetheart Taylor Swift, Healy, the lead singer of the massively irritating pop band The 1975, had mastered the art of winding people up. He has a supple singing voice and is a decent songwriter: but his true vocation, across his decade-plus career, has been treading on strangers’ toes. He’s the Bob Dylan of raising your blood pressure.

Until recently, this was an accepted fact, and nobody cared that he was a bit of an idiot. It was his calling card. You went to see The 1975 because you were partial to their slick, saxophone-fuelled pop – imagine if Radiohead woke one morning and decided they wanted to be a Level 42 covers band – but also because there was a fair chance Healy might do something ludicrous. As he did when he brought his tour to Dublin earlier this year and, in response to an annoying audience chant of “Olé, Olé, Olé,” told 14,000 Irish fans that they were “a simple people”.

Nobody booed; if anything, the crowd lapped it up. Later in the show, Healy, 34, had a slight meltdown and started swinging the mic stand around. In a world where many male rockers want to be a variation of Chris Martin – the colour beige in human form – how refreshing to see a vast, preening ego imploding for our entertainment.

You were reminded that Healy grew up in an acting family: his father, Tim Healy, starred in Auf Wiedersehen, Pet and Benidorm, and his mother, Denise Welch, is best known as Natalie Barnes from Coronation Street. She’s also done panto – and clearly, some of that knockabout energy has filtered down to her son.

What a rollercoaster ride it was watching him in concert. In between these two extremes of sneery git and man-falling-to-pieces, Healy had briefly addressed the audience. “There’s a story [in the papers] calling me a Nazi tomorrow,” he said. “This is true.”

It was indeed true. Healy had been waving his arms earlier in the tour, and a few tabloids had decided he was giving a Hitler salute. The controversy was ludicrous and flamed out. But another online storm has followed Healy around - and has been intensified by his supposed romance with Taylor Swift. It concerns the New York rapper Ice Spice, whom Healy is accused of mocking in a podcast.

He addressed these claims in a new interview with The New Yorker, which seems to have been commissioned not because of The 1975’s streak of decent albums but because he’s been in the audience of Taylor Swift’s US tour (with Swift having joined The 1975 in London in January).

The singer hadn’t insulted Ice Spice but had laughed when the podcast hosts described her as an “Inuit Spice girl” and a “chubby Chinese lady”. The 23-year-old rapper is, in fact, of African-American and Dominican heritage. The details are obviously irrelevant: it’s self-evidently unacceptable to turn someone’s ethnicity or appearance into a punchline.

Healy had, as was only proper, later apologised publicly – saying he didn’t want Ice Spice, real name Isis Naija Gaston, to think he was a “d---”. But that horse had bolted.

He’s shallow, then – but he has depths. Healy is blisteringly honest about his mental health on The 1975’s 2022 LP, Being Funny In A Foreign Language album as well as reflecting on his years of heroin addiction and his romantic split from singer FKA Twigs.

“Oh, I don’t care if you’re insincere / Just tell me what I want to hear,” he sang on All I Need To Hear, a ballad about his need for human support and connection following a reported breakdown. Later, the Cheshire-raised singer said that it was easier “as an English northern person, to be sardonic in the face of something sincere”. The argument he makes on the new LP is that it’s okay to be corny and fake, if your motives are pure.

He has also gleefully played with ideas of masculinity. On the group’s latest tour, Healy sings against briefly projected images of Prince Andrew and of controversial kick boxer-turned-influencer Andrew Tate, whose toxic machismo Healy appeared to skewer.

But in the New Yorker interview, Healy made the broader point that most of the online controversy he has whipped up over the years has been illusory. In an uncharacteristic display of humility, he explained that people don’t think about him that often.

“It doesn’t actually matter,” he told The New Yorker. “Nobody is sitting there at night slumped at their computer, and their boyfriend comes over and goes, ‘What’s wrong, darling?’ and they go, ‘It’s just this thing with Matty Healy.’ That doesn’t happen.”

What about those people who were genuinely offended, wondered The New Yorker? “You’re either deluded or you are, sorry, a liar. You’re either lying that you are hurt, or you’re a bit mental for being hurt. It’s just people going, ‘Oh, there’s a bad thing over there, let me get as close to it as possible so you can see how good I am.’ And I kind of want them to do that, because they’re demonstrating something so base level.”

Swift and Healy have yet to go on the record with their romance – though Swift has gone public with her admiration for Ice Spice, with whom she recorded a new version of her single Karma. But even without confirmation, the very idea of Swift being with an unreconstructed wind-up merchant of Healy’s calibre has vexed a segment of her fanbase, who have urged her to “actively engage in this process of personal and social transformation”.

This touches on the wider issue of how much say fans should have in the personal lives of pop stars (answer: none at all). It also confirms that Healy is a throwback to an older kind of pop star. There was a time when being outrageous wasn’t a career killer – it was part of the job description. Whether it was Ozzy Osbourne biting off the head of a bat or the Gallaghers launching jibes at Blur (before they turned their artillery on each other), part of the fun of being a pop fan was waiting for your favourite artist’s next outrageous outburst.

Healy understands this is part of his job and hasn’t been found wanting. He’s good at it too. In an age where pop is increasingly a story of the bland leading the bland, it is a talent for which he should be praised rather than pilloried.

[toomuchracket]

https://x.com/fasc1nate/status/1743769437650489647?s=46 amy being a single child in the studio

awwwwww yeah this is very toddler amy bothering uncle george (who just DOTES on her. like. matty is no longer his best friend and favourite healy (although lbr that was prob tim anyway), amy is) during a writing session. i see her being a few years younger than baby hann, so whenever he's at school and she has nobody to play with (he loves her, her big cousin) she just hangs around with daddy or one of her uncles; she clings to their legs while they're trying out new melodies, and matty's convinced that's how she learned to stand up and then walk so early for her age, because she had multiple people to a) support herself on and b) challenge herself to walk little distances between. but she doesn't actually walk for the first time until you show up to the studio to pick her and matty up, i think - she toddles from him to you so she can give you a cuddle, and she's a little bit confused as to why mummy and all her uncles are cheering and daddy is crying on the floor lmao. cute!! <3

[cryley]

source: My Old Man: Tales of Our Fathers by Ted Kessler

MY DAD HAS BEEN FAMOUS LONGER THAN I’VE BEEN ALIVE Tim Healy by Matthew Healy

My name is Matthew Timothy Healy. I was born naked in north London in April 1989. I am told it was quite warm - which has been the case for most of my birthdays. I am an adult now, semi-clothed. My father spent those early years of my life working between England and Australia - back-to-back winters that had deprived him of the sun for almost four years. He told me he remembers my birthday being a bright and memorable time, golden-hued. He currently lives in the house in which I spent most of my childhood. In some ways it exists as a shrine to what once was - our family and what has been achieved. It is a feeling that is comforting and unsettling in equal measure. 

My dad, at five foot seven, a baby-turned-milkboy-turned-welder-turned-comic-turned-actor, was born in the early 1950s to parents Malcolm and Sadie, in Birtley, Newcastle upon Tyne. He lived modestly up north, as a youngster and as a young man, with his brother, John, and their dog, Smartie (a dog that would later come to head-butt my dad in a moment of jestful play, resulting in him losing his bottom row of teeth. John once threw my dad over a wall, with the assumption that the drop on the other side was of equal height to that which he’d just hoisted his little brother over. It wasn’t. He landed right on his head and has had to wear glasses ever since).

He would work between various factories during the day and at night he would pursue his dream of becoming a stand-up comedian. He is a very funny man, my dad, whose charm and passion is articulated through his comedy, and his face exudes a type of warmth that one would expect from a northern English comedic actor. He laughs like Muttley off Wacky Races and whistles inane tunes that have never been heard before, for good reason. 

My dad has been famous longer than I’ve been alive. He was at the height of his fame just before I was born, during Auf Wiedersehen, Pet. My parents being famous was always part of my reality: there are photos of their wedding with a crowd of a thousand people outside looking in, which is what their life has been like. I know nothing different, and it bled into the way I saw myself. My dad was a rags-to-riches character, so as soon as he saw a stem of creativity in me, he knew the importance of nurturing it so that I gained a sense of self. Me being creative was always emotionally, financially endorsed by my dad. 

‘You’re John Lennon,’ he’s say, from the time I was six. He expected me to be a rock star, not in a superficial sense, but A Rock Star. Mark Knopfler from Dire Straits and Brian Johnson from AC/DC would occasionally come around to our house when I was growing up so it always seemed tangible. Rock stars walked among us. Welders, too. Dad has a dichotomy between being a working-class manual worker and a bohemian actor. I remember watching a Michael Jackson video with some of his welder mates when I was a kid and them saying he was from another planet. I thought, Yeah. My planet. 

My parents always taught me that you get the good with the bad. So, if you want to live in a nice house and have nice holidays, then maybe Hello! Might have to come around your nice house or go on your nice holiday to take photos for their magazine. The Daily Mail and the Mirror went in a bit hard on my mum for a while, which was difficult for my dad as he’s not from the tabloid world that comes with being behind the bar at the Rovers Return. He had to deal with a wife who was clinically depressed, being hounded by the tabloids. What does he do to look after his wife? We got through it. And there’s stuff that people don’t know. We found a lot of security in that, knowing that they only knew so much. 

I thought about this a lot when my band was breaking. My mum is on Loose Women. That’s not credible, that’s not cool. My dad is a credible actor but he’s well known too. Am I going to be perceived as an ITV boy-band thing? In the end I had to get over it. You can’t judge musicians by what their parents do. It isn’t going to work. 

There are two things he always said to me, and always after a drink: ‘Be who you want to be.’ And ‘It’s in yer fucking bones, man!’ He empowered me. He acted in awe of me. Not in a sycophantic way, but as if I didn’t need his advice. If I had conviction, it would see me through - and that really rang true. Because I had a middle-class family I could get to twenty years old and still be working it out with the band. 

I didn’t go to university. I worked in a Chinese restaurant, which stressed my mum out. ‘Is this band thing really going to become something?’ she’d ask. 

My dad never questioned it. ‘Leave him alone, man, he’s fucking John Lennon, man.’ He believed in me unquestioningly from the moment I wrote a song called ‘ Robbers’ when I was eighteen. He bought us our first van. He converted the garage into a rehearsal space. His overt passion for us is instilled in our band. When our album went platinum all of the band made sure he got a disc. He’s the band’s dad. 

The character he plays in Benidorm, who rides around on roller skates with a wig on and big boobs, is probably the one he sees the most of himself in. He told me he based it on a combination of Les Dawson and Tommy Cooper, which is my dad incarnate. If people ask me to describe my dad I say, ‘Combine those two. That’s him.’ The slapstick he plays is quite like his real persona. He’s a very, very good actor. It’s not strange to see my dad put on a wig and be someone completely different. When it looks and feels like my dad but there’s something else going on, that’s when it throws me. It’s the subtlety of my dad in the midst of a great performance that can really mess me up. If you’re involved in the physique and the aura and the knowledge of who that person is, when the minutiae of it change it’s quite alarming.

I steal a lot of lighters, which is something coincidentally I’ve stolen from my dad. We’ve stolen everybody’s lighter we’ve ever come into contact with. Superficially, I think I’m more like my mother. I’m quite erratic. I’m passionate and emotionally driven, whereas my dad is more subdued about those things. I think what I’ve got from my dad is my fear of not being proud of myself. Those are the times I’ve seen him at his lowest, when he regrets something he could’ve done, mainly from a creative perspective. I’ve seen him cut himself up over things that I wouldn’t have imagined he’d find that relevant or important. And then I find myself doing the same over a vocal take, or some small detail in a recording, and that’s when I feel him inside me. That’s when I know who I am. 

Matthew Healy is the singer and guitarist with the 1975.

[thesinglesjukebox]

TAYLOR SWIFT - "I CAN DO IT WITH A BROKEN HEART"

Who's afraid of little old meh?

[5.25]

Hannah Jocelyn: Hey, she played something with a fucking beat! [6]

Alfred Soto: An obscenity-laden ode to being as fabulous as Taylor Swift in 2024, "I Can Do with a Broken Heart" is as confident as "My Name Is" and "Izzo (H.O.V.A.)." If the performance sounds cagier, even more tentative than the words and vocal track suggest, blame Jack Antonoff, whose mix turns the instrumental foundation into yesterday's mud. In all the ways in which I imagined Swift developing, "lyrics first" would not have topped my list. [5]

Jackie Powell: Part of why “Anti-Hero” remains one of the best songs Taylor Swift has ever written is that the melody is just as strong as the relatable story Swift tells. There’s relatability here too, but the melody is “made to fit the music, rather than the other way around,” an astute observation that Pitchfork’s Olivia Horn made in her review of The Tortured Poets Department. It annoys me that the kick drum that I can’t stop tapping my foot to doesn’t lead to the appropriate burst of emotion in the chorus. This is a song about the compartmentalizing and suppression of raw emotions, yet the hook feels matter-of-fact. Would these lyrics have been more potent if the melody wasn’t so stale? I know a lot of folks have been saying this, but it’s time for Swift to work with someone besides Jack Antonoff.  [5]

Alex Clifton: Witnessing the Eras Tour was an experience unlike any other. It’s an impressive feat of endurance, and it was surreal to know that 70,000 people (including me) had come to watch this one woman do her show. Every so often I had to remind myself: this is real, she’s actually doing all of this, she’s a real human being and yet I can’t think how she does this and has a life offstage. Well, now we know! As a commentary on the Eras Tour, fame, and the parasocial relationship Swift’s fans have with her, it’s pretty neat, and I like that she goes for the grimmer side of the glamour. She has every right to brag about her professionalism here; I can barely get out of bed on bad days, let alone put on a dazzling show. But sonically it’s just another Antonoff plinky-plonky-blippy collaboration; I definitely ignored it the first couple times I listened to Tortured Poets. To me that’s the biggest letdown: a song full of potential that doesn’t quite get to burst and sparkle the way it could. Instead it’s merely fine, 6/10, I don’t hate it but she’s done better. However, I deducted a point because while I try not to care who songs are about, knowing this is likely about Ratty Healy dampened it for me. He’s not worth wasting these kinds of feelings on! [5]

Jonathan Bradley: The public perception that Swift's oeuvre centers on lovers and feuds is eternal, yet a subject she has returned to throughout her career has been work, both as labor and as something to take pride in when it's done well. Work is different for a 34-year-old woman whose job has been songwriter and recording artist since she was 16, but she approaches her toil industriously. The subject has been present in her work since her debut, which had multiple tracks that used songwriting ("Tim McGraw," "Our Song") as a structural device, but she turned her attention to labor directly in 2010's "Long Live," which wielded the fairytale imagery of "Love Story" and "White Horse" to consider what it means to lead an enterprise — in this case, a touring band — and hope your combined efforts might build a creative legacy. "If you have children some day," she asked, casting her gaze into the far future. "Tell them how the crowds went wild." In 2024, the far future is now, and Swift is still working as a songwriter and a member of a touring band, and still conscious of the transcendence that promises and the dull effort required to achieve it. "I Can Do It With a Broken Heart" is a song about being a professional and executing her craft even while she's falling apart emotionally. "I am so productive," she promises, a one-woman economic stimulus package. She is condescending ("I'm a real tough kid") and callous to herself ("lights, camera — bitch, smile"), and offers her disintegrated person ("all the pieces of me shattered") to a public that demands and maybe deserves all of her. What do the thoughts and feelings of Little Old Her matter in the face of the Taylor Swift Industrial Complex? Yet it doesn't sound effortful; this is a party song, and heartbeat rhythm and accelerated tempo feels like the anticipation in the hours before an arena show put on by your favorite pop star. The arrangement's synth-pop pulse oscillates like a radio transmission: dancefloor-ready the way an accelerated revision of Folklore's spotlit slow-jam "Mirrorball" might be. (If this were 1996, the maxi-single would contain at least three inappropriately boshing remixes, and we are lesser for their absence.) But "I Can Do It" calls back to another period of Swift's career too: Reputation, an album that began with a flight to a secluded island and ended with the intimate domesticity of two lovers tidying up the remains of a party. The thesis statement of that album was that, for all her confessional lyrics and public scrutiny, Taylor Swift is fundamentally unknowable even to her most ardent fans. And look! Here she has performed a world-conquering tour, unprecedented in scale, and night after night kept secret this gloom consuming her. "I'm miserable," she crows as the song culminates, thrilling in subterfuge the way a magician might. "And nobody even knows!"  [10]

Taylor Alatorre: How'd it take Swift this long to have a charting single that uses the word "productive" as the shining centerpiece of its chorus? She's always had something of the overachieving AP student about her, and Tortured Poets is where she finally stopped trying to hide this and instead decided to make big-budget fanfic out of it. The tinker-toy soundscape, showily but not fussily busy, conjures up a Stephen Biesty cross-section of the inside of the Taylor Swift Hit Factory, all the whirring deadlines and clattering headlines that require teams of professionals to help manage them ("don't know my schedule on the 5th," as a smaller-scale pop neurotic put it). In "Broken Heart," Swift is eager to pull back the curtain from the machine further than she's ever done, though she naturally stops short of throwing her body upon the gears and wheels Mario Savio-style. I choose to believe that her lilting inflection of the word "it" is an allusion to sex in the manner of the Cole Porter standard, because that'd maximize the song's fertile intersection between public and private. Even if I'm wrong, though, and this really is just a condensed Behind the Music episode for Every Taylor Swift Break-Up Song, it at least hits the crucial mark of putting entertainment first and autofictional indulgence second. [7]

Nortey Dowuona: "He said he'd love me all his life!" is a frustrating sentence. At first, it's simple and cutting, a reminder of the anguish of losing someone who made a flimsy, insubstantial promise in a haze of heady, exaggerated joy then retracted it. The frustrating part is that this doesn't seem to be the realization -- the realization is the betrayal and anger at the betrayal, not an acceptance of the fading nature of the promise. Worse, it's phrased like "he said -- he'd love -- me all -- his life!", a leap forward over the four hits of the kick that only appears to jog you out of a stupor. The same effect is meant for "he said -- he'd love -- me for -- all time!", but the rest of the prechorus settles into that flat stupor. Swift isn't moved to sing in a deeper or brighter soprano, but returns to the same four measures of quarter notes, so once the chorus appears, it evaporates over the Broadway synthesizers. The synths are also weak, a hidden piano arpeggio flattened by limp pads, and when the drums and real synth line take the forefront, the prechorus synths seem even weaker. The even more frustrating part is that if you have no idea who and what Taylor Swift is, you have no idea who the "he" is who is dragging her into a pit of despair. "He said he'd love me all his life"/"he said he'd love me for all time" appears apropos of nothing and holds no weight; there is no way to make it noticeable unless you phrase it wrong. This is why Jack Antonoff is a bad producer: he can't prompt the songwriter to provide a more rhythmic or better-written prechorus, so the whole song cannot transition from verse to chorus without gracelessly lashing out. [4]

Will Adams: My lingering impression of TTPD was that the songs were all so hazy and drumless it might as well have been a two-hour compilation of the "pop song playing in an abandoned mall" genre. Revisiting "I Can Do It..." is refreshing; the drop, once it finally arrives, is fizzy and percolating. But then there are the lyrics. As ever, the tortured poet rears her head here, seemingly pouring out her feelings about the trappings of fame while never revealing too much. Even the attempts at catchphrase -- "lights, camera, bitch, smile" -- feel guarded. [5]

Ian Mathers: Keeping the count-in from the producer there in the background is the kind of thing that usually works for me, but it never quite gels here; volume? timing? Who knows. But it's the kind of not-quite-rightness that seems to be afflicting a lot of Swift's recent material. The later repetitions of the "birthday"/"plague" lines over the post-Chvrches synths make me think her going full synth pop might actually work in a way I wouldn't have guessed (or maybe I've been listening to too much early OMD recently). Lyrically and thematically this one kind of winds up in the "Anti-Hero" space of... yes, you've got a point, and some of the lines work, but no amount of self-awareness makes the ones that don't clunk any less. As with... everything to do with Swift, it would benefit from everything around her being at least slightly less exhausting/omnipresent. [6]

Jacob Sujin Kuppermann: Distinctly post-prime in a way that even "Fortnight" didn't hit. It's reminiscent of nothing less than Russell Westbrook on the Los Angeles Lakers; she's hitting all the right poses, putting on a good attitude about the whole enterprise, but nothing ever coheres — the same tricks that worked to varying degrees on the "Mean"-"Blank Space"-"Delicate"-"Anti-Hero" continuum, the intentional conflation of romance, selfhood, and fame, no longer land in quite the same way. What was once clever albeit effortful now is adorned with flop sweat; "lights, camera, bitch smile" and "I'm so depressed I act like it's my birthday every day" would've sounded leaden and cliché even on Lover. Everything is bright and shiny and rather boring — the skeleton of a great Taylor Swift song that in practice can only remind me of past glories. [3]

Leah Isobel: The more time passes the more I think "Dancing On My Own" should never have happened; the long procession of diluted knock-offs makes the original seem more formulaic, watery, and obvious every year. Taylor's take on the concept doesn't bother to invest its mixed emotions with any sort of physical reality: her performance is so Disney-princess smiley, the synth throbs and jittering hi-hats are so wimpy, and that disgusting little piano twing is so... hateful! This is tacky, the performance of performance, and it might work if Taylor had any semblance of camp about her. She does not. This sucks! [2]

Katherine St. Asaph: The year 2024 has brought two attempts to revamp Britney Spears' "Lucky": an explicit cover by Halsey, and this implicit remake by Taylor Swift. Superficially, the three songs are the same: pop stars cry too. Yet in their nuances, they are products of drastically different cultures. The biggest distinction is that unlike Halsey and Swift, Britney didn't write her single; the main writers were Max Martin and Rami Yacoub (plus ambiguous "additional songwriting" by Alexander Kronlund; maybe he just popped in on a session like on "Side to Side"). Some might be tempted to draw the easy #menwritingwomen conclusion here, but I don't think that's quite it. As a songwriter, Martin famously thinks of lyrics as phonics over subtext, and Yacoub is also not a lyricist first. Their skill is to write melodies that sound like they were engraved in the musical scale for centuries; it is not to provide psychological depth. If Lucky has introspected at all on her pain -- why do these tears come at night? -- Britney doesn't let on. The song is narrated in third person; even the chorus is just words "they say." Halsey and Swift, though, write not just in the first person but in a confessional mode. They allude to documented events in their lives, psychoanalyze what drives them and invite you to agree, and openly admit to how they're offering up their pain for public consumption -- all things that are demanded from celebrities far more now than in 2000. Despite Swift's reputation as pop's parasocial princess, though, Halsey's heroine is the one whose hell is basically parasocial: she does it all to be "liked by strangers that she met online." "I Can Do It With a Broken Heart" is closer to Spears' idea of celebrity: pop star as remote idol rather than universal bestie. Both songs linger on their sugary hooks, on the glamour and the sequins of it all; they even both rhyme off "winning." The key difference, though, is that Britney's Lucky has no agency; she wakes up to handlers knocking on her door, and what she wakes up into is just more dreamsleep. Taylor Swift -- or at least the autofictional "Taylor Swift" in this song -- is constitutionally terrified of the fact that there are things in life beyond her control. The problem of heartbreak making her miserable is secondary to the problem of heartbreak being a career liability she hasn't yet addressed. She's the girlboss's girlboss; as with "Woman's World," you get the sense that "I Can Do It With a Broken Heart" would have killed 10 years ago. In 2024, though, the song doesn't benefit from that hit of zeitgeisty extramusical energy; it must manage to do it with an outdated heart. The chorus is powered by self-loathing melodrama, like @SoSadToday set to the melody of "Guess I'll Go Eat Worms." How much it works depends entirely on how much it gets you to repeat stuff like "I'm so obsessed with him but he avoids me like the plague :D" on chipper singsong autopilot in such situations -- and for that, it admittedly works quite well. But the production is thin, as if the "Dancing on My Own" Jack Antonoff liked and bit was the radio edit and not the album version; besides the bubblegum melody, the chorus hardly registers as pop. This should sound show-stopping and manic and iconic; instead it sounds perfectly professional. [ ] Exceeds Expectations [X] Meets Expectations [ ] Below Expectations [5]

[Read, comment and vote on The Singles Jukebox]

[tayfabe75]

Tim is best known for acting in TV shows like Auf Wiedersehen, Pet and Benidorm, while Denise previously starred in Coronation Street and Soldier Soldier. She is also a current panelist on the ITV talk show Loose Women. With both of his parents in the spotlight, Matty grew up seeing the ups and downs of fame. He told Pitchfork that he was exposed to the "artifice" of fame long before he joined The 1975 because of his parents' careers. "Not that my parents posture, but by the time it came to being a performer and doing interviews, in my brain I was like, 'I will go insane if I have to do any of the posturing I've been witness to my whole life,'" he said.

January 21, 2024: People publishes an article about Matty's parents. (source)

[margaretqualleytruther]

one last taylor swift post. her current flame that was pr analyzed to death by her millenial team that has one gay dude for diversity points as soon as she felt the first stir of attraction. which def happened while she was still with that ugly british dude LOL. he probably cheated on her first but ofc she can’t let her general fans find out she’s also one bc of the constant need to always be seen as a victim and never as the predatory business savy megalomaniac she really is even though she wants to promote a bad girl image with the 1975 dude 🙄… she can’t even fart in peace without swifties analyzing the shit particles like tea leaves for who she’s currently fucking. the consequent internet meltdown by her parasitic fans which was probably one of the biggest draws to getting with milquetoast edgelord twat healy cause she for sure hates them and wants her space from the constant scrutiny even though that is quite literally what her and her team most utilized to reach the heights she has including her current career high even though she has meltdowns any time something negative is said of her due to her obscene ego. obv i’m not immune bc i like talking about her gay flings but i like all gay celeb gossip in general and also why i’m interested in her bc you dig one inch beneath her carefully constructed pr top soil and realize she would be one of those serial killer nurses if she wasn’t famous. and don’t even get me started on the dykes that STILL think she’s a lesbian, that was an acceptable thought in like 2014 maybe. massive cope to think she isn’t just bi and likes fucking dudes too instead of the every man she breathes near is in a full blown bearding situation with her like she’s an old hollywood starlet or something. even then she wishes, they had 20x the balls size than she ever will. shoutout katharine hepburn. more on her predatory ways ie the olivia rodrigo situation where she went beast mode on her for riding her coattails a little during SOUR like she didn’t do the exact same thing with tim mcgraw LOL. literally sicced her $2000 an hour or whatever tf lawyers on olivia for copyright which took a significant chunk of royalties for some of her biggest hits off of the album and then got paramore’s team to do the same 😭 and then pretended like nothing new was written in 2012 for red like it isn’t the most obvious crying over olivia blowing up and using her name a bit for promo. olivia could have gone the lorde way where she could have organically gotten closer to her and then had to have painfully extracted herself from taylor’s grip so either way it would have ended badly in between them (also she def got with lorde for a bit, parts of melodrama start clicking in place when you realize that). the most fragile ego in the game which is also why she barely ever lets other women feature and if they do they get sent directly to background vocals except phoebe bridgers but i attribute that to the bpd spell phoebe casts over pathetic people. just a constant pattern with her. katy perry, lorde, her girl squad, her former men where she surrounds herself with underlings whose energy she can feed off of till they obviously turn against her control freak ways so then she casts them off to the wolves (her fans) and also the reason she’s stuck stunting with the haim sisters. will be awaiting her and healy’s breakup for their epic public battle of personality disordered egos. i know she has more testosterone than he ever will and will try to absolutely pulverize him in the public’s eye but she’s so overexposed rn i sense another fall from grace due to it. amen 🙏

[cosmo-watches-movies]

The Grand S1 E4 (1997)

This british drama tv series follows several characters who live and work in a hotel after WWI.

Plot: This episode follows Jacob Collins (Tim Healy), an employee at the hotel, whose son Peter was executed upon desertion in the war. While at work he is approached by Simon Carlyle (Simon Lenagan) and Thomas Jordan (Michael Sheen), two young men who claim to have served with Collins’ son. They contact Collins to ask for a donation for a familiy who went to court to clean their sons name after he was executed just like Peter was. (There is also a B Plot but it doesn’t really matter to this story line)

Spoilers beyond this

A “brief” explanation of the remaining plot:

Jacob Collins heavily struggles with his sons desertion and can’t forgive him so he refuses any donation. Thomas doesn’t like that at all and fighting for Peters honor starts berating the struggling father. After a short outbreak of anger he accepts Collins’ decision and both young men leave the hotel.

Later Thomas returns, apologizing, to talk to Collins again in private. He explains how Peter wasn’t a coward, he was apparently shell shocked, couldn’t follow any orders, he seemed to have panicked and ran away. And all this resulted in him being arrested and executed.

The grieving father caves and agrees to donate 120 Pounds, but he still can’t forgive his son. Later the same day Collins calls the phone number the two young men gave them to check for updates, but theres a stranger on the other end, who has no idea who Carlyle and Jordan are. He rings up the family the two had said they where collecting money for, but it turns out that there is no fund. It dawns on Collins, that he might have been scammed. This culminates in a mental breakdown. Not being able to see his employee so upset the houskeeper Marcus Bannerman (Mark McGann) decides to track down the thieves to retrieve the money. Succesfully.

So that was an intense plot, how fucked up do you have to be to scam families of fallen soldiers? Like, did people actually do this, or is this just some really f’d up sceme the authors made up to torture the character? I can’t blame Collins though, I fully believed everything Thomas said aswell. He would’ve fooled me too. I really didn’t see the twist coming at first, and didn’t quite want to believe it either. How could someone do this?

(Note: Gifs can't really capture any of this that well, so if you're really interested in the acting please go watch the episode.)

The scene where Thomas and Collins talk in private is incredible. Both actors fully push it. The camera focuses on Collin’s face when Thomas tells Peters tragic story, and you can see the father quiver, fight it and ultimately break down. It all culminates with Thomas not being able to keep it in anymore aswell.

It’s very touching… at first. At a second watch through this is so sinister manipulation by Thomas.

This is emphasized even more by the way he acts when he is confronted by Marcus in the end. He expresses his full hate, anger and resentment about his ex-comrade and Michael gets this whole range of emotions across incredibly well.

Thomas regrets nothing. He wouldn’t even have given the money back if Marcus hadn’t threatened to shot him right there. A truly despicable character and I enjoyed every second he was on screen. I wouldn’t even have been mad if Marcus had gone through with it. But he knew a better punishment:

You’re fucked my friend

There was a whole lot of other stuff inbetween the (for me) more interesting parts of the plot. Check out the scenes I wrote about if you want to experience them for yourself. Everything else doesn’t really matter if you don’t watch the whole show.

[widowsliver]

hi, me again, u sounded so enthusiastic in your answer and your reply to my comment so i just had to ask : what was finsbury like for u? and go into detail, i just love to talk and hear about it so HIT ME WITH ALL THE THOUGHTS

THE THOUGHTS ARE THOUGHT-ING LIKE THEY’VE NEVER THOUGHT BEFORE. thank you so much for taking interest in my over-explained enthusiastic ramblings — I again apologise well in advance.

I also just want to preface incase anyone stumbles over this post, this is about my experience personally, and I recognise not everyone would’ve had the same experience as me. nether the less, everything shall be under the cut if you care to give it a read :)

okay, so I’ll start off by giving my experience getting into finsbury. we took the tube (and ran into another ‘75 fan on the way) and commuting was pretty easy (we were staying just outside of london, took us just over an hour to get to the park) and we got there just before 11am. if I remember correctly, I believe we were the second group of people to get into the holding area because of the concern of the crowd going onto the street, and from there it was pretty chill and the security that we ran into were all amazing and up for a laugh! the waiting did suck as they prolonged opening the gates but not much you can do about that, safety over everything!

as soon as we got in we ran to merch, grabbed a t-shirt and some scran and situated ourselves a row behind middle right pitch barrier — very happy with our spot (will include a video at the bottom) and the people around us were lovely.

onto the music!

After Life I thought were really good at opening and definitely got the crowds attention, kept thanking everyone for turning up early to see their set and it was appreciated. a very good performance overall!

Pretty Sick I admittedly did not pay that much attention too, although I don’t want that to be taken negatively, as it dawned upon me how many hours we were going to be there for. had to preserve battery lol.

American Football I will also admit was pretty similar, I was very concerned with scranning a milkshake… no regrets.

The Japanese House were the only one other than the 1975 that I would consider myself a pretty big fan of, and I’m pretty sure I cried at least twice. hearing ‘sunshine baby’ live whilst knowing I’d pre-ordered a personally signed copy of ‘in the end it always does’ was magical and amber herself blew me away with their vocals and presence on the stage. can’t wait to see them on tour.

Bleachers were probably my second favourite (not including the 1975) of the night. really great to watch on stage despite not being a fan and the energy the crowd was giving was immense!

Cigarettes After Sex although good, and I did enjoy, did feel a little out of place on the setlist. although I can obviously see why they were the last act before the headline, taking that out of consideration, I would’ve preferred to have watched cas after the japanese house, and then bleachers.

ladies and gentlemen… the 1975!

I don’t even know where to begin when talking about the 1975. from tim healy to people, I genuinely couldn’t have wished for a better show (although the nothing revealed / everything denied stan in me is praying for the day)

the opening. wow. although it was arguably obvious they were going to open with the 1975 (bfiafl), it didn’t make it any less impactful. hearing those chords striking that piano I’m convinced I felt it within my gut. absolutely breathtaking — and it set a high standard that was carried out throughout the entire night, completely electrifying.

to talk about the first ‘surprise’ of the night — ‘love me’. although I do preach being an abiior stan, iliwys also has a special place in my heart, ‘love me’ being my second favourite (after ballad… yeah) this is when I knew this gig wasn’t going to be topped by anything I’d previously seen!

‘part of the band’ will also get a mention here that despite being a regular on the setlist, reaches deeply into my heart. a tear was shed (and I had no clue what was to come).

“who gives a fuck this is too much fun!” matty’s little speeches honestly kept me going.

tim healy. tim healy singing my favourite song off of bfiafl. I thought I died and went to heaven right there. another crying mark.

also trying to kill me with ‘be my mistake’, this was a block of non stop sobbing.

oh, you thought you died right there?

HERE HAVE BALLAD!!!

at this point I was the luckiest woman ever that the couple we made friends with in-front of us let me swap with him so I was on the middle barrier. kindness from strangers is the best thing ever.

I genuinely don’t even know what to comprehend about ‘medicine’.

and as you can clearly see, having CARLY appear was not easing me down gently at all. doing this post has made me realise how the hell did I get out of there alive??

(I also went feral during ‘the sound’… not one of my proudest moments)

guys snippet… into iawds… as per my last post you can imagine what I was going through. the only thing that was running through my head was “I need to book my box tattoo appointment”

and now to wrap it up, ‘love it if we made it’ and ‘give yourself a try’ (and ‘sex’) being my all-time favourites and were the best way to end the gig…

until the 1975 to literally make me die dead right then and there when I heard the beat to ‘people’.

all in all, despite some people disagreeing, including consumption at the end really solidified the era and drew the door (or tv screen) to a close for one final time. your new era. your old friends.

(p.s the only negative thing I have to say is getting out of the park was an absolute fucking nightmare and made our journey three times longer, but seeing the 1975 definitely made it worth it and I’d do it all again)

[soil-just-needs-water-to-be]

This is so people get to know me a little

1. are you named after anyone?- I mean kinda but also no , there’s this one YouTuber who I was obsessed with when I was picking my name so I kinda used his first name

2. when was the last time you cried?- yesterday while watching the Finsbury live stream when Tim Healy came out and sang

3. do you have kids?- don’t have any right now but I’d love to one day

4. do you use sarcasm a lot?- all the fuckin time apparently

5. what sports do you play/have played?- I used to play football for my school , I used to be in a basketball team when I was in primary school but I don’t really do sports anymore

6. what's the first thing you notice about people?- there hair or smile , but also love to look at peoples shoes because shoes tell a lot about people

7. what's your eye color?- Blue - and they get a little brighter when I cry it scares people sometimes

8. scary movies or happy endings?- I don’t really have a preference I love all movies I’m a little movie buff ig

9. any special talents?- not specifically, maybe I pick up languages quick

10. where were you born?- Scotland

11. what are your hobbies?- skating , writing and listening to music , my favourite thing is to write , I’m not very good at it but I looooove it none the less

12. do you have any pets?- IVE got a little kitten named Count Olaf after Count Olaf from A series of unfortunate events

13. how tall are you?- I want to say 5’8 but I haven’t checked in a while

14. favorite subject?- omg I love history and English and any language class like omgl I hated school but when I had history English it languages fuck me uppppp

15. dream job?- either An author or a drummer in a band/ producer because George Daniel is my favourite human on this planet and I wanna be like him sooo much