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badnewswhatsleft · 5 hours ago

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rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be?

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails.

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can...

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band.

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music.

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special.

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

#sir the ''schlubby dad'' in question is getting on stage and GROWLING. people are dying and creaming and dying and cr #time capsule #read the charts #fall out boy #patrick stump #pete wentz #joe trohman #andy hurley

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chancloud8 · 8 hours ago

Text

Teach Me

Pairing: Bang Chan x Reader

Word Count: 2,4k

Tags: A little bit of angst, Fluff, Kissing, OT8

Summary: After a failed date you find comfort with your best friend. He even offers to teach you how to kiss. Crazy, right?

*****************************

'Channie?' you call out when you step into the recording studio.

It was already close to midnight, but you know for a fact that your best friend is still here. He always stays late to work on his songs, either alone or sometimes with Jisung or Changbin.

'In here!' Chan's familiar voice calls back and relief floods your body at the sound of it.

You wipe your cheeks one last time with the back of your hands and take a deep breath before forcing yourself to smile.

'Bestie incoming,' you sing song as you walk the narrow hallway towards the room where his voice came from.

As soon as you walk through the door you freeze.

It wasn't just Chan inside. All the other members of his band are scattered across the couch and floor. Multiple take-out boxes and containers cover the small table and the smell of pizza and chinese food hits your nose.

Eight pairs of eyes are staring at you and it takes a few seconds before any of them react. Chan is the first one to jump up, his brows are furrowed as he takes in the state you're in.

You know you must look like a mess. Your hair is loose and wild from how you've kept running your hand through it, you know your make-up is smeared and your eyes are red from crying. You keep the smile on your face, hoping to fool your friends, but the moment he takes a step forward you know you haven't.

'You cried. What happened?' Chan asks when he's in front of you, softly grabbing your chin between his fingers so you have to look at him.

'Who do we need to hurt?' Changbin yells as he also jumps up from the couch to get closer to you as well.

You flinch at his loud voice and Chan turns his head to glare at his friend.

'No one, Binnie. I'm fine,' you say, but you know your smile is faltering.

'You're not,' Felix's deep voice says from behind Chan. You hadn't even noticed him getting up too. 'Who did this?'

You shake your head at him. 'It's nothing, don't worry about it.'

Telling Chan what happened was one thing, but telling all of them?

Nope.

You couldn't do it. It would be too mortifying.

'Come sit with us,' Chan says, letting go of your chin so he can grab your hand and lead you towards the couch where Jeongin, Seungmin and Jisung quickly make room for you.

As soon as you sit down, Seungmin shrugs off his jacket and hangs it around your naked shoulders. You shiver as the fabric touches your skin, it's warm and soft and you hadn't realized how cold you were.

'Where's your jacket?' Chan asks, as if he only just noticed you weren't wearing any while it's no longer hot outside at night.

The guys are all quiet, waiting for you to answer the question.

'I- uhm,' you swallow. 'I forgot it.'

'You forgot your jacket?' Chan narrows his eyes, seeing straight through your bullshit. 'You never go anywhere without--'

'I forgot! I was in a hurry to get away, okay,' you interrupt him, tears welling up in your eyes again as you think of the horrifying moment.

As one all of the guys lean forward, frowns adorn their faces.

'Get away from who?' Chan and Changbin growl practically at the same time.

'Y/N,' Felix gets up from his seat 'Are you hurt?'

'No, no,' you hurry to say. 'I'm okay, I promise. I'm just--' You groan and bury your face in your hands so you don't have to look at their faces. 'I'm extremely embarrassed and maybe a bit upset, but I'm fine.'

When they stay silent, you sigh and lift your head to look them all in the eye.

'I'm fine.'

They don't seem convinced and you can't really blame them.

'Look, I didn't expect you all to be here or I wouldn't have come. I'll just go home, bury myself in blankets and sleep,' you say, starting to get up.

Seungmin grabs your arm and pulls you back on the couch.

'No way we're letting you go when you're feeling down. You shouldn't be alone,' he says and the other guys all nod in agreement.

'And if you want to talk to Channie alone, we can leave you alone for a bit,' Jeongin offers, giving you an encouraging smile.

Your heart swells with how thoughtful they all are and you instantly feel a little better. You always knew they were good guys, but after tonight it was nice to get a reminder that thoughtful and kind guys still exist.

'But if you want you can talk to us too, we won't judge you, I promise,' Lee Know says from his spot on the floor.

'Or if you just want to eat or help us out with making music, that's fine too,' Hyunjin adds with a smile.

'We can also still beat up whoever made you cry,' Jisung swings his fist around in the air.

You can't help but tear up again.

'Y/N?' Chan moves over to you again and kneels down in front of you, placing his hands on your knees. 'You're not alone, you're okay and we're all here for you.'

That does it.

A sob escapes your mouth and you throw your arms around his neck, not caring about the guys seeing you cry anymore.

Chan immediately wraps his arms around you and pulls you against his body. Like a koala you wrap yourself around him and you bury your face in his neck, letting his familiar scent calm you down.

'It's okay, you're okay,' Chan continues to whisper as he strokes your back. 'I'm here.'

It takes a few minutes for you to calm down, but when you do, you feel a lot better. You allow yourself a few more moments, keeping your head in the crook of Chan's neck as you slowly get a grip of yourself again.

'I'm sorry,' you whisper.

'What for?' Chan whispers back.

You know that everyone can probably still hear you, but it still feels like it's just Chan and you. In some way the guys are a part of Chan anyways.

'For crying and for ruining your night.'

Chan's hands move up to your arms and he gently pushes you away from his chest so he can look at you.

'You could never ruin my night, Y/N, and as for the crying, isn't that what a best friend is for?'

Your lips curl up in a watery smile and you bring your hand up to pat his cheek.

'My sweet Channie.'

He chuckles and squeezes your arms. 'That's me. Now will you please tell your sweet Channie what happened tonight?'

Your smile disappears and immediately so does Chan's.

'What happened?' he repeats, his eyes dark.

'I just went on a shitty date,' you finally confess. 'He was very nice at first, but-'

'I swear if he hurt you,' Chan growls and from the corner of your eyes you see two other members get up as well.

'Stop being so macho,' you roll your eyes. 'I appreciate your concern babe, but I'm okay and he didn't hurt me.'

Chan narrows his eyes at you and cocks his head. 'Then what did he do, Y/N?'

'Did he force you to do anything you didn't want?' Changbin asks, sitting down next to you and Chan.

You wait a second too long with denying it and both men tense up.

'No, no! It's not like that,' you hurry to say. 'He just-' You pinch the bridge of your nose and close your eyes. 'He laughed at me.'

Chan blinks at you and so does Changbin.

'What for?' Lee Know pipes up from behind you.

'Did he just laugh or did he say stuff as well?' Hyunjin asks from the couch.

You sigh and bite your lip, debating whether or not to just blurt it out. It all seemed so silly now.

'Y/N?' Chan asks again.

'He kissed me and I didn't expect it,' you say, closing your eyes in mortification. 'I froze at first and when he-' you shiver and Chan balls his hands up in fists.

'He what?' Felix asks softly.

'God this is so embarrassing you guys, you're going to laugh at me too,' you groan, letting your head fall against Chan's chest again.

'We won't,' Jeongin promises and the others hum in agreement.

'I freaked out,' you mumble. 'And when he put his tongue in my mouth, I may have gagged and started hyperventilating.'

The guys are quiet around you and for a moment you wonder if they heard you. Just as you lift your head from Chan's chest, they all start to talk at once. They don't laugh. All their faces are serious as they try to talk over each other. All except Chan.

'What?' you whisper at him when his eyes stay locked with yours.

‘I had no idea you’ve never been kissed before,’ he says, his eyes falling to your lips for a millisecond. ‘And I’m sorry your first experience with it was awful.’

You shrug and snort when a thought enters your mind. ‘If only you could teach me how to properly kiss so I don’t freak out next time,’ you joke.

Everyone falls quiet and Chan’s eyes darken before he looks down at your lips again. His tongue comes out to moisten his lips and your heart skips a bit at the sight. Shit, he had no right to look at you like that.

‘I’m only joking,’ you choke out, breaking the silence and shifting awkwardly in Chan’s lap.

Chan’s hands fall down to your hips and he holds you still.

‘I could, you know,’ he says then. ‘Teach you.’

You open your mouth to respond, but nothing comes out. All you can do is stare at him with big eyes, both in shock and intrigued. Was he really serious? Would he teach you? Wouldn’t that be weird? Wouldn’t that ruin your friendship?

‘Or any of us could,’ Changbin pipes up, breaking your thoughts. ‘Or if you need some practise after Chan teaches you-’

‘Shut up, Bin,’ Chan interrupts his friend, his hands tightening around your hips.

‘Hey, don’t get all alpha on Y/N now Channie,’ Jisung teases.

You laugh and look around at the guys, no longer feeling awkward. They really are the nicest people you know.

‘Thank you,’ you smile at them. ‘I feel much better already.’

A chorus of cheers makes you laugh and for a moment you forget the offer that still hangs in the air. That is, until Chan suddenly stands up and hauls you with him as you were still in his lap.

‘Come with me,’ he says when you stand on your own legs again.

He grabs your hand and leads you to the hallway as another chorus of cheers and whistles erupts in the room. When the door to the recording studio falls close and the sound of the guys falls away, you find yourself alone with Chan. Your heart is beating so wild in your chest that you wonder if Chan can hear it.

Is he going to kiss you? Does he really want to? What if you freak out again?

As always Chan seems to be able to read your mind and when he cups your face with his hands and locks his gaze with yours, everything else falls away. He leans his forehead against yours and his warm breath puffs against your lips.

‘Breathe,’ Chan whispers. ‘Just breathe for a moment.’

You do as he says and close your eyes as you focus on his breathing, trying to match it with yours while you try to ignore how close his lips are to yours. It doesn’t take long before you’re breathing in the same rhythm and when you open your eyes you find Chan already looking at you.

‘Now what?’ you ask, biting your lip. ‘Will you really teach me?’

Chan’s lips move up in a sweet smile and he moves his hands so that one of them is cupping the back of your neck, while the other grabs onto your chin.

‘Do you want me to?’

You should feel nervous, like you were on your date earlier, but you’re not. You feel calm. Safe. Excited.

‘Yes,’ you whisper, gripping the front of his shirt between your fingers. ‘Please.’

‘Stay still and relax, okay?’ Chan nods and then he cups your face again with his big hands. The cool metal of his rings feel nice against your hot cheeks.

Chan slowly moves his face even closer to yours and when your noses touch he stills, once again letting his breath tickle your mouth. You tremble in anticipation and tighten your fingers on the fabric of his shirt.

‘Channie,’ you breathe out, nearly panting already when he hasn’t even done anything.

Chan chuckles and closes the distance, pressing his lips against yours softly. His thumb gently caresses the skin of your cheek and you melt against him as he slowly moves his mouth over yours. You copy his movement and when he hums against your mouth in approval you feel like you’re on cloud nine.

Who knew kissing could feel so good?

After what feels like only a few seconds, Chan pulls back and you shamelessly chase his mouth with yours. A hoarse chuckle escapes Chan’s throat, but he lets you kiss him again. And again.

There’s no tongue, but at the moment you don’t feel like you neither need or want that. Not yet.

No. This is enough for now.

Chan’s lips were plump and soft and you felt like you were surrounded by his comfortable smell and touch. It felt amazing, addicting and oh so wonderful.

When you finally pulled back again to look at Chan, his pupils were dilated and his lips were red and a little swollen. He looked beautiful and you fight the urge to kiss him again.

‘Lesson one complete?’ you grin up at him.

Chan flicks your nose with his finger and grins back at you.

‘Lesson two will include tongue, think you can handle it?’

You shiver at the thought. If kissing Chan feels this good without tongue already, how would it be to really kiss him?

‘I think I can handle anything when it’s with you.'

************************************

a/n: eeeekkkk my first y/n fic. I hope you like it <3

I debated having all the guys teach her, but ended up with just Chan for now. I also might write a part 2 (; xxx

#bang chan x reader #stray kids fanfic #stray kids imagines #stray kids x reader #stray kids scenarios #stray kids fluff #bang chan fluff #skz x reader #skz x y/n #skz ot8 #bang chan x y/n #bang chan x you #bang chan fanfic #all the guys are SO sweet

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ladykailitha · 3 days ago

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The Au Pair Boy Part 5

Hey! This will take a short break until December then it will begin posting on Fridays to take place of The Hellfire Exotic Club.

In this we have all Robin and Steve with a little cameo of Chrissy. Steve just needed a little bestie time.

Part 1 Part 2 Part 3 Part 4

Steve stared at the little black card in his hand. He had waited until he had gotten one in his name before using the account, even though Eddie had said that he was already an authorized user and the bank had been told that Steve would be using it immediately.

He just didn’t feel comfortable with doing so. So Eddie had one overnighted to him to make sure he could get whatever he needed as soon as possible. It was his first day off since Eddie left, Steve having refused to take one until he was sure the girls could handle it.

So here he was with his best friend standing outside of an Ikea with a black credit card and a dawning sense of dread.

“If I go in there,” he huffed, “I’m never coming back out again. You know that right? These places are cursed.”

Robin burst out laughing. “I think the power of your newly minted black credit card will act as a talisman of getting lost by the power of capitalism.”

“If you say so,” Steve scoffed. “If I don’t escape, I am totally blaming you, I hope you know that.”

She grabbed his arm and pulled him toward the entrance. “Come on, you big baby.”

They were looking at sheets when she spoke up again. “I think it’s really cool he’s allowing you decorate your room.”

Steve chuckled as he weighed the two options in his hands. “I think it’s because he really wants me to stay. If I put effort into my own space and get really settled in, I’ll be less likely to want to move.”

“Any spicy texts from ‘Daddy’?” Robin asked wagging her eyebrows suggestively.

“No.” He bumped her with his hip. “Knock that off. Yes, he is hot and sweet and funny, but I’m not going got cross that line. Especially not with him currently traveling the country with his metal band.”

“That’s too bad,” she pouted.

Then his phone rang. He put the dark blue sheets in the cart and the light blue ones back on the shelf and then he answered the call.

“Hey, Chrissy,” he greeted. “What’s up?”

“I hate to call you on your day off, Steve,” she began. “But Joanie can’t find her elephant plushy and she’s on the verge of a meltdown.”

Steve pinched his nose and sighed. “That’s because she insisted she wanted to bring Mr. Puff and Stuff, her wolf plushy instead. Snuffymuffie is still out the house.”

The sound of absolutely agony echoed through the phone line. Steve could almost feel her soul leaving her body from here.

“It’s on her bed with all her other plushies,” he assured her. “And when I come pick them up tomorrow I’ll bring mint ice cream.”

“I love you, Steve Harrington,” she breathed. “You are a saint among men!”

“No, just a seasoned nanny,” Steve replied with a chuckle. “Now go on before she decides that you’re ignoring her pain and starts wailing.”

Then wailing could be heard at full volume through the phone causing even Robin to wince from the sheer sound of it.

“Too late.”

Steve stared at his phone for a moment or two after she disconnected. He turned to Robin. “How is this my life now?”

“Don’t ask me,” she said with her hands up. “That couldn’t be me. I like kids in short spurts not long hauls.” She pointed to the phone in his hand with her chin. “So who was that then?”

“Chrissy Cunningham,” he replied pocketing his phone and pushing the cart forward. “She’s Eddie’s manager. Usually she goes with them when the band tours, but for the first little bit he wanted someone who the girls knew close on hand.”

“So why didn’t she take the kiddos?” Robin said, falling instep next to him.

“Because she still works,” Steve said. “So she can’t watch them during the day. Plus, Eddie had been wanting to get a live-in nanny for awhile. So this solved both problems.”

“Do you miss it?” Robin asked. “Having your own space?”

Steve wasn’t sure what she meant. He had his own space and told her so. That was what they were shopping for after all. Decorating his space.

“I meant an apartment of your own,” she said a little exasperated. “Like you really don’t have any freedom. It’s not like you can paint it all pink with white fruit everywhere.”

“I could actually,” Steve said with a shrug. “Though the example Eddie used was neon orange with brightly color rainbow dicks everywhere.”

Robin blinked at him for a moment. “But what if the girls saw that?”

“It would probably be explained as a banana and a couple of peaches or whatever,” Steve said, waving her off. “But that’s not the point. The point is that if I wanted to buy a racing car bed and make everything chrome, I could. I just don’t want to. It’s a gorgeous room, I want to add to it, not make it into a hellscape or whatever.”

“So what’s with all the nautical stuff, then?” she asked picking up the back of fake seashells.

“It’s very dark wood and deep blues,” he explained snatching them back from her tossing them back into the cart. “I makes me feel like I’m sailing on the ocean. But I also want to give it a haunted vibe, too. To go with the rest of the house.”

“I’m really going to have to see this place,” she huffed.

Steve stared at her for a moment. “I thought that was the plan. I thought you were coming over after we were done shopping to help me set everything up.”

“I wasn’t sure I was allowed to be there when it was just you,” she said with a half shrug.

“I’m allowed to have friends over,” he replied, rolling his eyes. “If I break anything, he just asks that I let him know. He’s got four year old twins, like I’m pretty sure anything fragile or expensive was put away a long time ago.”

Robin blinked for a moment as she processed that thought. “Right. What was I thinking?”

“You weren’t,” Steve huffed. “Now come on there are ten million miles to get through and I would like get through this before I die of old age.”

She scoffed but let him lead her through the store as he asked for her opinion on some things and to get her to mock others.

By the time they reached the check out, their cart was overflowing with all sorts of fun things for his room. Or rather, as Steve had learned. Wing. An entire fucking wing of the house was his. It had his bedroom, the bathroom, a small sitting room/library, and fucking kitchenette for entertaining guests.

He paid with the card Eddie had given him, both Robin and the cashier’s eyes went wide.

The cashier kinda gave him the stink-eye, like ‘what are you doing in an I-fucking-kea with a card like that?’ But Steve steadfastly ignored her and grabbed his packages.

“Why did we go to Ikea?” Robin asked as she helped load up his car with the stuff he bought.

“Because what I wanted was here,” Steve said rolling his eyes. “More expensive doesn’t equal better quality.” He slammed the trunk closed and got into the driver’s seat.

She rolled her eyes back at him, but wisely said nothing. He was the one with the ultra credit card and she wanted nachos from her favorite Mexican restaurant, something she would not get if she pushed Steve too far with the card. She could tell he was uncomfortable having it, so it was sure bet Eddie had insisted.

When they got to the house, Robin was in awe. She could see why Steve had fallen in love with the place. It gave off that tastefully haunted vibe of the Addams Family. Inside was even cooler as Steve showed her around. The only places they didn’t go were the Munsons’ bedrooms and Eddie’s studio and office.

But Robin was okay with that when she saw the game room, and the movie theater and the swimming pool and the actual fucking library. Here was a guy who took his money and put it to tasteful use.

“This is really neat,” she said as she flopped on the sofa in Steve’s study. “And this all yours?”

“Until they get old enough not to need me,” Steve said with a shrug. He began putting things away on the shelves. “Which is probably at least ten years off, maybe more if I’m really lucky.”

“Here’s to that,” Robin said, impressed. “Is he looking for another nanny? Because damn, I’d love a sweet place like this.”

“No,” Steve said and smacked her with his dust rag. “Get up on your feet and help me Missy!”

She leapt to her feet to get away from the dusty rag. “I surrender! I surrender!” She opened the first box and got to work sort things into proper piles so Steve could them away as he went.

“He’s looking for almost everything else though,” Steve said as he put books on the shelves. “Like everything else. A gardener or two, a couple of grounds maintenance guys, a cook, a pool cleaner, a couple of maids. All that sort of stuff.”

“Wow,” Robin said, opening another box, “that’s pretty much everyone. What happen, he fire everyone at once?”

Beat.

“Wait, what?” she said, whipping her head up to look at him. He was looking at the floor biting his lip. “What happened?”

“His ex slept with everyone on the staff who would let him,” Steve mumbled, “and those he didn’t sleep with kept it from him. With having no one trust, he just got rid of all of them.”

“Holy shit,” Robin hissed. “Way to upend the kiddos’ entire lives.”

“Ethan or Eddie?” Steve said with a shrug and grabbed the nearest pile of books to start shelving.

“Oh, totally the ex,” Robin hissed, “what an asshole. And the fact that all of them colluded to keep it from Eddie? That’s the major dick move. How long has he been struggling to do it all on his own?”

“About a year,” Steve replied absently as he tried to decide whether or not ‘Good Omens’ would go under G for Gaiman or P for Pratchett. He decided on Pratchett since it was the name on top. “I think his friends staged an intervention a la reunion tour to force him to move forward with his life.”

She snorted and shook her head. “Men. I am so glad I’m not attracted to them. Emotionally stunted morons. Well most of them anyway.”

“Anyone can get overwhelmed, Robs,” he huffed picking up his last stack of books. “I’ve gotten a few prospects for the yard and swimming pool.”

“Yeah, I was noticing how overgrown everything was,” she agreed, “even if the vibe was haunted house.”

Steve sighed and plopped down next to her. “I didn’t even show you what the gardener’s shed looked like or the pool house. He really let everything go in his grief. He didn’t say anything to me, but you can tell he took the break up really hard. This was his person. The one he thought he was going to spend the rest of his life with. And then Ethan went and blew it all up with no explanation, just a gigantic mess to clean up.”

“Well, I’m glad he has you,” she said bumping him with her shoulder. “And I was only joking about the being hired too. As long as I get to visit this place and hang out by the pool on occasion, I’ll consider it even.” She held out her hand and Steve took it with a smile.

“I think we’re all done in here,” he said standing up and dusting off his knees. “Bedroom is next.”

Robin got up and looked around his little study. “I’m happy for you, Steve. I think you’re going to be really happy here.”

Steve smiled. “I already am. I know it’s only been a week since Eddie left and ten days since I was hired, but I really don’t want to screw this up.”

She hugged him tight. If anyone deserved a fairy tale ending it was her platonic soulmate. Now all she had to do was convince him to get flirty with the hot frontman of Corroded Coffin and her boy would be set for life.

They walked into the bedroom and got to decorating it. When they were done, she flopped down on the queen size bed, spread eagle.

“We should order in and watch horror movies on that massive screen,” she suggested, staring up at the ceiling.

Steve cocked his head to the side and tapped his lips thoughtfully. “Make it pizza and you’ve got yourself a deal.”

“Fine!” she huffed, seeing her dreams of loaded nachos flutter away.

He kicked her foot, causing her to sit up abruptly. “Buy your own nachos, you big baby. You have a job. Or at least you did yesterday, so unless there is something you’d like to tell me you can get your own.”

“You’re a real bitch, Steve Harrington,” she huffed, hopping off the bed. “Tell me again why I like you?”

“Because you get to watch Jamie Lee Curtis in full high definition projection,” he said, giving her a kiss on the cheek and then walked out of the room.

“Wait!” she huffed, scrambling to catch up. “He has the original ‘Halloween’? You can’t just drop that on me and run, Harrington!”

Steve giggled as he ran down the stairs, with Robin hot on his heels. He cut a corner tightly, causing her to careen into the opposite wall.

“Curse you and your jock reflexes!” she hissed as she pushed herself off the wall to continue her chase.

By the time she had caught up with him, he was already on the phone with the pizza place. “At least get something with vegetables! You don’t want scurvy!”

“And one medium raspberry lemonade and one large cherry limeade,” he said with a wink at her. “Yes that will be all.”

“All that sugar!” Robin huffed. “I don’t know how you don’t kill over from sugar shock or something with all the sweet stuff you eat and drink.”

“Because I exercise and eat right most of the time,” Steve said back. “Diet culture is such BS, your body needs sugar to function. It’s why I put it in my tomato sauce when I make it from scratch.”

“Betrayal!” she cried and flopped on the sofa. She tilted her head for a moment and then melted into said sofa. “This is a really soft sofa, Steve. Everything here is so soft. I don’t know why but I pictured everything being so hard and stiff and uncomfortable.”

“Eddie certainly isn’t your stereotypical rich guy,” Steve agreed. “And I think this place was soft before the girls, because I think Eddie likes soft.”

Robin looked at her best friend fondly. She could tell he was already in love with this Eddie, he was just very deep in denial.

They had their movie night complete with pizza and drinks. One of the pizzas even had vegetables on it. For her. And when Steve dropped her off the next morning, she was content in her knowledge Steve wasn’t just going to do well there, he was going to thrive.

Tag List: CLOSED

1- @itsall-taken @redfreckledwolf @zerokrox-blog @tartarusknight

2- @gregre369 @a-little-unsteddie @chaosgremlinmunson @messrs-weasley @cryptid-system

3- @maya-custodios-dionach @goodolefashionedloverboi @val-from-lawrence @carlyv @wonderland-girl143-blog

4- @irregular-child @bookbinderbitch @bookworm0690 @forgottenkanji @ollieolive

5- @anne-bennett-cosplayer @yikes-a-bee @awkwardgravity1 @littlewildflowerkitten @genderless-spoon

6- @dragonmama76 @ellietheasexylibrarian @thedragonsaunt @useless-nb-bisexual @disrespectedgoatman

7- @counting-dollars-counting-stars @tinyplanet95 @ravenfrog @swimmingbirdrunningrock @lingeringmirth

8- @gutterflower77 @a-lovely-craziness @just-a-tiny-void @w1ll0wtr33 @beelze-the-bubkiss

9- @sadisticaltarts @xxfiction-is-my-realityxx @dolphincliffs @steddie-as-they-go @steddieislife

10- @kultiras @morallyundefined @themoonagainstmers

#my writing #stranger things #steddie #ladykailtiha writes #nanny au #rockstar eddie munson #nanny steve harrington

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i-like-forcefem · 2 days ago

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i have a feeling i know what you're going to say but, do you think its weird for me as a singlet to be into forceplural? im friends with a number of systems, and i know there's difficulties i'm not privy to, but it just seems,,, nice

Not at all cutie!!!

And it is nice!!! Being a system means you’re never alone, when times get rough you have someone else who can step in and control your body for you

Plus from my observations: everyone is a lot more plural then they’re letting on! I believe anyone could unrepress their plurality! Including you!

As far as I know every single plural person has doubts about not really being plural, and after deepening myself into hypnosis, I think the most important thing if you want to be plural is to just let yourselves be

Each plural experience is different, we personally always still feel like “Me”, but the lense through which we see the world, how respond to situations, and how our emotions feel is different from headmate to headmate

But when we notice such a shift in lenses, feeling like what we did before is suddenly not interesting before, or all of a sudden we’re a lot more active then we ever really are, then just take a second and think “wait am I the host?” If not, pick out a name for yourself!!! Start a simply plural! Talk about it with your friends!

Sorry that this is all so rambley! But we also started out as simply “wanting to be plural” before realising that “hey those couple days were we felt on cloud 9 and acted so so differently from ever before are a little suspicious” and that led to me picking out my name, and before we knew it we were a merry band of 5! And then I absorbed the host!!!

I don’t know if I’m going anywhere with that, except to say just go for it!!! I believe in you! (And even if you have absolutely no experiences you could call being plural, well just make a tulpa!!! That’s how we started before releasing I was here!)

#plural posting #asks open!#..#i hope this helped cutie!#if you have any question let me know!

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tavolgisvist · 3 days ago

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Paul about the breakup of The Beatles in The Lyrics, 2021

The four of us just knew how to fall in with each other and play, and that was our real strength. That made it all the more sorrowful to think that our breaking up was almost inevitable. So there’s a wistful aspect to ‘Get Back’. The idea that you should get back to your roots, that The Beatles should get back to how we were in Liverpool. And the roots are embodied in the style of the song, which is straight-up rock and roll. Because that was definitely what I thought we should do when we broke up – that we should ‘get back to where we once belonged’ and become a little band again. We should just play and do the occasional little gig. The others laughed at that – quite understandably – because by then it was not really a practical solution. John had just met Yoko, and he clearly needed to escape to a new place, whereas I was saying we should escape to an old place. Reviving the old Beatles just wasn’t on the cards. It was too late to be recommending that we not forget who we were and where we once were from. If my dream at the time really was to get back to where we once belonged, John’s dream was to go beyond where we once belonged, to go somewhere we didn’t yet belong. I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

(Paul McCartney about Get Back (1969), The Lyrics, 2021)

That was coupled with the business problems at Apple Records, which really were horrible. The business meetings were just soul-destroying. We’d sit around in an office, and it was a place you just didn’t want to be, with people you didn’t want to be with. There’s a great picture that Linda took of Allen Klein, in which he’s got a hammer like Maxwell’s silver hammer. It’s very symbolic. And that’s why we have the little nod and a wink in the middle section to ‘You Never Give Me Your Money’, in the lines ‘I never give you my pillow / I only send you my invitations’. That whole period weighed on me to such an extent that I even began to think it was all tied in with the idea of original sin. Even though my mum had christened me as a Catholic, we weren’t brought up Catholic, so I didn’t buy into the concept of original sin on a day-to-day basis. It’s really very depressing to think that you were born a loser.

(Paul McCartney about Carry That Weight (1969), The Lyrics, 2021)

The Beatles stuff all got too heavy, and 'heavy' at that time had a very particular meaning for me. It meant more than oppressive. It meant having to go into meetings and sit in the boardroom with all the other Beatles and with the accountants and with this guy Allen Klein. He was a New York spiv who had come over to London and talked to The Rolling Stones and persuaded them he was the man for them. Prior to that, he had persuaded Sam Cooke he was the man for him. I smelled a rat but the other chaps didn’t, so we had a fight over it and I got voted down. I was trying to be Mr Rational and Mr Sensible, and it all went haywire. It was early 1969, and The Beatles were already beginning to break up. John had said he was leaving, and Allen Klein told us not to tell anyone, as he was in the middle of doing deals with Capitol Records. So, for a few months we had to keep mum. We were living a lie, knowing that John had left the group. Allen Klein and Dick James, who sold our publishing in Northern Songs without giving us a chance to buy the company, were both hanging around in the background of this song. All the people who had screwed us or were still trying to screw us. It’s fascinating how directly we acknowledged this in the song. We’d cottoned on to them, and they must have cottoned on to the fact that we’d cottoned on. We couldn’t have been more direct about it. ...

Contracts were written on funny paper. Lying behind the song is the idea of the contract as a relationship between two people. The negotiations are at once business negotiations and romantic negotiations; I’m thinking of the lines ‘And in the middle of negotiations / You break down’. The breakdown in negotiations is also a kind of nervous breakdown. The problem was that, by this stage, everything was up for negotiation, and miscommunication was the order of the day. We weren’t really writing together anymore. Each person was bringing in little bits of this and little bits of that. And we all knew that phase of our lives, of being The Beatles, was coming to an end. We were working towards an album, knowing it was probably going to be our final fling. Though Let It Be was released later, Abbey Road was indeed the last album we recorded in the studio. There was an upside, however. I’d got married to Linda, and our relationship offered some respite from the dreary infighting and the financial stuff. The lines ‘One sweet dream / Pick up the bags and get in the limousine’ were a reference to how Linda and I were still able to disappear for a weekend in the country. That saved me.

(Paul McCartney about You Never Give Me Your Money (1969), The Lyrics, 2021)

This was just after The Beatles broke up, and I was trying to establish myself as a solo artist with a new repertoire. If it was going to work like the Beatles repertoire had worked, I had to have a hit. One in two songs had to be a hit. So, this was a conscious effort to write a hit, and Phil was very helpful. We knew that if we had a hit, it would cement our relationship and we would keep working together, which we did with the RAM album. It would prove that we were both good – he as a producer and I as a singer songwriter. Releasing my first solo song after the breakup felt like a big moment. Thrilling, though tinged with sadness. It also felt like I had something to prove, and that kind of challenge is always exciting. The song went to number two in the UK singles chart and number five in the US Billboard Hot 100, so it did pretty well. Of course, this was still a time when there was a bit of tension between John and me, and this sometimes filtered into our songwriting. John made fun of this song in one of his own, ‘How Do You Sleep?’The only thing you done was yesterday And since you’ve gone you’re just another day One of his little piss takes.

(Paul McCartney about Another Day (1969/1971), The Lyrics, 2021)

This song was written a year or so after The Beatles breakup, at a time when John was firing missiles at me with his songs, and one or two of them were quite cruel. I don’t know what he hoped to gain, other than punching me in the face. The whole thing really annoyed me. I decided to turn my missiles on him too, but I’m not really that kind of a writer, so it was quite veiled. It was the 1970s equivalent of what we might today call a ‘diss track’. Songs like this, where you’re calling someone out on their behaviour, are quite commonplace now, but back then it was a fairly new ‘genre’. The idea of too many people ‘preaching practices’ was definitely aimed at John telling everyone what they ought to do – telling me, for instance, that I ought to go into business with Allen Klein. I just got fed up with being told what to do, so I wrote this song. ‘You took your lucky break and broke it in two’ was me saying basically, ‘You’ve made this break, so good luck with it.’ But it was pretty mild. I didn’t really come out with any savagery, and it’s actually a fairly upbeat song; it doesn’t really sound that vitriolic. If you didn’t know the story, I don’t know that you’d be able to guess at the anger behind its writing. It was all a bit weird and a bit nasty, and I was basically saying, ‘Let’s be sensible. We had a lot going for us in The Beatles, and what actually split us up is the business stuff, and that’s pretty pathetic really, so let’s try and be peaceful. Let’s maybe give peace a chance.’ The first verse and the chorus have pretty much all the anger I could muster, and when I did the vocal on the second line, ‘Too many reaching for a piece of cake’, I remember singing it as ‘Piss off cake’, which you can hear if you really listen to it. Again, I was getting back at John, but my heart wasn’t really in it. This is me saying, ‘Too many people are sharing the party line. Too many people are grabbing for a slice of the cake, a piece of the pie.’ The ‘sleep in late’ thing – whether that was accurate, whether John and Yoko actually slept in late or not, I’m not sure (although John often was a late riser when I would drive out to Weybridge so that we could write together). They were all references to people thinking that their own truth was the only truth, which was certainly what was coming from John. The thing is, so much of what they held to be truth was crap. War is over? Well no, it isn’t. But I get what you’re saying: war is over if you want it to be. So, if enough people want war to be over, it’ll be over. I’m not sure that’s entirely true, but it’s a great sentiment; it’s a nice thing to think and to say.

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight. The whole story in a nutshell is that we were having a meeting in 1969, and John showed up and said he’d met this guy Allen Klein, who had promised Yoko an exhibition in Syracuse, and then matter-of-factly John told us he was leaving the band. That’s basically how it happened. It was three to one because the other two went with John, so it was looking like Allen Klein was going to own our entire Beatles empire. I was not too keen on that idea. John actually had Allen Klein and Yoko in the room, suggesting lyrics during writing sessions. In his song ‘How Do You Sleep?’ the line ‘The only thing you done was yesterday’ was apparently Allen Klein’s suggestion, and John said, ‘Hey, great. Put that in.’ I can see the laughs they had doing it, and I had to work very hard not to take it too seriously, but at the back of my mind I was thinking, ‘Wait a minute, All I ever did was “Yesterday”? I suppose that’s a funny pun, but all I ever did was “Yesterday”, “Let It Be”, “The Long and Winding Road”, “Eleanor Rigby”, “Lady Madonna”, . . . – fuck you, John.’ I had to fight them for my bit of The Beatles and, in fact, for their bit of The Beatles, which many years later they realised and almost thanked me for. Nowadays people get it, but at the time I think the others felt they were the ones who were victims, who were being hurt by my actions. Allen Klein already had a history with The Rolling Stones. I just thought, ‘Oy oy oy, no, this guy’s got such a bad reputation.’ And good old John says, ‘Oh, if he’s that badly talked about, he can’t be all bad.’ John had this kind of distorted thinking, which was amusing sometimes. But not when someone was going to take everything that John and George and Ringo and I owned and had worked really hard to get.

So, I stood up as the sensible one and said, ‘This is not good.’ Klein wanted twenty per cent, and I said, ‘Tell him he can have ten, if you have to go with him.’ ‘Oh no, no, no,’ they came back. ‘No, he wants twenty.’ It seemed to me they were just fucking out of it and making no attempt to do anything sensible. A lot of hurt went down during that period in the early 1970s – them feeling hurt, me feeling hurt – but John being John, he was the one who would write a hurtful song. That was his bag.

(Paul McCartney about Too Many People (1971), The Lyrics, 2021)

Towards the end of 1969, John had quite gleefully told us it was over. There were a few of us in the Apple boardroom at the time. I think George was away visiting family, but Ringo and I were at the meeting, and John was saying no to every suggestion. I thought we should go back to playing smaller gigs again, but the answer came back: ‘No’. Eventually John said, ‘Oh, I’ve been wanting to tell you this, but I’m leaving The Beatles.’ We were all shocked. Relations had been strained, but we sat there saying, ‘What? Why? Why? Why?’ It was like a divorce, and he had just had a divorce from Cynthia the year before. I can remember him saying, ‘Oh, this is quite exciting.’ That was very John, and I had admired this kind of contrarian behaviour about him since we were kids, when I first met him.

He really was a bit loony, in the nicest possible way. But whilst all of us could see what he meant, it was not quite so exciting for those left on the other side.

(Paul McCartney about Dear Friend (1971), The Lyrics, 2021)

This is one of my favourite songs. It's a ballad with a brass section, but it’s always felt Victorian in style to me. It’s very heartfelt. ‘A love so warm and beautiful / Stands when time itself is falling’. I like that idea, instead of just saying, ‘It will go on forever.’ I got a good feeling writing this song, and listening to it now, I still do. ‘Love, faith and hope are beautiful’. The brass solo is lovely for me because it harks back to the brass bands that were so common when I was a kid; there would often be brass bands in the park or in the streets. My dad played trumpet, as I never fail to mention, and he had his own little band – Jim Mac’s Jazz Band. The first instrument he bought me was a trumpet, and he taught me the scale of C which, when you go on the piano, becomes B-flat. It’s all very complicated. That’s why we didn’t even bother learning music. I realised that I wanted to swap the trumpet for a guitar, so I asked his permission, and he said, ‘Yes, okay.’ ‘Warm and Beautiful’ was written well after the demise of The Beatles, and at this time we knew sadness. I knew about delving into your mind to look for help and looking for some sort of solace in a song. I liked the idea of writing a song in a universal way that dispels the sadness. You write about the wonderful things you know in the world, and you try to write so that it will sing well and be well received by people dealing with grief something that inevitably surrounds all of us at one time or another. On a more personal level, the main inspiration for the song was Linda…

(Paul McCartney about Warm and Beautiful (1976), The Lyrics, 2021)

After The Beatles thing became so depressing, Linda and I decided we’d get out of London and start living full-time on our small holding in Scotland. It was quite a difficult period because of the band’s breakup but it allowed me to see another side of myself. First and foremost, we did everything for ourselves, and at this point it was Linda, Heather, Mary – who was still a baby – and me. If we needed something to eat, we’d go into town in the little Land Rover, come back up, and cook it. We didn’t have anyone helping us, except for one guy, the shepherd, because it was a little sheep farm. It was an experience that allowed me to be a man. <…> I’d grown up in Liverpool and gone on the road with The Beatles around the world and then around again, and now here I was on a farm in the middle of nowhere, and it was sensational. <…> This was the kind of thing I’d never done, ever, in my life, and it was amazingly liberating. I got to do all the things I think a lot of young people still dream about today – the famous ‘gap year’. I sense a lot of people want that freedom, escaping the rat race…

(Paul McCartney about When Winter Comes (1992), The Lyrics, 2021)

After the breakup of The Beatles, I wouldoften just sit around a lot. Sometimes I sat in the kitchen while the kids were playing. Maybe they were drawing. Maybe they were doing bits and pieces of homework. In this case, I came across the chords and I just felt optimistic, and I liked the idea of a song saying that help is coming and there’s a bright light on the horizon. I’ve got absolutely no evidence for this, but I like to believe it. It helps to lift my spirits, to move me forward, and hopefully it might help other people move forward too.

(Paul McCartney about Great Day (1972/1997), The Lyrics, 2021)

Wings, which we began in 1971, was in many ways an experiment to see whether there was life after The Beatles, to see whether that success could be followed. It was the result of asking myself, ‘Am I going to stop now?’ The Beatles were so wonderful and all-encompassing, so successful. Now, should I stop and look for something else to do? But I thought, ‘No. I like music too much, so whatever the something else is, it will be music.’ <…> But it wouldn’t be The Wings, like The Beatles. Just Wings. My problem after The Beatles was, who’s going to be as good as them? I thought, ‘We can’t be as good as The Beatles, but we can be something else.’ I knew that if I were to go ahead with this project I’d have to tough it out, but I had reserves of courage from being part of The Beatles when pennies were thrown at us at the village hall in Stroud, when we were still starting out. <…> Starting off a new band is always a lot of fun, but it’s a lot of hard work too; you have to establish yourself. Following The Beatles was one of the most difficult things for me, just trying to live up to those expectations. It was even more difficult for her [Linda]. I started to write songs for Wings from 1971 onwards, when we got started, and I tried to keep them away from The Beatles’ style. There were avenues I could go down that I wouldn’t have gone down with The Beatles, like bringing in the influence of reggae, which Linda and I got into in Jamaica. I fancied doing something crazy, and Wings allowed me a little bit more freedom. So, this is a love song in which Cupid’s arrow is referenced, but it’s a malevolent arrow. It’s possible I’d seen an illustration of Cupid and thought, ‘Cupid fires a bow, but I’ll switch it. It won’t be love; it will be the opposite.’ The character in the song has been wounded. He’s been cheated on. And it could’ve been a great relationship, could’ve been fantastic. As things stand, you couldn’t ‘have found a more down hero’, because there was nobody more down than me at that moment. So, get it together and bring your love. I have always had a soft spot for this song. There’s a nice horn riff in it, and it’s funky. Sometimes you write to get a sort of feeling rather than a perfectly ‘correct’ lyric. Sometimes the lyric can be secondary to the feeling. This one has as much, or more, to do with the feel of the song, the groove.

(Paul McCartney about Arrow Through Me (1979), The Lyrics, 2021)

John described ‘Coming Up’ somewhere as ‘a good piece of work’. He’d been lying around not doing much, and it sort of shocked him out of inertia. So it was nice to hear that it had struck a chord with him. At first, after the breakup of The Beatles, we had no contact, but there were various things we needed to talk about. Our relationship was a bit fraught sometimes because we were discussing business, and we would sometimes insult each other on the phone. But gradually we got past that, and if I was in New York I would ring up and say, ‘Do you fancy a cup of tea?’

(Paul McCartney about Coming Up (1979), The Lyrics, 2021)

It’s very possible that I’d been feeling down in London. I was back in the solace of family and Liverpool, and what with the Beatles troubles down south, I was likely thinking, ‘Wouldn’t it be nice to get home and have that comfortable feeling again?’ So, there may have been some of that in the background. I wouldn’t rule it out. When I wrote the song, I hadn’t been back home to Liverpool for a long time. But now I was at my dad’s house, which wasn’t quite home because it was a house I’d bought him when I got some money – a five-bedroomed mock Tudor place in Heswall near the River Dee. But it was still Liverpool, and it was ‘homeward’. So I added, ‘Once there was a way to get back homeward / Once there was a way to get back home’. The song turned out to be quite soulful, and I think that’s what attracted me to those lyrics in the first place – that notion of consoling a baby or reading kids a bedtime story. ‘Sleep, pretty darling, do not cry / And I will sing a lullaby’. Those are lines – or something with a similar sentiment – that most parents probably say to their children to soothe them when they’re growing up.

(Paul McCartney about Golden Slumbers (1969), The Lyrics, 2021)

It became a refuge of sorts, and it was nice to get away from London and everything – both the good and bad – that comes with the city. I would drive a Massey Ferguson 315 tractor and mow the hay, and I loved that because I’d been a nature fiend as a kid, and this freedom just gave me time to think – ‘Down to Junior's Farm where I want to lay low’. It was such a relief to get out of those business meetings with people in suits, who were so serious all the time, and to go off to Scotland and be able just to sit around in a T-shirt and corduroys. I was very much in that mindset when I wrote this song. The basic message is, let’s get out of here. You might say it’s my post-Beatles getting-out-of-town song.

(Paul McCartney about Junior's Farm (1974), The Lyrics, 2021)

The context in which the song was written was one of stress. It was a difficult time because we were heading towards the breakup of The Beatles. It was a period of change partly because John and Yoko had got together, and that had an effect on the dynamics of the group. Yoko was literally in the middle of the recording session, and that was challenging. But it was also something we had to deal with. Unless there was a really serious problem – unless one of us said, ‘I can’t sing with her there’ – we just had to let it be. We weren’t very confrontational, so we just bottled it up and got on with it. We were northern lads, and that was part of our culture. Grin and bear it. One interesting thing about ‘Let It Be’ that I was reminded of only recently is that, while I was studying English literature at the Liverpool Institute High School for Boys with my favourite teacher, Alan Durband, I read Hamlet. In those days you had to learn speeches by heart because you had to be able to carry them into the exam and quote them. There are a couple of lines from late in the play: O, I could tell you But let it be. – Horatio, I am dead I suspect those lines had subconsciously planted themselves in my memory. When I was writing ‘Let It Be’, I’d been doing too much of everything, was run ragged, and this was all taking its toll. The band, me we were all going through times of trouble, as the song goes, and there didn’t seem to be any way out of the mess. <…> Around the time we recorded ‘Let It Be’, I’d been pushing the band to go back out and play some club dates – to get back to basics and just bond again as a band, end the decade like we’d begun it, just playing for the love of it. We didn’t get to do that as The Beatles, but that idea did inform the direction of the Let It Be album. We didn’t want any studio trickery. It was supposed to be an honest, no-overdubbing album. It didn’t exactly end up that way, but that had been the plan.

(Paul McCartney about Let It Be (1969), The Lyrics, 2021)

This song is also an analogy for when something goes wrong out of the blue, as I was beginning to find happening around this time in our business dealings. Recording sessions were always good because no matter what our personal troubles were, no matter what was happening on the business front, the minute we sat down to make a song we were in good shape. Right until the end there was always a great joy in working together in the studio. So there we were, recording a song like ‘Maxwell’s Silver Hammer’ and knowing we would never have the opportunity to perform it. That possibility was over. It had been knocked on the head like one of Maxwell’s victims. Bang bang.

(Paul McCartney about Maxwell's Silver Hammer (1969), The Lyrics, 2021)

In much the way that Linda wanted to flee from New York society– the constrictions of Park Avenue and Scarsdale – I wanted to flee from what The Beatles had become. I was hoping to escape, she was hoping to escape. So we had this feeling that we had each pulled the other ‘out of time’. Though the song was written immediately after The Beatles’ breakup, it was somehow included under the Lennon-McCartney rubric, where it doesn’t belong. It was one of my first solo songs, but because of the deal, it got caught in the publishing net. That was very annoying. <…> …the central idea being that there’s so often a split between the inner and outer. <…> The elements of fear and loneliness are very much to the fore. ‘Maybe I’m afraid of the way I love you’ is itself a troubling idea. While it’s true that Linda is the person I’m addressing, it’s also true that I’m dealing in fiction. Starting with myself, the characters who appear in my songs are imagined. <…> In any event, this song isn’t the conventional way of presenting a relationship, or of some of the contradictions that can arise from being in love. <…> It shows the fragility of love.

(Paul McCartney about Maybe I’m Amazed (1970), The Lyrics, 2021)

John went to the exhibition, and I think that was when he and Yoko met, towards the end of 1966. He climbed up a ladder to see what she’d written on the ceiling, and got close enough to it to read it, and it said, ‘Yes.’ So he thought, ‘That’s a sign; this is it,’ and they fell madly in love. Once they were an item, there was the whole Beatles recording thing, where she would be there too. I think this started at the beginning of the ‘White Album’ sessions – so, around the end of spring in 1968. And at first we all – all of us except John – found it pretty intrusive, but we went along with it and worked around her. And eventually I came to the realisation that, look, if John loves her, we’ve just got to let it be, and we’ve got to support this relationship. That was basically my feeling. Then, a year or two later, The Beatles broke up, and it was a bad period, a real low point, where everyone was taking potshots at everyone. And I felt that John and Yoko were particularly good in the potshot department, saying things in interviews, or comments that would make their way to you. They would say not always very pleasant things, and looking back on it, I sort of think, ‘Why? You’re annoyed, so say something unpleasant?’ Over time, the situation eased off and my relationship with John got better, and I used to see him in New York or speak to him on the phone.

(Paul McCartney about Golden Earth Girl (1993), The Lyrics, 2021)

I’m not sure I thought of it at the time, even though this was well after The Beatles disbanded, but I can’t help connecting the oppressiveness associated with that phrase to the oppressiveness that coincided with the end of The Beatles. Not that The Beatles are over exactly. It’s not like we were some little band that never had another record; even though half of us have died, the phenomenon continues stronger than ever. Everything I do seems to be painted with ‘Beatle’…

(Paul McCartney about Put It There (1988), The Lyrics, 2021)

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wakacreations · 2 days ago

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Infernal Drunks:

Tav just wanted a peaceful night out. What happens when (Zevlor, Rolan, Raphael, Haarlep) go to a tavern? Turns out they can't hold their liquor. This was so much fun to write.

Zevlor:

“Zevlor! Get down from there!” You turned around to see the Hellrider stood proud atop the bar counter. The bards strummed away at their strings. The patrons drunkenly joined in drumming along on the tables. “When the sirens are calling! They'll ask for your wedding band! They say oh no dear you can never settle down! You have made a sailor's swear! We live by the honors of our sailor’s code!” The Commander belted out to their fellow patrons.

"We live our lives ruthless and free! Beware the bitch queen, Umberlee!” The patrons hollered back. You elbow your way through the tight crowd as Zevlor continues to sing. “We are no mere ruffians or just another gutted chum. Well what do we do, sailors?” He gestured to his audience. “We do fuck all till the crack of dawn!” The sailors roared. He waved a hand at you when he saw your head poke through the wall of happy drunkards. “We are the proud sailors! We call the seas home! We raise our tankards high till the taverns run dry in the Sea of the Sword Coast!” They cheered, guzzling down their tankards. The Hellrider followed suit. “Another song, Horns!” The bards yelled out. Zevlor gave a boyish smile as he held his hand out to you. “Care to sing with me for the next musical number?”

Rolan:

“You know there is a saying that one should never receive a kiss from a tiefling.” You feel the brush of his spade against your ankle. The last song of the evening was winding down. “Is that so,” you teased, raising a brow. “You’ll find a love like no other.” Rolan took a finished sip of his glass, setting it down. “Is that an offer, Rolan?” Your breath hitches as he moves his face in close to get a better look at you. The tiefling wizard’s cheeks were rosy as his eyes met yours. “Would that make you happy,” he grinned. “I.. Are you drunk, Rolan?” He pulled his face back, cocking his head processing your words. He took your hand into his own. “Only on you,” he purred, grazing his lips against the back of your palm. “Your hand is too cold,” turning your hand over to cup his flushed cheek. “There much better, all warm,” Rolan hummed blissfully. You glanced around making sure no one peered at your booth. “I think it's about time to take you home.” If anything it is better to see him at home and forget this evening than to see him lock himself away in the tower for a tenday or more at his own sheer embarrassment. You moved to withdraw your hand feeling your face burn. His hand didn't budge. “Why? I don’t want to,” he huffed, moving his tail to wrap around your ankle. A pout quivered his lower lip. “I don’t want to wake up,” he grumbled. “Wake up from what? Do you feel tired then we better leave then.” He shook his head in an aggressive no. “When I open my eyes after I fall asleep you’ll be gone,” Rolan whined, squeezed your hand. “I'll see you again in the morning, Rolan. Who would I be if I didn't check up on you?” He shook his head again. “Like how the moon says goodbye to the sun.. When they rise from the horizon.. This moment will be no more. Only to return when I shut my eyes…” The wizard swallowed, concentrating on finding the words. “But never to exist in the waking morning,” his eyes moved to the hand he held. He sighed and pressed a kiss to the inside of your palm. “I said to you after the death of my master, please what is mine is yours.” He looked at you once more. “Well my heart is my own and is yours should you ever wish to keep it.” Guiding your hand from his face to gently pressing your fingers to form a fist. With both hands he held your palm closed, “My love will always be here within your grasp.”

Raphael:

“Mouse!? Where are you!?” You heard a deep timbre voice yell above the strings of the tavern. Turning around you see a disheveled man swaying towards you. “Are you alright, Raphael,” raising a brow. He leaned against the bar to steady himself. “Why are you here?” Given how rosy his cheeks have flushed, the stained undershirt and missing doublet, he did make his rounds. “You,” he growled, clenching his jaw. Tilting your head, “what for Raphael? I have already paid my debts to you,” taking a swig of your tankard. “What? Did you lose the crown already?” The devil sneered, brushing back a hair that had fallen out of place. “Only a fool would lose such a precious relic. No, there is something I need from you.” What could he possibly need? “I need you home.” You sputtered into your drink. “WHAT,” you coughed, hacking out the last bit of alcohol in your lungs. “It is how I said it, mouse." The flicker of Hellfire shown in his unfocused gaze. You felt something bound off your head. Looking down you see a crumpled up paper. “Who done that!?” You scanned the faces from the direction it flew. “Done, what? What are you accusing me of? I’ll have your-” “No, not you.” You waved off the cranky devil. From the crowd you spotted a familiar warlock from across the tavern. “Korrilla?” The devil’s warlock gestured to the piece of paper. Unraveling the paper it read He won’t leave unless you take him. Squinting your eyes at the text in hand and looking back at her. “No,” you shook your head. She mouthed back at you, “he’s your problem.” Turning your eyes onto Raphael who was groaning clutching his head on the counter. “He’s your patron!” Looking back, the dwarven warlock had vanished. “Fuck!” Your face fell into your hands. The jiggle of bells came closer. “Tav… I am not feeling so well..” You felt a tugged at your sleeve. “Can we go home now?”

HAARLEP

“Haarlep? Where are you going?” The drunken “tiefling” stumbles away from you. “To find more food, Mousey,” they yawned. “Haven't you eaten already? The bards would be singing about the tiefling who wouldn't leave the tavern without kissing all the patrons.” You walked in pace with them. “Please, that is a regular night for a bard. Only an appetizer for an incubus. There are plenty of tasty morsels to feast upon,” they tumbled forward. “Oh, look there, that one looks quite delectable,” they shimmed free from their wingless guise. “No, come here Haarlep!” They shook their wings. Stretching them to their full wingspan, Haarlep flaps their wings preparing to take off. “You want a hug!?” You extended your arms spread wide. “Haarlep, please!” If they flew, who knows where they would end up. “Mousey!” They waddled back towards you. “Yes, that’s it Haarlep! Who is my favorite little fiend?!” Somewhere you swear you heard a tut of disapproval. “Mousey… I am still,” they yawned over your ear. “Hungry,” dropping their head atop your shoulder. “Let's not go home just yet,” they mumbled. “I know, Haarlep. I know,” moving their arm to hang over your shoulder. When are they ever not? “Where are you taking me?” They groaned as you slowly dragged the incubus towards the Devil's Fee. “You'll eat when we're home, Haarlep. Could you at the very least attempt to walk,” you huffed looking up at the long uphill dirt path. Would it be too late to call for Korrilla? Or Yugir perhaps? “If I do Mousey will you sleepover? Who is to check on I if I were to fall desperately ill hmm?” Pressing the pad of their claw into your cheek, you rolled your eyes. “You know the little brat is helpless if I were to fall sick and no one wants to deal with his petty little tantrums,” they slurred. Would killing Haarlep make them teleport to the boudoir or somewhere else? You shivered from a warm gust of air, a low growl filled your ear, “yes.” Am I hearing things now? “Those are dangerous thoughts to be having, little mouse,” Haarlep purred. You felt their tail wrap snugly around your waist. “So, very naughty of you,” nuzzling their cheek against yours. “Pretty please? I will be as good as my little impies?” The Devil’s Fee was in sight. “Your impies destroyed my pack last time I left it in the boudoir,” you sighed. “I promise, mouse,” they yawned. Just a couple of steps further. Making your way past the gate, “We made it, Haarlep. We’re almost home.” No noise came from the incubus. “Haarlep?” You turned to see their head hung low, drool pooling at the corner of their mouth. “Goodnight then,” you chuckled. Knocking aggressively on the door outcame Mammon’s warlock with a look of agitation. With a toss of a pouch from your hip, she ushered you in. The warmth of Hellfire blanketed you, both. “Just for tonight, Haarlep. I will stay. Who knows, if he’ll allow me to let you out again,” pressing a kiss to their temple. “I might as well,” you yawned, laying down beside them. You watched their slow steady breaths being lullied by its calming rhythm. They stirred in their sleep reaching out to you. “My Mousey,” pulling you to their chest. “Haarlep,” you breathed, suffocating in their tight embrace. “My sweet Mousey.”

#bg3 #bg3 zevlor #zevlor #zevlor nation #bg3 rolan #rolan #holy rolan empire #bg3 raphael #raphael bg3 #raphael the cambion #bg3 haarlep #haarlep #haarlep the incubus

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dorkydegeneracy · 1 day ago

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It's crazy that we were all tossing around these theories about how Eddie was going to get Chris back, and arguably one of the more obvious solutions, Eddie returning to El Paso all together to be with Chris, never crossed our minds.

Because let's be honest. IRL this isn't a terrible decision. It's actually quite a good one, considering Chris is seemingly thriving in Texas and all of his blood family is there (radio silence from Tia Pepa and Abuelita (didn't abuela move back to Texas, or is that fanon? The lines between fic and reality are Heavily blurred)). Uprooting Chris' life again would be unnecessarily cruel. Stability is of paramount importance right now after the tumultuous life Chris has had.

There are really only two things that make this idea nonsensical:

1) Eddie moving to El Paso is not going to fix his relationship with his son. He's doing it purely for himself because he is missing out on his son's most formative year. (See #2 for more insight on this.). But Chris doesn't need Eddie to move to El Paso permanently. He needs Eddie to come to terms with why he continues to make these reckless mistakes that affect Chris in a real way. Chris needs Eddie to stop trying to replace Shannon. Chris needs Eddie to move on and be happy so he can be an even better father. Which brings me to. . .

2(a)) Eddie believes that moving to El Paso is going to make him happy because Chris is there. But he is sorrily mistaken. The priest gave him the assignment to stop punishing himself and allow himself to feel joy. And he is choosing to move so that he can be happier by not missing Chris's milestone moments. He's going about the assignment the wrong way. Yes Chris should and does make him happy, but that's not the only thing that makes Eddie happy. It would be incredibly unhealthy if this was true. Eddie LOVES being a fire fighter. Eddie LOVES his fire fam* (more than he likes his parents). And. . .

2(b)) EDDIE LOVES BUCK. There are a million reasons why Eddie loves Buck. But one in particular was illuminated last episode that I don't think the show has ever teased at before.

Listen, I know we are all obsessed with Buck having his own crisis, but this was the most striking part of the entire scene for me. DO Y'ALL SEE THIS FACE? This is the face of a man who was afraid to let his "best friend" know that he was planning on moving to El Paso to be with his son because he knows that Buck is going through a tough time right now. He didn't want to add another stone to the pile. But Buck isn't a guest in Eddie's house, so he took a peak and ripped the band-aid off. And Buck had the nerve to be 1000% supportive of Eddie's decision. So Eddie makes that 👆🏾face because he CANNOT BELIEVE that Buck would be so selfless. He thinks it's crazy that somebody would unquestionably help him be happy in Buck's scenario.

Eddie, I'm just saying, what we all just saw is HUSBAND-like behavior from Buck. And I know you didn't see the whole thing, and you don't know this, but you have just flipped Buck's world upside down. Your man is dying on the inside. Because BUCK LOVES YOU. But he doesn't know that yet. And he doesn't want to pull you away from your son. Who is also his son. So yeah.

*NOTE: The fire fam is not the same as actual blood family at least not for Chris. I get it, Helena obviously does not have Eddie's interest at heart, which is why her and Ramon taking Chris for three months is cruel, but I think the show is trying to suggest that Chris is indeed thriving in El Paso where he is surrounded by his aunts, uncles, cousins and other family. Those bonds are unique and important. Even if Helena Diaz is conniving. The fire fam in my mind is more crucial for Eddie. Not that the fire fam aren't amazing and provide a comforting familial sense in LA, but. . . you get what I mean. It's just different. Especially since Eddie actually has a big family back home, not all of which he is maligned.

#buddie #edmundo eddie diaz #christopher diaz #evan buck buckely #911 on abc #911 speculation

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marcyvamp1re-blog · 16 hours ago

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I would like to request romantic yandere scott summers x reader where his darling has amnesia. Now I don’t know how they got amnesia but scott brings reader home from the hospital one day and takes reader home claiming the reader is his wife or husband( gender does not matter), even though they were not married before. Scott takes advantage of the fact reader has amnesia, I would also have to assume they are not at the mansion so scott can do his yandere doings

BAG OF BONES

Sinopsis. You remembered nothing, not even your name, yet he wove stories with threads of gold and promises. His voice, a refuge; his gaze, a cage. He claimed to love you like never before, like always. How could you doubt someone who swore to be your everything, even if his love felt like a prison disguised as home?

pairing ── Yandere! Scott Summers x Amnesiac! Reader.

Content. MDNI ── Dark themes, violence/death, blood, retrograde amnesia, forced marriage, inappropriate touching, insolation, invasion of privacy, kidnapping?, Slight mention of pregnancy, delusion, Angst, murdering, Disturbing Content, Death of a canonical character, lgbt?, Unhealthy Obsession, Gaslight, Mental Illness, Corruption, Isolation, Paranoia, Manipulation.

A/N ── English is not my first language—Spanish— Honestly, I've always been interested in the Yandere x Amnesiac theme. It's really fascinating how the psychology of the characters can be so complex in these types of stories. Also, thank you for being clear and concise in your request, and I hope you enjoy it.

They say one should never try to go back to the past, that the present is where we must live and the future what we must build. But how could you do that when you felt a piercing emptiness in your chest, a pain you didn’t understand? Your heart screamed that something was wrong, that what you were experiencing wasn’t real, that danger lurked closer than you could imagine.

The white glare of the hospital lights blinded you as you opened your eyes. You felt your body heavy, your mind clouded, and an absolute bewilderment that made you tremble. Everything felt strange, as if you were a piece out of place in an unknown puzzle. Then you saw him.

A tall man, with a firm build, wearing burgundy glasses that hid his eyes but not his excited expression. His smile lit up upon seeing you awake, and before you could say anything, his lips pressed against your forehead, your cheeks, your hair, leaving desperate and anxious kisses.

“Thank God you’re okay,” he whispered with a warm, relieved voice.

But you weren’t. You remembered nothing. Not even your name. Confusion filled you, and words wouldn’t come to your lips. He, however, seemed to have all the answers.

“I’m Scott Summers, do you remember me?” he said, taking your hand gently. His fingers were warm, but the way he squeezed them made you feel trapped—“We just got married.”

Married? The impact left you breathless. You looked at your hands, and there it was: a beautiful diamond ring along with a wedding band. Its shine seemed to confirm his words. When you looked up, you saw he wore a similar set on his left hand.

“I... don’t remember...” you started to say, but he shook his head gently.

“It doesn’t matter. You’re alive, and that’s all that matters. I’ll take care of you.”

His voice was sweet, reassuring, and you decided to believe him. Why wouldn’t you? Everything seemed to fit: the ring, the familiarity in his gestures, the way he looked at you. But deep inside, there was something you couldn’t silence.

There was something in his smile, something in the way his fingers never stopped touching you, that made you feel exposed. Vulnerable. Like you were a butterfly trapped in a display case, admired but with no escape.

How naïve you were to think that warmth meant safety.

When he took you to what he said was your home, the confusion inside you grew heavier, more oppressive. It was a small cabin in the midst of a lush forest, completely isolated from the rest of the world. Scott explained that the distance was necessary, that you had always preferred the tranquility of nature, away from societal judgment, especially for what you were: a mutant.

“You used to say that here you could be yourself,” he murmured with a smile as he parked the car. His words were warm, but they sounded strange.

As he guided you through the house, you noticed how his explanations seemed overly rehearsed, almost mechanical. The master bedroom was cozy, with dark wooden furniture and a large bed, but there was something unsettling in how orderly everything was, as if you had never truly lived there.

“This is the guest room,” he said as he opened a door. The space was filled with tools and paint, as if it were in the process of being transformed—“I’m preparing it for something special.”

You didn’t ask for what. There was something in his tone that dissuaded you from doing so.

The kitchen, however, came with a warning. “Don’t enter here without me, okay? I want to make sure you don’t hurt yourself.”

“Hurt myself?” The phrase hung in your mind as he showed you the rest of the house. Finally, you arrived at the living room, the space that unsettled you the most.

It was a mix of museum and altar. There were photos of you everywhere: smiling, reading, walking in a park you didn’t recognize. Some included Scott, his arm always firmly around your shoulders, and others showed a group of people who seemed unfamiliar yet strangely familiar.

In one of the photos, a group dressed in flamboyant, almost theatrical clothes stood out. It was a mosaic of colors and textures that evoked something lost on the edge of your memory. In the image, you were in a corner, embraced by a young woman with pink glasses who seemed a few years younger than you. On your other side, a brown-haired woman with white streaks smiled subtly, though she didn’t touch you. She seemed close, important.

However, what caught your attention the most wasn’t any of them, but a figure in the background, almost hidden behind Scott. A woman with bright red hair who seemed to look at the man with particular intensity. The photo was slightly blurry, as if someone had manipulated it or neglected it on purpose.

“Who is she?” you asked, pointing at the blurred figure before you could stop yourself.

Scott tensed immediately. His smile vanished for an instant before returning, though more forced. “Oh, just someone from the past. It doesn’t matter now. The only thing that matters is you and how happy we are together.”

You didn’t press. His response wasn’t enough, but something in his gaze told you that pushing was dangerous.

That night, as you tried to sleep, doubts burned inside you. Who was that woman? Why couldn’t you remember anything about your life, not even the people in those photos? And above all, why did every time you looked at Scott, the weight in your chest grew heavier, as if you were trapped in a gilded cage?

You didn’t love Scott. You couldn’t. Maybe you had at some point, but if that was the case, that love didn’t survive the accident that erased your memories. Now, he was a stranger, and his constant need for contact suffocated you. Scott wasn’t just clingy; he was voracious. Every caress felt like an indelible mark on your skin, every kiss a reminder that you weren’t free.

He adored being glued to you, almost as if he feared you would disappear if he let go. He insisted on bathing you, choosing your clothes and dressing you, his fingers grazing your skin more than necessary. He prepared every meal with devotion and served it to you as if you were a deity to be worshipped. But even those gestures, so carefully disguised as love, carried a shadow you couldn’t ignore.

“I want you to feel cared for, protected,” he would tell you with a smile as he brushed your hair. His words were sweet, but the way he said them was unsettling, as if he were convincing himself more than you.

Days passed in suffocating routines and deafening silence. Scott took you outdoors, around the cabin, making sure not to stray too far. He said it was for your safety, but you knew that wasn’t true. Every time you looked at the forest, so vast and full of possibilities, you felt a growing urge to run, to escape, even though you didn’t know where to go.

And then the flashes began.

At first, they were fleeting images, fragments that emerged when you least expected them. A smile that wasn’t from Scott. A soft laugh. Bright green eyes framed by fiery red hair. The woman from the photo.

Every time those memories surfaced, a sharp pain pierced your head, as if your mind struggled to protect you from something you didn’t want to know. But the most disturbing thing wasn’t the woman, but how you saw her: standing next to Scott, his hand in hers, their lips forming words you couldn’t hear. Happy. United. Almost as if…

No.

The first day you had that memory, you screamed in the middle of breakfast. The spoon fell from your hands as you instinctively recoiled in your chair. Scott was beside you in an instant, his hands firm on your shoulders, his eyes hidden behind glasses but his face filled with concern.

“What’s wrong, love? Are you okay?”

“I... I...” You tried to explain, but the words wouldn’t come. All you could do was look at his hands, those same hands that in your visions touched another woman with the same devotion as they now touched you.

Scott frowned, his expression darkening for a moment before a nervous smile returned to his face. “It’s just your mind playing tricks on you. It’s normal, sweetheart. Take a moment.”

But it wasn’t. And you knew it.

That night, as you brushed your teeth, the mirror in front of you trembled. Not from any external movement, but because your mind was slowly breaking, releasing pieces of a puzzle you were just beginning to recognize. A flash hit you, as if a storm were dragging you to another time.

She was there, the red-haired woman you had seen before, but this time she wasn’t a blurry image. Her laughter was warm, almost contagious, and you were next to her, shy, with a small smile that barely dared to emerge. Her hand rested gently on your arm while the other figures around you joined in the conversation.

The dark-haired woman with white streaks watched you with a mischievous look, an eyebrow raised as she crossed her arms. Beside her, a young woman with pink glasses laughed loudly, patting your shoulder as if she had known you forever. Nearby, another tall woman, with deep eyes and a majestic demeanor, looked at you with a mix of understanding and affection. They all seemed to encourage something, their animated voices like a chaotic melody you could barely comprehend.

“He’s a good man,” one of them said, her tone firm but kind. “He adores you!” exclaimed the youngest, with a beaming smile. “Just go and have a little fun.”

But not all were so enthusiastic. The red-haired woman didn’t share their laughter or their words of encouragement. Her expression was softer, almost melancholic, and her eyes met yours for a long moment. When the others dispersed, she stepped closer to you.

Her hands took yours, warm and steady, and for a moment you felt more protected than you had in a long time. She didn’t say anything at first, just hugged you tightly, her embrace speaking more than any words. Leaning toward your ear, her voice was a whisper, but her words were etched into your memory.

“You have my blessings…” Her breath was shaky, and you felt her fingers tighten slightly on your back—“And I love you.”

You stepped back slightly to look at her, but her smile seemed like a mask. There was something in her eyes you couldn’t understand at that moment, something that hurt you in a strange way.

The memory faded as quickly as it came, leaving you standing in front of the mirror, gasping. You gripped the edge of the sink, your fingers white from the pressure. Your reflection seemed distant, as if it weren’t yours.

Who was she? What did it all mean? And above all, why did her face, her voice, her embrace fill you with a warmth that made Scott’s love feel cold and forced?

The mirror in front of you trembled as you hit it with your hands, gasping, your pupils dilated with terror. Your reflection didn’t look like you. It was a broken version, trapped in a life you didn’t understand.

Scott appeared behind you like a ghost, his hands wrapping around your waist firmly. His warm breath on your neck made you shiver.

“You look tired, love. Let me take care of you.”

The first time you saw him in full clarity was in a dream, or so you thought when you woke up, gasping and with your body soaked in cold sweat.

You were in a dark and damp room, the air heavy with the metallic smell of blood. Your hands trembled as you held a fragile, cold, lifeless body: a woman with red hair, now dulled and stuck to her pale face. Blood stained her lips and flowed from multiple wounds on her chest, as if something had pierced her repeatedly. They weren’t normal wounds; they were small, irregular caves, burned by a heat that couldn’t be human.

Jean. Her name hit you like lightning. Jean. Now you knew, and the weight of that name on your chest made you sob as you held her against you, trying, futilely, to cover the wounds with your hands.

“No... no, please, wake up...” Your voice was a desperate whisper, broken, a lament in the void.

The sound of footsteps behind you made your body tense. You recognized them before turning around. Their walk was unmistakable: confident, calculated, almost victorious.

Scott was there. His figure was silhouetted against the dim light, his burgundy glasses shining with an unsettling glow. His face showed no sadness, no guilt. Only satisfaction.

“It had to be this way,” he said with a calm voice, too tranquil for the scene before you. His tone was gentle, almost kind, as if he were explaining something simple.

You stood frozen, your hands still holding the body of the woman, while your mind struggled to process his words.

“What... what did you do?” you managed to murmur, though your voice was barely a thread.

Scott took another step forward, his boots echoing on the stone floor. He knelt before you, ignoring the blood staining the ground and spreading like a river between you two. His hand rose to caress your cheek, and you flinched, unable to move.

“Now that she’s gone…” he continued, his tone filled with a sweetness that was terrifying—“nothing can separate us. We can be together, just as we were always meant to be.”

Your body reacted before your mind did. You let Jean’s body fall, stumbling backward, your hands still trembling, covered in her blood. “You’re crazy!” you shouted, though your voice broke into a sob at the end.

But Scott didn’t seem affected. He stood up with the calmness of someone who knows he has already won. He took a step toward you, and then another, until you had no space left to escape.

“No, love,” he said, leaning toward you, his breath brushing your ear—“I’m in love.”

The intensity in his voice paralyzed you. It was a declaration, not an explanation. He truly believed that everything he had done was out of love.

The dream, or the memory, ended there, with his face so close to yours that you could feel the warmth of his skin. You woke up with a start, a muffled scream in your throat and your heart pounding in your chest.

Your hands continued to tremble as you looked around the room. You were in the cabin, in your bed, but the smell of blood still seemed to linger in the air.

“Are you okay?” Scott’s voice broke the silence. He was next to you, watching you with his typical feigned concern, his hand already reaching for yours.

You instinctively recoiled, pulling away from his touch, but you tried to hide it. Your breathing was ragged, and you forced yourself to nod. “Just... a bad dream.”

He smiled, but his eyes behind the glasses didn’t stop watching you with that intensity that always seemed to hide something more. “I’m here for you. Always.”

That night, you decided you had to uncover the truth, even if it cost you your sanity... or your life.

A/N ── Yes, it’s not a happy ending, but at least it’s an ending that leaves a lot of room for reflection. I wanted to try out a conclusion like this at some point, and I hope it didn’t make anyone uncomfortable. Thank you for reading, and if you want to request something, feel free to do so as long as requests are open. More information in the pinned comment!

Take a bath!

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twilight-good-yall-dumb · 22 hours ago

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It's actually so crazy to me that people are theorizing about the relationships between all of the boys right now. Like, first of all, they JUST got to say goodbye. Give me a fucking break, this is not the time. But also, why do people pretend to know literally anything about their personal lives? All we know is what the boys have actually told us. So, they've had various connections with each other over the past few years. How deep those connections were, we do not know. Because we do not know them. And again, as a fan, I think it's kind of stupid to have an opinion on this at all, but I feel like we have to understand two things about them:

First of all, they grew into themselves around each other. The time they spent in the band was the same time they would have spent in college/university. This period in anybody's life, whether famous or not, is incredibly formative. You're learning new things, exploring new freedoms, finding yourself. So many people meet lifelong friends at this phase. So, whatever their relationships may have been up until Liam's death, they had those memories at the very least. That being said, they had also spent more time apart than they'd spent together, and over those years we have no idea, truly, how close they remained. We can safely assume based on interviews and interactions that Liam was probably the closest to Louis of all the boys, but was Louis therefore the closest to Liam? Were any of the other boys close? How close? How many of them still regularly checked in with each other? We simply do not know for certain. We will probably never know, because it isn't our place to know. What's important is that Liam WAS a big part of all four of their lives, and whether they'd remained close over the years or not, his death most certainly impacted all four of them in a big way. So it's ridiculous to start pointing fingers. Niall, Louis, Zayn, and Harry all lost somebody important. Nothing else matters. We do not know the particulars. We are not their friends. We are their fans.

All I will say on the matter is that based on the amount of love and grief poured out by each of the boys and their families, it's clear to me that this has been hard on them all. It's not for us to decide who should be allowed the most or least grief. And don't you dare assign blame to any of them.

#Sorry again for another Liam rant #I am just a girl #the only parties who undoubtedly deserve our ire at this point are the irresponsible people in that damn hotel #and his supplier #leave his family and friends out of it though please #they don't deserve to feel like their every move and emotion is being scrutinized right now #they deserve to grieve in whatever way they must #liam payne #one direction #zayn malik #louis tomlinson #niall horan #harry styles

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marcixoxo · 2 days ago

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My thought

Does anyone else think what One Direction did to their fans was completely fucked UP? Let me explaine

Zayn leaves the band- which was completely selfish on his part. It wasn't selfish that he wanted to leave and wasn't happy, it was selfish the way he did it and he even said so himself. There was a way to do it more smoothly and not in the middle of the tour where people have paid to see him. He could have had an open discussion and let the band know that he wanted to leave. Honestly if I remember correctly, he left because fans caught him cheating on Perrie in public. After that picture came out of him holding hands with another girl, they broke him their engagement and he left the band. Anyone else remember this?

"Hiatus" - This wasn't a Hiatus. This was legit a breakup/ They lied to fans saying they were going to come back and had people waiting for years and years and years. For what? Why can't you just be honest and say you don't want to be in a band anymore and you broke up? Personally, I would rather have the truth and be hurt then be lied too and be even more hurt in the end.

Poor Liam. He loved the boys and always wanted the reunion, but certain people knew they were never coming back (AKA Harry Styles, Niall Horan) why couldn't they just be honest with him? I bet it would have helped him get closure.

I really believe that Liam and Louis were the only ones who wanted to come back and that is why their bond was so strong.

I don't think these boys were ever true friends. Liam even said in an interview once that it got Awkard after the band went on hiatus. I wonder why

#liam payne #one dirction #harry styles #louis tomlinson #zayn malik #niall horan

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martialartslover7 · 2 days ago

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Right off the bat, thanks for the positive response.

And about that bit with Shikamaru, sure, you can say that this might potentially contradict all the lessons he learned, while avenging Asuma's passing, but I will say, after all this, even he may start asking a lot of questions about the legitimacy of ANYTHING he was being told from the ground up. Because, knowing that Hiruzen was such a useless piece of garbage for a human being, who practically enabled war crimes on the regular, never asking questions, and just letting Danzo have his way, all that "Will of Fire" nonsense may no longer bear any weight, because it's all build on lies, further spoonfed to people with no guiding principles of their own. All carefully constructed, so that, in the end, it only favors those, that are in-power, and not the ones a few levels lower. It's glorified dictatorship, with just a lot of make up on, to hide the ugly mug beneath it.

Like, something tells me, he always knew that in a way, he was always a lazy bum, but it leaves you asking, WHY that is. He might have been the first to see right through Hiruzen's bullshit, realizing, there is no pointing in risking your life for a state, that doesn't even know you exist, or care to know. Risking your life for your comrades, that's a different story, but by this point in time, after Pain's attack on the Leaf village, the ugly truth of who they were all following was slowly creeping its way to the surface.

Honestly, after learning this, I was half-expecting Naruto himself to develop in a more negative, but understandable direction, after the war, specifically during the Blank Period, because... You cannot tell me, the war didn't affect him in a negative way, there is just no way. Grasping more and more, how it must have felt for Sasuke to know, the most important people in his life, sacrificed themselves, only to be met with scorn and spite, having the village essentially piss on their families' grave. Especially bearing the knowledge that, a piece of trash like Danzo, essentially rendered the sacrifices of both his parents, and the deaths of all those, who were affected by his actions, the Uchiha clan included, completely meaningless. Making it seem as if their sacrifices meant nothing in the end. This HAS to break Naruto in a way, in a similar vein to what Sasuke had to go through, after Madara spilled the beans to him. Knowing that, these loving individuals, who would have continued to give their otherwise bleak, lonely world, more light, bit the dust, for freaking nothing.

If Naruto was actually peak, let's be real, the Blank Period should be renamed the "Revolution Period", where Naruto and Sakura band together, along with the Konoha 12, to publically pardon and relieve the Uchiha clan, working to get a memorial stone set up, with all the names of the Uchiha, down to the last freaking INFANT that was born and slain that fateful night, to be carved on there, along with a memorial statue of Itachi Uchiha. An everlasting reminder that: This should never happen again.

Only then. ONLY THEN. Will Sasuke be able to come home, and TRULY feel like, he came home. To give him the feeling that, this village, in spite of all its faults, is willing to show humility, especially under Kakashi's guidance. That, his clan, is finally being acknowledged. Along with the sacrifice of his brother. Naruto would openly welcome his brother-in-arms back, and all this, would be the ULTIMATE form of a love declaration on behalf of Sakura. It can also be seen as an apology letter from both Kakashi and Sakura, for not having trusted him at first (sorry, I am a SasuSaku loyalist, but don't worry, I more than sympathize with the hesitation to accept it, I have been there).

Happy End.

...unless, the Konoha elders don't plan on soiling the memorial stones.

Weird Wednesday Headcanon: Outside of Team 7, Neji, Shikamaru and Kiba sympathize the most with Sasuke's fall from grace after the Five Kage Summit.

Alright, this is another headcanon of mine that can be written off as "mental", but hear me out, this has so much potential.

I'd like to think that, outside of Team 7, Sasuke wasn't just closely acquainted with Naruto, Sakura or Kakashi, but also:

Neji (whom we even got a small teaser hint of a rivalry between him and Sasuke for, which sadly, never came to be, because Byakugan VS Sharingan is a question in the community, that truly needs answering)

Shikamaru (shogi rivals, nuff' said, the only guy, that managed to corner Shikamaru at his own game, I mean, Sasuke is meant to be a genius too, so, why not?)

Kiba (just being around him, Sasuke's IQ just automatically decreases, but in a fun way, like Renji and Uryu from Bleach, considering, Kiba had lived most of his life, surrounded by moody, dominating women, and he might be Sasuke's "stay-in wingman", when it comes to Sakura, or they would just talk about how tiring women can be, but they do manage to get best results out of you with their motivation, and he would be way easier to handle for Sasuke, because unlike Naruto, Kiba ain't braindead)

These are the three main players, but if you want, you can also put Choji and Rock Lee into the mix, considering that, later down the road, Sasuke's and Choji's daughter would end up becoming besties, and if Might Guy wouldn't survive the war, he and Lee can become the new Kakashi and Might Guy, the next generation, if you will. And this is ironic, because...

...just by coincidence, who else was sent to get Sasuke back, to prevent him from defecting to Orochimaru? Ah yes.

But now, I get to the meat and bones of this thread. And that being, the reason why I believe personally, it was a wasted opportunity to not give Sasuke more personal allies that sympathize with his actions, after he joined the Akatsuki.

Like, NO ONE can tell me, that the Uchiha weren't the only ones, who were under close observation within Konoha borders, by the elders. Sure, they were the biggest target, but it leaves you asking, especially in regards to those clans, who are either the strategist faction, or possess sensory type abilities: What about them? Wouldn't they suspect that something was going horribly wrong over there, at the Uchiha compound? Did absolutely NO ONE hear the screams, or blood splatters? I am just not sold on the idea that EVERYONE in Konoha blindly agreed to Tobirama's discriminatory policies, some had to know better than most. The select few, who weren't exactly fans of just distancing themselves from another clan, all because some frankly racist piece of garbage for a Hokage said so, along with the useless shitstains, that are the Konoha elders, especially Danzo.

And now, three people come to mind, where I truly felt like, they could have been there that night, when the Uchiha clan was being slaughtered, and they were either too late to stop it, or Itachi had knocked them out with his Genjutsu (which purposely contradicts Madara's propaganda about "no one in the village cared about the Uchiha, and only saw them as tools"). And ironically, they are probably the very select few of the adult shinobi, who weren't complete sub-human trash.

Hizashi Hyuga.

Shikaku Nara.

Tsume Inuzuka.

Just picture these three adults being the only ones, who caught on to what was happening, through not just the screams of terror, the smell of blood, or seeing through the walls with the Byakugan from Hizashi. But sadly, by the time they arrive, most of the Uchiha were already slaughtered. And right before they could even act to evacuate those, who may have survived, Itachi arrives, and knocks them clean out with his Tsukuyomi, not killing them, as their passing would just cause an uproar throughout the village, the following day.

And once Danzo learns, that three non-Uchiha, Leaf shinobi, were actually present that night, and they may or may not have caught a glimpse of who else was there that night, Hizashi, Shikaku and Tsume were forced to stay silent on the matter, as Danzo threatened them, through the lense of the ROOT Anbu:

"Dare to let a single word about last night's events slip, then your clans will be receiving severe repurcussions."

I mean, sure, it's kind of silly to try and silence three unrelated Leaf ninja into keeping silent, but considering how paranoid the elderly can be, especially Danzo, I wouldn't put it past him to actually go there.

And how convenient, because as the story progressed, two of these adults would wind up deceased. Shikaku died in the 4th Great Ninja war. One piece of the puzzle, gone.

Hizashi would actually be the first one to die, before all two of them, because the Hyuga clan was trying to mend their security blunder that one fateful night, when someone from Kumogakure tried to kidnap Hinata. But keeping in mind everything I just said, it just adds another layer to how corrupt this shinobi system truly is. Who is to say, Danzo basically bribed the Hyuga elders to sacrifice Hizashi, in place of Hiashi, because he couldn't possibly risk that one defiant Hyuga showing lip to the Hokage? Something to think about. Even if Hiruzen remains a useless piece of shit. You can never be TOO careful, right?

Tsume would probably be the only adult to keep on living, to tell the tale, and through her, does Kiba learn, how deep the rabbit hole with Danzo actually goes, and how Sasuke's hatred for the village MIGHT be """mildly""" justified. Especially if Neji and Shikamaru were to approach him about their own clan blunders, involving Danzo, right after his passing at the hands of Sasuke.

But especially Neji, man... If everything I said gets applied in practice, it would mean, outside of Naruto, he might also be considered worthy of facing Sasuke in battle, after the Five Kage Summit. Because, not only does he more than understand how it truly feels to lose family and loved ones, but also, how this entire shinobi system is essentially screwing over those, who were unfortunate enough to be born into families, that get treated like dirt by the government, that is supposed to protect them. Just imagine their exchange, while Kiba faces off against Jugo, and Shikamaru holds Suigetsu at bay.

"A slave to your own family... I really don't need another moral lecture from a man, who willingly decided to stick to his own kin, despite them viewing you as nothing short of cannonfodder. And yet, despite it all, you still side with them... Run, Neji. Run and hide with your insignificant existence weighing you down, before I tear you to pieces." --Sasuke

"No, Sasuke. You're wrong. If it's any consolation, I am more than able to sympathize with your current state of mind. As of recently, I had to learn the hard way, that you and I, at the end of the day, are not so different. Believe me, you're not the only one, who was royally screwed over by the same village that you once swore to protect. The only reason, why I am not defecting, is because I still have family left to protect... Which is something I cannot say on your behalf, as much as it saddens me to say this. You have every right to hate us. Especially considering, we believed the rumors first, leaving no room for you to speak up and defend yourself. I didn't come to lecture you. And I won't run... because I am going to make you listen." --Neji

Pretty epic, isn't it? I am sorry, Neji is just the GOAT to me, and anything to make him and Sasuke spiritual broskies, I am here for that. Just visualize how adrenaline-driven their encounter would end up being, if you add the Bankakyo Byakugan into the mix. This is how Neji's Bankakyo would look like (source by Aleister Brown):

And for context on what this eye gives Neji for busted abilities, which make him a more or less equal match to Sasuke, after he got Itachi's eyes implanted:

Left eye: Foresight (he can look 10 seconds into the future, to predict Sasuke's moves, before he could even pull them off)

Right eye: Timeskip (improves his Taijutsu, by basically freezing time all around himself, and teleporting, at anything his eyes can see for time)

And, to make it even, with the Bankakyo, you can even summon a chakra avatar, similar to the Susano'o called, Sarutakahiko, take a look:

And because it's me, this is the music that plays in my mind, every time I am trying to visualize their fight, with these conditions being met:

youtube

...and to end this thread on a more comical note, when I said, Sasuke's IQ lowers around Kiba, and I compared the two to Renji and Uryu, here is why. It's even more ironic when you consider, Uryu and Sasuke have the same seiyuu! Noriaki Sugiyama! Check it:

youtube

OK, OK, enough with that. Have a nice day.

Peace.

#pro sasuke uchiha #pro uchiha clan #sasuke uchiha

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swagging-back-to · 5 months ago

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worst trope is found family separating as soon as the antagonist is dealt with.

#yes this is about voltron and it's also about guardians of the galaxy #what james gunn did to gamora in GOTG3 is criminal #i understand why they did it but to end with her GOING BACK TO THE RAVAGERS?#fail end.#seriously #and it doesnt even make sense bc ofc the high evolutionary isnt going to be the last problem they would deal with #in just a few years they encountered 5 people trying to destroy the universe and who were incredibly difficult foes #youre finna tell me there will never be a situation like that for the rest of their lives?#gtfo #and mantis' end was dumb too not even sorry #i can tolerate drax and nebula's ends.#but everyone else?#stupid #even peter's ending was fucking moronic. bro can pop in on the weekends he doesnt need to be a live in nurse for his grandpa #it's just such a major letdown and sucks everytime a director/author decides to split up the found family permanently #at least with voltron you can rationalize it by saying 'oh they never really wouldve hung out with eachother if they werent forced to for #voltron and werent forced to fight a war together.' and i can see it bc none of them DO hang out together before voltron #they barely even hang out AFTER they become voltron #keith and shiro hang out bc of the adoption/fostering/mentoring thing. lance and hunk MIGHT hang out bc they were already teammates #it's important to note that we never really see hunk and lance being bffs. theyre just friendly to eachother.#this becomes even more apparent once hunk and pidge actually become friends. it's very obvious hunk was just being friendly to lance.#just friendly.#(take this with a grain of salt bc ive only watched the whole series one time. i refuse to acknowledge anything after se 2.)#so yeah it does make more sense theyd all go their own ways but not even the small friend groups stay together at the end!#pidge and hunk are in completely different galaxies from eachother. same with keith and shiro #lance is isolated from all of them bc post se 3 writing team genuinely hated him and failed him as a character.#but GOTG3? they CHOSE to band together time and time again. they CHOSE to be a team. they CHOSE to be family #for every single one of them to say 'nah fuck that i want to be on my own bc uhhh reasons!' is a lame ending.#period.#gotg3

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sophaeros · 6 months ago

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ALBERT HAMMOND JR.: After I moved in with Catherine and he moved in with Juliet, we just didn't hang out the same way anymore. I missed his energy. I got sad; I felt a distance between us. That was a big part for me in this band—just hanging out with him, just being friends with him. We lived together for seven years. I've never lived with a girl that long. JULIAN CASABLANCAS: Does that mean anything to me? I mean, of course. The way I remember it, we were roommates and we moved places and I wanted to stay roommates and I feel like maybe he was not so into it anymore. Albert, you don't know what you've got til it's gone, baby!

— Albert and Julian on Julian's marriage to Juliet, from Meet Me In The Bathroom by Lizzy Goodman, interviewed around 2011 (x)

#bands #the strokes #albert hammond jr #julian casablancas #casamond #meet me in the bathroom #interviews #god im obsessed w this quote. this is what made me go ok hold the fucking phone. what was going on with them.#when the question is what did you think about julian and juliet getting together and your response is 'i miss him'#i will also never get over julian saying he wanted to stay roommates bro u were MARRIED. he wanted that communal living polycule so bad #i need to buy this book but i fear i will not survive the psychic damage #i mean you can totally still read this platonically it's just more insane and entertaining to read into it

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kingwaino · 21 days ago

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i have done...an absolute deep dive into blues and folk music tonight. it was 100% one of those blink and three hours have passed type of deals. worth it though.

#be warned if you go into the tags i will explain how this all came up. educational but long!#so it started with two questions. mostly because i live in the ozarks i wanted to know and secondly i like music if you haven't caught on #(btw i am so giving you guys the quick and easy version if you are reading this at all)#anyway. the first question was 'why does the ozarks have such a country influence but also bluegrass but also blues but also folk but al-'#because while i grew up in stl i am now like. living living in the ozarks right? right. and i for sure can see how we are the like...#the little sibling of the appalachian mountains. and i thought it was just cause aw cute mini mountains (highlands people)#but instead its cause there were settlers from appalachia! which makes a ton of sense now seeing influences and culture etc etc #so we cleared up that. we know why the ozarks is the way it is (or at least part of it)#btw anyone who says branson is a “true reflection” of the ozarks is out of their damn minds.#that shit is tourist central and just drives me up the wall. they are playing a parody of themselves is the best way to describe it #caricature maybe??? point is. “h'yuck h'yuck we're the country jubilee!” is not uhhhh ozarks and never was?#like it was but they took it a step further. so. anyway #can you tell i'm fixated on this right now? moving on! question 2 was quite literally 'what genre is this song'#it's 'fault line' by black rebel motorcycle club (which i highly suggest everyone listen to)#but i was like hmmm very bluesy harmonica but just fingerpicking guitar so that's more folksy #so! i went on a deep dive of what technically considers blues blues and what folk is. and guess what! the ozarks play into this too #because! the thing is that the ozarks is weird. st louis is technically not in the ozarks but on the outskirts. and stl is influenced by...#the mississippi delta! therefore blues music which led to rock and roll etc #(that's a whole other tangent for another day on stl and blues and rock and roll)#but anyway it makes sense that once you have folks from stl area coming down to the ozarks then you also have that combo of...#mississippi delta and appalachia music. so then we go back to “fault line” right?#i have declared it folk mostly because it definitely doesn't follow traditional blues progression or call and response.#so anyway. deep dive tonight was basically what is this song's genre and how does that wrap into where i live!#which also. brmc is like...usually listed as a “rock” band from san francisco which hey! awesome.#but like. from the songs i've heard and especially causing me to do this deep dive...they do not strike me as a californian band #music is cool! regions are cool! culture is cool! i just like to see how it's all spread out ya know?#if you've read this far gold star! i hope you've learned something tonight from reading the ramblings of a fixated person #i'm rambling again aren't i

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daddy-long-legssss · 10 months ago

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The Story Behind The Song: Arctic Monkeys’ early ambitions on ‘A Certain Romance’

Lucy Harbron – Far Out Magazine | January 17, 2024

It was 2006. Mortgages were crashing, and businesses were going bust. Tony Blair was on his last legs in office as the longest-serving prime minister since Margaret Thatcher, and the hangover of ‘Cool Brittania’ was beginning to set in with an unexpected ferocity. Things were bleak when a young Alex Turner sang, “There ain’t no romance around there” through the public’s speakers. Arctic Monkeys were about to write themselves into musical history as the voice of a new generation.

The final song on their debut album, there has always been something special about ‘A Certain Romance’. In 2022, after the release of their seventh album, The Car, Turner seemed to find himself reflecting back on that 2006 track. To the musician, that early cut holds a clue to everything that was to come as he said the piece “showed that we did actually have these ambitions beyond what we once thought we were capable of”.

Coming in at over the five-minute mark, ‘A Certain Romance’ almost feels like the Arctic Monkeys’ version of a rock opera, summarising all the themes, feelings and energy that came before it on their seminal album Whatever People Say I Am, That’s What I’m Not. It has the cheekiness of ‘Fake Tales Of San Francisco’ and the catchy instrumentals of hits like ‘Dancing Shoes’ or ‘I Bet That You Look Good On The Dancefloor’. Utilising the northern charm of ‘Mardy Bum’, it stands as a final, neatly summarising point on the social commentary found in their early tracks like ‘From The Ritz To The Rubble’ or ‘Riot Van’. Really, it could be argued that ‘A Certain Romance’ is the ultimate example of Arctic Monkeys’ original sound, perfectly encapsulating all the things that made the world listen up and pay attention.

It’s like they seemed to know that, too, always allowing the song a special place. In fact, it was really the band’s opening remark. Years before the offer of a debut album came around, the group were a well-oiled machine with their own local hits. They had the northern live music scene in their hands as their homemade demo CD was passed around like everyone’s worst-kept secret. Beneath the Boardwalk features eight out of the 13 songs that would be on Whatever People Say I Am, That’s What I’m Not, albeit in a slightly different, lower-quality version. But the opening number, ‘A Certain Romance’, sounds just the same.

It’s all there, from the rolling opening drums to that final guitar solo. Recorded and produced in a rented studio at only age 17, the existence of ‘A Certain Romance’, one of the band’s most explorative and energetic numbers, in this form this early in their career feels like a diamond sitting in a mine. It proves that they were always onto something special.

They never needed any help. In fact, their producer, Jim Abbiss, noted that they even seemed nervous about the help. “I think they were probably a bit weary, like ‘who’s this guy? And is he gonna make our sound this or that.’”

They didn’t want anything to change too much, as the group already had the songs figured out. Turner certainly did, as the track’s meandering narrative about hometown lads, fights, and local boredom is already there. Talking on a podcast, original member Andy Nicholson revealed the story behind the song. “We had a practice room with a pool table in, and we had a party in there, and we invited another band who were friends of ours, and we all had some drinks,” he said. “Then something happened, someone throws a pool cue, someone throws a pool ball, and everyone ends up fighting,” he added, explaining the lyrics, “there’s boys in bands / And kids who like to scrap with pool cues in their hands.”

But the magic of Arctic Monkeys lies in their nuance. What begins as a snooty analysis of his local landscape is a genuinely affectionate take. “Well, over there, there’s friends of mine / What can I say? I’ve known ’em for a long long time / And, yeah, they might overstep the line / But you just cannot get angry in the same way,” Turner sings, looking around at his bandmates and lifelong friends. ‘A Certain Romance’ is not only a time capsule for the group’s beginnings but is an ode to all the people who were there with them. It’s an ode to the hometown that made them and all its various characters.

But as the last guitar solo roars to life, there is an unspoken statement that they’re going to be bigger than what they came from. “I remember when we were recording ‘A Certain Romance’ and having a conversation with the producer about the final guitar solo,” Turner told NME, recalling the moment these songs were reworked for their debut. But they wouldn’t let anyone mess with ‘A Certain Romance’, knowing exactly what they were doing and trying to say with that one. In the 2003 demo version, all the feeling is already there, and Turner wouldn’t risk it.

“There’s something that happens at the end of that track where we break some rules in a single moment,” he continued. What happens at the end of the piece feels even more special, considering how the album was recorded. “These are the songs we wanna do, and I think this is the order we wanna do them in,” Alex Turner told their producer, recounting the conversation in 2007 to RadioX, “And he goes, ‘alright, we’ll try to record them in that order as well.’” As the final song, that last guitar solo is the last thing recorded for the album, standing as a cathartic outlet and a chance for the band to prove themselves.

“We focused on the [emotional] effect of the instrumentals over the words,” Turner reflected on the track, concluding, “and I feel like we’ve been trying to do that again and again since then.”

#I could talk about 'A Certain Romance' until I'm blue in the face or a sobbing mess #lucy did a good job on this one #she perfectly encapsulated how this song makes me feel #the moment I heard it I knew that this band was something incredibly special #it is so near and dear to my heart I will never stop singing it's praise #the fact they made this song that is so compelling and takes you an emotional journey from the beginning to end over 20 years ago????#and how protective they were of it when making the first album cause they knew it was something special #and Alex drawing similarities between 'ACR' and 'The Car' & letting the instrumental moments of the song convey more emotion than the lyri #like he always said they continue to follow the same instincts from the very beginning nearly 20 years later #i just want to write an ode to ACR so i can ramble on about it #but im gonna shut up for now #anyways please enjoy this article LOL #arctic monkeys #wpsiatwin #whatever people say i am that's what im not #a certain romance #alex turner #jamie cook #matt helders #nick o'malley #andy nicholson #far out magazine

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