#sensational feeling 9 icons

[itzsana-kiddingmenow]

𝙡𝙚𝙖𝙨𝙩 𝙩𝙞𝙘𝙠𝙡𝙞𝙨𝙝? — 𝙥𝙖𝙧𝙩 𝙩𝙬𝙤:

𝙬𝙤𝙧𝙙𝙨: 1.7k

𝙖/𝙣: he may or may not die in the writing that follows 🫣🫣

𝙩/𝙬: raspberries, reallly rough tickles 🫠

𝒍𝒆𝒆: changbin

𝙡𝙚𝙧: skz

𝒕𝒂𝒈𝒍𝒊𝒔𝒕: @someone-who-loves-kpop-saranghae @jeonginsdiary @leeknowstan33 @v--143 @wereallgonnadieonedaybutnottoday @inkytornpagess @lajanaa @a-wild-seungberry @channieissocute125 @soap143 @seungsluvv @skznccmlee @moony-9 @sunny-117

𝐭𝐡𝐢𝐬 𝐟𝐢𝐜 𝐢𝐬 𝐚𝐛𝐨𝐮𝐭 𝐭𝐢𝐜𝐤𝐥𝐢𝐧𝐠! 𝐧𝐨𝐭 𝐲𝐨𝐮𝐫 𝐟𝐨𝐫𝐭𝐞? 𝐤𝐞𝐞𝐩 𝐬𝐜𝐫𝐨𝐥𝐥𝐢𝐧𝐠 𝐛𝐮𝐛s 🐾

Binnie sat up, small spots dancing in his vision as he yawned so hard his eyes began to water. It had been a while since he was able to get such  good sleep. 

After brushing his teeth, he walked downstairs, expecting to see Minho and Hyunjin sitting at the table. After all, they weren’t in bed. 

What Changbin didn’t expect to see, however, was seven pairs of eyes boring hungrily into his soul like demons at night. 

“Umm…good morning?” Changbin stretched as he walked into the kitchen, squealing when Minho poked his exposed belly button through his thin shirt. “AH!!” 

He glared at Min with a pout, the older retaliating with a tongue in his direction. 

“So…what’s up?” Changbin laughed nervously, drinking his protein shake. Nobody said a word. “Are you guys okay?”

“Check our Instagram.” Felix smiled teasingly, and Changbin opened his phone to the app, and everyone watched as his eyes widened in shock. 

“YOU RECORDED ME YESTERDAY?!” Changbin spun his head to look at Hyunjin. “Yep! Look, the STAYs love it!” 

He opened the comment section to many loving and supportive comments, which Changbin combed through with the biggest smile in the world, and Chan even groaned at how cute it was.

The atmosphere in the room was so wholesome; all the members were grinning ear to ear at every tiny giggle Changbin let out reading the comments. 

“Were you really upset because we don’t tickle you as much as everyone else?” Chan whispered quietly, although every member could hear it. 

Changbin could feel blood rushing to his cheeks, his hands clamped over his flustered face as he nodded timidly. 

“You want us to wreck you like we wrecked Innie yesterday?” Seungmin asked nonchalantly, causing Binnie to squeak with a flustered expression. He still nodded. 

“Get him!” Hyunjin shrieked, lunging towards the unprepared bunny, who yelled as his arms were pulled out of the way, but not pinned down. 

His legs and limbs were pulled out of the way, the members sitting next to him but not pinning him down at all, which did make the rapper pout a little. 

Suddenly, hands were everywhere, tickling his sensitive skin ruthlessly. Binnie squirmed and immediately broke out into his iconic cackles. 

“WAHAHAIT!! NAHAHAHA I WASN’T READY!!” Changbin squealed, trying to block a pair of hands at his belly but only opening up his armpits, which another pair happily slid into. “STAHAHAHAP!! THAHAT SPOT IHIS OHOFF LIHIHIHIMITS!!” He choked. 

“I don’t think so…” Chan grinned joyfully as Changbin thrashed crazily, unpinned but unable to stop any any of the sensations. 

“Poor baby bunny~” Felix sighed, watching the rapper underneath them as he threw his head side to side desperately, cute laughter pouring out of him in a loud fit of ticklishness. 

Fingers wiggled all over his torso, his neck, his sides, anywhere on his upper body, really. Changbin shrieked and began to curl up in an effort to escape, hands batting at the seventy fingers tickling him to bits. 

“NOHOHOHOHO!!” Binnie screamed, managing to completely curl into a ball, arms clamping to his sides to block the spot. He breathed and panted crazily, the fingers finally having nowhere to go and letting up for a break. 

Until he felt a pair of hands tapping at the backs of his thighs. “N-No!” 

Changbjn began to feel a new level of helplessness as ten fingers began to wiggle gently on the backs of his thighs, making his entire body tremble from pure sensitivity. 

“Awhh, look, he’s shaking!” He could hear Jisung coo, and when another ten fingers began to add to the mix by slowly removing his socks, Changbin’s eyes snapped open and he let out a loud squeal, kicking at the hands grabbing his feet. “Wahahait!!” 

“Hiding from us, eh?” He heard Minho. “We’ll make you come out.”

He could feel one hand on the top and bottom on each of his feet, and by the length of the fingers on his small foot, he assumed it was Hyunjin and Jeongin. They slowly stretched them until he shrieked in helplessness. 

Not that Binnie could really think after he felt  five fingers scratching up and down the arch of his foot. 

Minho knew exactly where he was sensitive. ‘How dare he.’ Was the only thing Changbin could think of before he was immediately thrown into hysterical laughter. 

Kicking his entire lower body to the floor, face flushed a cute red color and iconic grin plastered to his face, Changbin had helpless laughter pouring from his lips like a waterfall the second fingers had made contact with his sensitive feet. 

The worst part was even after Changbin had done what Minho had asked; uncurling his body, the fingers wouldn’t stop, only speeding up against his sensitive soles. 

“P-PLEHEHEHEHAHAHAHAHA!!” Changbin howled, pounding his fists onto the floor in ticklish distress, thrashing his upper body around in every direction…but his weak body didn’t stand a chance against the six strong hands holding his knees and ankles down. 

“STAHAP!! STAHAHAHAHAHAP I CAHAHAHAHAN’T!!” The rapper was so desperate, cackling his heart out with tears slipping down his red face. 

“It’s just me! How will you react if all of us get you, huh?” Minho scolded gently, a fond smile on his face as he watched Changbin squeal flusteredly. 

“NOHOHOHO PLEASE STAHP—!!”  Binnie wheezed with a wide grin, engulfed in silent laughter. 

“Okay okay, he needs a break.” Hyunjin eased, letting go of his foot, Innie following as Changbin slumped in exhaustion. 

“Ahah…you’re so cruhuel…” Changbin gasped, yanking his legs to his body yet again. 

“Stretch him out.” Chan demanded. Binnie was too weak to put up a fight, so he succumbed to the pairs of arms pulling his limbs away from each other, stretching them out in every direction. 

“P-Please! What are you even gonna do to me?” The rapper pleaded, huffing out a laugh when Felix snuck his cold hands up his pajama shirt to undo the buttons. He was so screwed. 

Once his shirt was successfully over his head, Felix went to trace tiny hearts into his belly, his eyebrows suddenly furrowing and a pout forming on his face. “Why is your tummy not cute and puffy anymore?” Felix was certain it wasn’t this thin last time… 

“I didn’t eat anything today…and I might have worked out more because I didn’t like it…” Changbin sighed, eyes widening at the way Felix teared up a little. “Why are you crying?” 

Felix chuckled softly. “My favorite tummy is all deflated…I guess I’ll have to blow it back up.” 

Before Changbin could question what the younger meant, he felt a pair of lips on his belly, blowing out in what can only be described as the most ticklish raspberry he’s ever felt. 

“FEHEHEHEHELIX!!” He shrieked, screaming more when Chan leaned down to blow another raspberry onto his side. 

Immediately, all the members got into their respective positions, placing their lips onto any available spot on Binnie’s sensitive torso, Minho deciding to target the area near his ribs. 

“W-Wait!! Don’t! Not all at the same time!” Changbin fumbled with his words, anticipation eating him up slowly, Minho grinning evilly at him before blowing the longest raspberry he could, everyone following at the same time. 

The entire room exploded in sound, the combined sounds of the raspberries and Binnie’s squeals, shrieks for mercy and loud cackles turning the aura of the room into a comfy, wholesome environment. 

“AHHHAHAHAHAHA!! STAHAHAHAHAHAP IHITS TOO MUCH!!” Changbin dissolved into more desperate laughter as Minho aimed for his top ribs, right underneath his underarms and next to his pecs. 

“WAAAAHAHAHAHA!! LEE MINHO!!” He screeched, going ballistic as every member continued in their torture, driving the poor rapper absolutely insane. 

“No honorifics?!” Minho gasped, fingers going to scribble the younger’s armpits with his longish nails, continuing his raspberries on his upper ribs with no hesitation or mercy. 

Changbin screamed desperately and twisted his head in every direction, tears streaming down his cheeks and disheleved hair spread across the floor. 

“AAAAGHAHAHAHAHAH!! STAHP STOHOP STOP OHOHO MY GOAHAHAHAHA!!” He begged, bucking up and down fruitlessly. 

“You have a safeword, you know how to use it.” Chan reminded him, grinning at the way the rapper kicked his feet in an attempt to ward off some ticklishness. 

“Least ticklish, my ass.” Jisung let up for a second to scoff. “He should be up there with Hyunjin and Innie.” The ace returned to blowing raspberries onto Binnie’s belly button. 

For some reason, this seemed to fluster the rapper to no end, the members taking note of Binnie’s bright red face. “AAHHHAH I CAHANT!! I CAHAHAHAHANT—!!” He was plunged into silent laughter for the second time, but the raspberries didn’t stop. The members had all the intention to tickle him until he went absolutely insane and safeworded, of course. 

Changbin’s vision went blurry with his tears and his brain felt fuzzy. He felt high off of the laughter and glee he was forced to feel, shrill screams echoing through the room. He couldn’t be more thankful to the members for cheering him up this way. 

However, this wasn’t just enjoyable for Binnie, of course. The members were having a field day tickling him until he cried and screamed with how ticklish he felt. It was wholesome and a surefire way to get them smiling with his contagious laughter. 

A fist pounding into the floor three times was enough to signal the boys to finally let up, admiring the way his torso was flushed pink wherever they had blown torturous raspberries into him. 

Changbin slumped, absolutely exhausted and unable to even think straight. “Oho my god...” He smiled a sweet, heart melting smile and waddled over to Felix to lay on his lap, tears decorating his lashes and cheeks flushed a warm, pretty pink. 

He squeaked and giggled sweetly when Felix raked his fingers gently up and down his neck, and he batted at the invading fingers. “Nohoho mohohohore!!” 

“Our baby bunny~” Minho hugged him around the waist, the rest of the members placing kisses onto his cheeks and peppering some on his neck and collarbones to make him smile. 

The soft aftercare from the others made Changbin absolutely melt with joy, everyone cooing and squishing at his cheeks gently. 

“I love you all so much…” Binnie sighed. Everyone echoed his sentence and snuggled up with him in the warm sun shining through the window. 

Maybe they’ll nap for a little longer. Either way, Changbin was at the happiest he had ever felt…

…Thanks to them. 

[vintagelacerosette]

Art Tag 🖼🎨💕

I was tagged by these talented magnificent artist thanksss 💕

Molly @deathclassic Julissa @heymrspatel Deanna @deedala Ice @spookygingerr Ling @lingy910y

Have you always been interested in creating art? Yes, I was that kid in high school doodling anime girls throughout class lol

What's your favourite medium to use? I really like digital for the infinite undo button with my perfectionist ass lmao & I'm using Clip Studio. Paper art has been quite therapeutic for me too

Do you create outside of fandom? Yes

Share something you haven't finished and/or never got around to posting

I made a tribute to our Gallacrafts zine, but at the time, the mods had changed, so I was gonna create a companion piece. I didn't get around to it & then the mods had changed again 😅

Some OG crafting overlords Rhys @smokey-mickey Leah @whatwouldmickeydo Donna @sleepyfacetoughguy

I also have gallacrafts I haven't completed for really old themes, but I do still wanna post lol

Favourite piece you've made? Toss up between my gallacrafts Pride 2 piece (see piece that has most notes question) or my 2024 gallavich valentines/my icon

Draw your icon in a minute or less

You get the gist lmao

An underrated piece you've made in your opinion

A little bit to thus This collection of missing posters with the mixed media.

Do you do art in a professional setting? No, but I wanted to. I studied Visual Arts with a major in screen arts in university tho. Uni wasn't what I wanted my plan was to do animation, but, plans fell through

A piece you don't like but did really well on social media

This. The portions are wack basic background, Ian's face feels off & I rushed this

Post an old piece and compare it to your most recent, what are the similarites?

Wow pretty good that I get to compare these two lol. Still got the star motif & the way I'm drawing bodies is has improved yay! Look at that looooong squiggly pointing arm

Have you ever collaborated with another artist/s? Yes, with the lovely & super talented Ling @lingy910y I couldn't have as for a better first time collab partner 🫶🏼 Would love to collab more 🥰

What piece has the most notes? Are you surprised?

This one has the most notes for hand drawn art & the other is my most notes for art/crafts in general. I'm pretty proud these are top dogs & pleasantly surprised with the Deleted scenes one 😄

Who/What is your favourite subject matter? Our boys but also when I'm acrylic painting I'm loving painting clouds & sunset/sunrise skies hues

Show us something not from fandom you've made

I've been experimenting with acrylic paints after getting inspired by a sparkling water painting I saw on tumblr & here are some cute cows I drew for Leah

Where do you like to create? There's a table in the lounge room that's very spacious, has good light & a cart with a stash of my art supplies. But I wanna migrate back to my room bc I got a new big desk there to keep my mess away lol

Do you have a tag that you use to group your creations? Tell us so people can follow it. It's under Myn's art

Give yourself a shoutout, where can we commission/buy/follow you for more pieces? I don't sell my art or do commissions, but I kinda have some drawings I do love & toy with the idea of making postcards or have it on a mug

I'll tag sensational & inspiring artist if they wanna play 💖

@suzy-queued @tsuga-of-mars @samantitheos @burninface @darthvaders-wife @psychicskulldamage @michellemisfit @sgtmickeyslaughter @mickittotheman @y0itsbri @friend-bear @matt404b @takeyourpillsbitchh @michellemisfit @mikhailoisbaby @mikcrymilkovich

[xbunnybunz]

The Devil, He, and I [Alastor X Reader 4/9]

Summary: In a cabin by the woods, you make a deal with a demon that may cost you your humanity.

Genres: Romance, Angst, Horror, Psychological Horror

There is darkness all around you. 

And a voice, haunting and serene, humming a foreign melody above you.

You stir, groan, toss and turn as if you are in a nightmare. But a hand enveloped in taut fabric brushes your hair behind your ear, tenderly, reassuringly.

There there, they say. And you trust it. Settle into your sleep.

The touch continues, chaste as it is gossamer, so much so that you are wondering if there ever was a sensation at all. But it comes again, smoothing down strays, fingers slipping to your nape, resting there before beginning anew.

Here, you feel a lightness to your body. A weightlessness to your thoughts.

Here, you do not want to drift back to sleep again, into that dark and heavy embrace, that labyrinth of your mind. But the melody soothes you, and you are at peace for the first time in a long time. You cannot help the leaden sensation in your fingers first, then in your legs, then in your mind, crystallizing with exhaustion.

You fight it. You do. But it is a losing battle.

Slip back into slumber, slip back into that numb nothing, nothing, nothing.

-

You drag yourself to the main room. Make your way to the window, or, whats left of it, dare to peel back the layers of wood and logs and blankets and peer outside towards the treeline.

Nothing.

You look towards the grave, still making an indentation into the snow, blood barely visible with the new flurries.

Swallow thickly.

Swallow again.

Lick your lips and then wonder if they were dry to begin with.

You squint at the woods again and see nothing.

With large and vague sweeping motions, you paw for your phone and pull it close, your eyes hesitant to leave the slit that provided you a window to the outside world. You imagined looking away for a moment, checking your phone, glancing back up only to find another bulging eye pressed to yours, bloodshot and devilish, roving wildly. But when you finally do, nothing happens.

So you dare to back away, longer this time, and check your phone’s signal strength.

Zero bars.

An icy heaviness weighed in your fingertips and nose at this revelation, though you weren’t particularly surprised. 

With the lack of notifications you had been getting, you figured the reception in an area as secluded as this would be a given– even a positive point, as emphasized by your doctors and relatives. But it felt like an umbilical cord had been cut. 

Without a steady and reliable connection to the outside world, you were naked and vulnerable. Left stranded and without help.

You drop the blanket and seal up the window again, then lift your phone above your head and move your arm in a semicircle, gauging for the reception at a pathetically negligible amount of altitude. 

Nothing.

To be sure, call the police. Your call doesn’t go through so you pull up a browser window, already stuck on a white loading screen as a harbinger of what is to come, and search the first thing that crosses your mind:

“creature in woods”

Hit enter.

After waiting a while, you try something else.

“near me police”

“creature in woods talking”

“deer eating monster”

“wendigo”

The screen loads and loads and loads, the icon beside the search bar looping endlessly until the screen darkens and you tap your phone to keep it alight. After the third time, you let it shut off. 

Stare at your reflection in the screen. 

Blink, and swear you see the outline of your pupils warble and collapse into a horizontal darkness. Blink again and see nothing has changed at all.

-

When you summon the courage to venture outside, it is the cusp of noon falling into the evening. 

Among the trees, afterthoughts of a blue sky are tinged with the vaguest touch of lavender and chardonnay hues. If you squint, the speckled night sky is already in view overhead.

Though beautiful, this is a foreboding scene to you who has grown weary of the night and what it may bring. This trip, you think, will have to be a quick one.

You clasp the car keys in your hand hard and feel the metal cut into the soft flesh of your palm, eyes scanning the treeline meticulously and only twice daring to look away long enough to throw a glance over your shoulder.

The car is lodged under a foot and a half of snow, but this doesn’t stop you from kicking it away frantically with your shoe and throwing yourself into the driver’s seat. You cannot shake the feeling that something somewhere is watching you, and you cannot say for certain that you are only imagining things.

It feels like a nightmare at first when the car ignition sputters, spits, and dies. Then the world around you grinds to a dizzying halt, worsening the sick feeling in your stomach, the adrenaline-driven migraine thrumming between your temples. 

Your sights zero in on the key in the ignition, how a hand, you barely remember it is yours, continues to frantically, overzealously, futilely turn the key. 

The engine fails again and again and again. You see something out of the corner of your eye under a distant pine, fur gleaming a crimson red under the fiery sunset. You feel a horrible chill climb up your spine, one sick inch of vertebrae at a time. 

You do not look. You do not need to.

You turn the key again and press the gas. You think of pulling out of the snow, driving far from the wooden cabin by the trees, think of the stretch of concrete highway and the yellow lines splitting the road into two. Feel it slip away from you as your engine ceases to respond at all.

The shape by the trees has disappeared.

Your jaw is clenched tight, muscles in your face pulled tense and breathing coming in short, harried stints.

You do not know where he has gone, but you know you do not have much time to waste.

You throw yourself out of the car growing increasingly aware of the sounds that surround you. A branch breaking, leaves rustling, a bird flying overhead. You can’t stay out here much longer.

You stumble back into the cabin and lock the door twice, passing the bloodied grave. 

You drag a chair over the door for extra measure and grab your phone, useless to you now, and a bottle of water to ease your rolling stomach.

Fear eats at your mind. 

You think of the form by the trees. You think of the carcass of the doe, think of the way its pelt felt under your fingernails, stiff with death, soft with decay.

Hunger eats away at your insides.

-

You retch into the toilet again, sweat pushing at your temples. 

The remainder of your sandwich and rice pudding sits floating, half-digested, at the surface of the toilet bowl. The smell of mustard and cream mixed with bile makes you gag again and you lean over and let the contents of your stomach upheave through your body once more.

After a while, you sit next to the toilet on the bathroom floor and gasp for air, halfheartedly reaching over to flush the toilet. Watch the contents of your upheaval swirl down into the black eye of the drain.

Your stomach growls in hunger.

Eye the unwrapped sandwich balanced precariously on top of the sink. The few bites you had taken earlier had tasted just as it should have, smelt just like it should have, but as you continued to eat the smell of the meat started to weigh heavier, heavier in your mind.

Deeply salted and horribly pungent. Stringy and frail, signs of meat that have been long dead, shrink-wrapped and dyed in a pigment of red 40, disguised as something that was just killed, still fresh, still consumable.

The lettuce and tomatoes made you sick. The dreadful things were high in water content and shot a bitter taste across your tastebuds, tasting more and more like sewage with each excruciating bite. The bread was rancid as well, covered in countless small holes like parasites had burrowed through them and made a home there, leaving piles of their noxious excrement behind, the air pockets capturing and preserving the foul scent of living, pulsating, yeast.

You groan and feel your stomach turning again at the memory of eating the sandwich. You kneel back over the toilet and allow vomit to pass through you like a wave, nasal passages opening and leaking mucus down your lips, down your chin.

Dig your nails into the varnished wood. Grapple for hold and find only epoxy.

Your hand makes a grab for the toilet paper, once, twice, then finally landing on it. 

You pull a few squares, ignoring how the roll keeps spinning and spilling paper all over the floor. Wipe your face, try not to throw up again when you taste a piece of meat still stuck between your teeth.

The food was fine. You knew this.

You checked it for any signs of going bad before you left for the trip and after you had unwrapped it this afternoon.

When the sandwich refused to sit well in your stomach, you tried the rice pudding for something easier to digest. It had ended the same way, with your mind refusing to accept the heady sludge and rejecting it from your body.

Your stomach growls again, rolling in your body with unsated hunger.

You were probably just sick with something. It makes sense, with what has been happening recently. You were low on sleep and anxious, maybe caught a cold from the broken window, perhaps had a stomach flu brewing in your system for a while now, and it had only decided to spring forth now that your immune system was weakened.

You reasoned that maybe it was the food, maybe it was the sickness. Maybe it was anything other than the strange unnatural beast that had been tailing you for the past two days, but you knew the truth. 

When you try to look up signs of a stomach virus, your phone reminds you that there’s no internet out here in the wilderness. 

Your stomach growls again.

You’re starving.

You uncap a bottle of water and drink it slowly, in case your stomach decides to churn it back out all over the sheets. 

It doesn’t.

So you hungrily drink, filling your belly with water. Feel it slosh against your empty insides, and think of nothing, nothing but the red and bloodied snow by the excavated grave.

[eddieredmayneargentinablog]

New post: "EDDIE REDMAYNE & GAYLE RANKIN BRING AUDIENCES INTO THE KIT KAT CLUB"

FRANK DILELLA | FEBRUARY 6, 2024.

Starting April 1, a hearty “Willkommen” awaits at the enticing and electrifying Kit Kat Club (a.k.a., the August Wilson Theatre) on 52nd Street on Broadway. The London transfer of the 2022 Olivier Award–winning revival of Cabaret is one of the most highly anticipated musicals of the spring season. Tony-winning actor Eddie Redmayne is set to reprise his performance of the Emcee, a role he won an Olivier for when he opened the show in the West End. He’ll be joined by actress Gayle Rankin, who is new to this production of Cabaret, taking on the show’s leading lady, Sally Bowles. Entertainment journalist for Spectrum News NY1 Frank DiLella caught up with both Redmayne and Rankin to talk their love of Cabaret and much more.

Eddie, congratulations on the Broadway transfer of this brilliant revival. How are you feeling knowing you’re once again taking on the Emcee in Cabaret?

EDDIE REDMAYNE: Thanks so much. Honestly, this is one of the pieces that made me fall in love with theater as a kid, so the fact that I got to play this iconic part on stage professionally in London was truly a bucket-list moment fulfilled. But when I was about 9 or 10, I became oddly obsessed with New York. London was home, but I was always looking at photographs of New York, researching the place. When I eventually came to the city and went to Times Square, it was one of those completely overwhelming sensations. I remember my whole body reacting. So the idea that I now get the chance to play this part in this show that I’m so passionate about in the mecca of musical theater — which is Broadway — is beautifully daunting and also 100 percent thrilling!

Gayle, Cabaret seems to be your show. You were part of the 2014 Roundabout revival with Alan Cumming — you played Fraulein Kost.

GAYLE RANKIN: I can’t tell you how moving it is to have worked on Cabaret a decade ago, and after lovingly letting it go, it’s come back to me with the gargantuan gift of Sally. [Laughs.] It is my show! I feel wildly privileged to be able to say that. I know I have to continue to earn that privilege because of what the show is and what it means. But I have never felt more ready to do that now, inside of this amazing production and with this incredible group of artists.

Eddie, when were you first introduced to Cabaret?

ER: I was first introduced to it when I was in school; I was around 15 or 16, and there was a little production being done at my school. And that was the first time I listened to the music. I remember hunting down all the possible CD versions I could find. I remember looking for a production to see, but there were none playing in London, so the very first production I ever saw of Cabaret was, randomly, the Spanish version in Madrid — and it was the Sam Mendes version, but in Spanish! I was 19 and completely blown away. Since then, I saw Emma Stone and Alan Cumming do it brilliantly in New York, and of course Rufus Norris’s version in London. I’m a sort of Cabaret junkie.

How about you, Gayle?

GR: The first time I was introduced to it was when I was in a musical-theater program in Scotland and one of the other young women had been given the song “Maybe This Time,” and I remember being like, “Wow! What a song!” That’s when I was introduced to Cabaret as a property.

Eddie, it’s my understanding that you were instrumental with making this production of Cabaret take shape.

ER: Ha! It’s been a long old road. After I did Cabaret in school in my late teens, there was an amateur production of Cabaret going to the Edinburgh Festival, and I got cast in that, and the venue that we were doing the show in was called The Underbelly. It was dark and damp and people were sitting around tables. I loved every minute, and it affirmed my want to be an actor. The guys who set up that venue became producers professionally and the Underbelly transformed to become a brilliant venue and producing house in the U.K. They approached me about seven years ago and asked if I would ever consider doing Cabaret again. It had always been on my bucket list, and I thought long and hard about it — as I said, it’s dream territory. Then Jessie Buckley leapt into my mind, who is an extraordinary actor and singer, and she and I plotted together. We both approached the brilliant director Rebecca Frecknall, and piece by piece this thing built momentum. But it had been done so beautifully and vividly before, we only wanted to do it if we could find a new way in, something that perhaps hadn’t been explored before.  And with Rebecca, the brilliant Tom Scutt, Julia Cheng, and Jordan Fein — our designer, choreographer, and prologue director — we took on this idea of inviting an audience through the underbelly of the theatre, taking them through this experience so by the time they arrive in the theatre, they’ve truly left all their troubles outside.

Eddie, you’re taking on one of the great roles of the musical theater, the Emcee, and I have to say, having seen you on stage in London, your Emcee is different compared to Joel Grey’s and Alan Cumming’s.

ER: I think one of the reasons he’s such an appealing part is because he’s one of the most enigmatic parts that I’ve ever read, witnessed, or experienced. The Emcee was a part that was created by Joel and Hal Prince [director of the original Cabaret] to join scenes together. He has no literary basis. So in some ways, the part exists in an abstract way. One of the things that I tried to do when I first started was I attempted to rationalize him and create a backstory. But the second you try to pin him down, he falls flat — he’s too quixotic for that. In the end it became trying to find a way into him physically and through instinct alone. It felt like a high-wire act. But a thrilling one.

Gayle, Sally Bowles is one of the great female roles in musical theater. Who is your Sally?

GR: My Sally is close to me. I think she’s only to be known truly by me. Sally can infamously live in a space where she can be pitied to people, and I don’t think that’s the whole story. There’s more to be told about her. And I feel compelled to take that on.

Do you feel that your experience of doing the 2014 Cabaret revival with Alan Cumming, where you played a Kit Kat Club girl and Fraulein Kost, prepped you for Sally?

GR: How could it not? For something to live inside of you both consciously and unconsciously — I hope I’ve evolved as a person and as an artist, and I feel like I’ve never been more ready to take Sally on. And I feel like I’m a big enough girl to admit the 2014 production — I was not in a place or was the right person to play Sally even though I had the time of my life with that show.

Sally gets some amazing musical moments. “Maybe This Time,” “Cabaret,” “Don’t Tell Mama” … Favorite tune in the show?

GR: It’s always been “I Don’t Care Much” [sung by the Emcee]. Sally’s songs are almost too meaningful; I can’t pick one, they’re like children. [Laughs.] But there’s something about “I Don’t Care Much” that’s so essential to the conversation and the story and lives inside of all those characters. This longing for hope during so much horror. That song just moves me.

Gayle, take me to your opening night, when you take your bow as Sally Bowles.

GR: [Laughs.] Frank! What a question. Now I’m crying. My niece will be there, and she’s 12, and I’ll probably be looking at her. I’ll probably be tired. [Laughs.] I think I’m going to be really happy.

This show is quite the experience. Give a little preview of what New York audiences can expect once they enter the Kit Kat Club.

ER: I can’t paint that picture for you just yet because it’s in the process of being built and designed by Tom Scutt. Tom Scutt is one of the most thrilling creative minds I’ve had the privilege to work with. What his plans are for New York are completely captivating. The idea is that you’re brought in as an audience not through the conventional way of the theatre — you’re met by an entire prologue cast of dancers and musicians. You are submerged into the world of Cabaret from the second you pass the threshold. For me, I hope it makes the experience — you will feel like you’re part of an all-consuming event. You will also get to witness Gayle’s Sally — Gayle is a volcano of talent — Bebe Neuwirth’s Fraulein Schneider, Ato Blankson-Wood’s Cliff, Steven Skybell’s Schultz. A staggering ensemble — the list goes on. So many exciting things.

Eddie, you’re following in the footsteps of two celebrated actors who played the role of the Emcee: Joel Grey and Alan Cumming. Any interaction with them?

ER: I haven’t with Alan since I’ve played it. I met Alan in Los Angeles years ago and he’s just an extraordinary talent. Joel, I had never met, but then I got through the first act of Cabaret on opening night in London, and at the interval some flowers arrived and I opened the card and it was from Joel Grey. And in the midst of our opening night show, opening his generous card was one of the great moments.

I was so haunted by this production when I saw it in London. The time feels right to see and experience Cabaret.

ER: There is something so searingly relevant with this piece. And I feel like whenever Cabaret is being done, it’s relevant. But with what’s going on in the world today, I feel like it’s a cautionary tale — it sings loudly and clear and it’s this idea of the fear of the other. The political gain of “othering” people. And that constant repetition of scapegoating and hatred is what we’re seeing in our politics now.

GR: I’m not sure what John Kander and Fred Ebb and Joe Masteroff were channeling when they were writing this — they were able to tap into something that’s so cyclical. And as a humanity, I think we all hope that Cabaret becomes not as relevant as it is.

---

[unreone]

GORETOBER 2023

Day 9: Snail

CONTAINS -> BODY HORROR, SNAIL TRANSFORMATION, DISTURBING IMAGERY

Whistling, Disco Bear is just another face in the street, with music in his soul and groove on his feet. His attention is quickly grabbed by a sharp "Psst!" Turning to the dark alleyway is a stand filled with beauty products and goods. Standing behind it are Lifty and Shifty. The twins, who normally sold shady items like "magic" beans, insisted this particular product would be the miracle for his beauty to become flawless. Disco Bear's eyes light up as they tell him its effects. It's just what he's been looking for! Without a second thought, Disco Bear hands over the money and scoops up the cream in his hands. He then went on to his destination.

That evening after his dance rehearsals, Disco Bear applied the snail cream to his face, feeling the strange and slimy substance as it spread across his bear skin. He notes how he never heard of the brand before. Still, this doesn't stop Disco Bear to stare at himself in the mirror, admiring the results of the snail facial cream. He couldn't believe how flawless his skin looked, the once wrinkly fabric of his body now smooth as butter. He felt as if he had transformed into the most beautiful being in the world, a dazzling disco ball shining brighter than ever before. At first, nothing seemed unusual to happen. He danced in front of the mirror, admiring his handsome face, as the cream began to dry.

As the cream seeped into his skin, he felt a burning sensation spreading across his face. His heart pounded as the pain intensified, and his vision started to blur. As much as the music is fun to dance to, it is not enough to distract him from the needle-like sensations. The burning sensation continued to expand, eventually reaching his forehead and his arms that he is forced to stop the speaker. It was then that Disco Bear noticed something strange happening.

Suddenly, his skin started to stretch and become sticky, as if he was turning into a giant, rubbery slime. He looked into the mirror and his heart sank as he saw his face begin to twist and contort into a grotesque mockery of itself.

In horror, Disco Bear watched as his once handsome features slowly melted into a mess of slime and goo. His eyes, once bright and full of life, were now two black beads of a snail's foot. His nose and mouth fused together, leaving a single black hole in the center of his face. He opened his mouth to scream, but no sound came out. The pain was so intense that he lost his awareness of the world around him.

As Disco Bear tried to move, he felt his limbs twisting, bending, and writhing like a snake's. His muscles and ligaments were becoming soft and fluid, unable to support his body weight. The snail cream was turning him into a real life snail! He wasn't sure what to do other than scream in agony, feeling the transformation happening to him like some kind of awful nightmare.

As the transformation continued, Disco Bear was becoming smaller, his body becoming more streamlined like a slug's. He couldn't even move, his body was glued to the floor. He felt his eyes were being covered by a layer of slime, and he couldn't see anything. The only thing he could hear was his own heartbeat in his ear. Even his iconic afro had flattened into soft, gray feathers.

Disco Bear let out a shrill, high-pitched screech as he struggled to escape his new form, his once powerful voice reduced to a high-pitched whine. Silently, he cried as he realized he was trapped in this form forever, doomed to live out the rest of his days as a slimy, disgusting snail, unable to dance or enjoy his once-glamorous life.

• • •

"'We're actually in our 40's' my rump. Still, I couldn't believe he fell for your stupid persuasion" Shifty says, counting the heavy cash on his hands, finding its texture satisfying on his paws.

"If it works, it works. Kinda pity him actually. That guy's really desperate it's sad," Lifty said as he catalogues the content of their van. His brows furrowed seeing the bottle of "facial cream" filled with water that was supposed to be with Disco Bear.

"Uhhh... bro, I think we gave the guy the thing that Sniffles ordered for..."

Shifty stopped his counting to let his brother's words sink in. Upon realizing how grave their mistake were, Shifty could only say his own name in response, minus the fourth and sixth letter.

[sandorara]

Fic authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers. Let’s spread the self-love❤

Oh, this is so nice! And incredibly difficult, which has made me feel nice. Can you believe I have so many works I'm still pleased with that it was difficult to choose? What a pleasant feeling.

Anyway, in chronological order of posting, starting from the most recent. I've decided not to choose unfinished ones or co-authored pieces, so we're going decently far back right from the start.

1. See you in Eorzea - Yizhan & FF14, 69k, E I (M 28) picked up someone (M 2x) in a video game and I think they might be famous. Please advise.

Famous/non-famous MMORPG AU, meet cute in Sastasha. My longest work ever when I wrote it, and it was completed before posting anything. Still really happy with it, and, Yoshi-p should pay me royalties for how many converts it's created. I'm confident you do not need to know yizhan to enjoy it, if you would like to give it a try 💕

2. For the future you (the one without me) - Yizhan, 6.4k, T “Why Singapore?,” she’d asked him once, and he’d not known how to answer. An exploration of what may lie outside the few minutes the Vogue Film offered.

Inspired by a Vogue shortfilm Wang Yibo starred in, link to it can be found in the a/n of the fic. 9 minutes, very aesthetically worth it. I'm really happy with the atmosphere of this work, and I feel like it's very representative of my shorter, fleetier, ever bittersweet style. Am proud still. 🥺

3. Written, never said - cql - lwj & mianmian, wangxian, 6.6k, G ”I have a letter to deliver to young lady Luo Qingyang. It has arrived from Gusu today, with the quickest delivery.”

Thirteen years of correspondence, understanding and friendship.

My Mianmian and LWJ friendship agenda. Epistolary fic covering the years of WWX's death through Mianmian's eyes on the letters she receives and writes. I'm still happy with how this one conveys what I wanted to say. I'm pleased with it stylistically. And they deserved that friendship, IT WAS THERE, OK.

4. Sensations - ffxiv - wolexarch, 4.7k E ”Make it hurt, please,” he’d finally whispered, as each day, more of his body was being eaten away by the crystal, leaving him missing touch in places he did not know he’d wanted it.

A stand-alone AU within my wolfic series in which G'raha's crystallisation speeds up after the events of 5.0 and the completion of his mission. and with it comes loss of sensation. This one came to be when my dear friend @draiochteve prompted me to write "soft knifeplay". I love the bittersweet desperation and love I managed to convey in this one, and, I just want you to take note of the publication date: This was posted exactly a year before the release of patch 5.3. 😌

5. Nothing more than a willing substitute - ffxiv, asahi/zenos, 4.3k, E He would do anything to please his beloved Prince.

Oldest one here and I will admit I'm impressed that I still think it's worthy of this list, five years later. One of my first 14 fics, and definitely the most wretched thing I had ever written at the time. Mayhap one may call it my descent into the filth-pit. Asahi just made me feral, and it worked out. My dear gf @g0g0mi just desrcibed this one as "iconic", so. Unrecruited obsession love, swordplay, bondage, choking... there are things. IDK. My brand started here, OK. And, I think it still holds up. 😎

Thank you for letting me do this, it was quite the mood-boost! Will pass it on. 😊

[f1delitous]

Ranking the 2023 liveries!

10. McLaren MCL60 - 2/10

It was an easy dead last. I’m sorry, but the empty patches of exposed carbon and the obscene amount of sponsors are not giving. I do love colorful cars, especially when the grid is so dark, but the orange is a bit too saturated and the chrome on the front wing is…. not it. How much is google paying them??? Do a classic gulf livery please!!

9. AlphaTauri AT04 - 4/10

I don’t really get the hype around this one. It’s a bit more interesting than last year but not very memorable. I do like the wheel covers though! I wish they stuck to the old Toro Rosso livery.

8. Alpine A523 - 4.5/10

Look. If they used the full pink livery I would put it in the top 3 because she’s pretty. The blue feels very forced and the sponsor placement disrupts this livery even more. As my friend says, “it looks like a gender reveal party.” Props for being colorful though.

7. Red Bull RB19 - 4.5/10

He’s the same. When I first saw it I was so disappointed they didn’t do the white livery (imagine Max’s white and gold helmet as a livery!!) However, it is not last because it’s still a really good livery. But I can’t put it any higher just for lack of creativity.

6. Haas VF-23 - 6/10

Most improved for sure. I like the white lines against the dark background, and the red works. I would rate it a lot higher if there weren’t so many red and black cars.

5. Alfa Romeo C43 - 6.5/10

Speaking of red and black cars… I liked it when I first saw it, but now I’m not crazy about it. I really liked the white and red last year, and the black makes it look too similar to a Ferrari. The body of the car is incredible though—the side ridges. 🤌🏼

4. Williams FW45 - 7.5/10

One word: DURACELL. Whoever came up with that sponsor placement is an absolute genius. I love the pearly blue, but I think it would look more elegant without the random geometric shapes.

3. Aston Martin AMR23 - 8/10

Just making the podium is Aston Martin. This was by far my favorite livery last year, and it looks very similar. I don’t know though, I’m just not salivating over it like I used to. I think all the sponsors in white text really breaks up the (gorgeous, delicious, sensational) British racing green and makes it look messy. The green with the chartreuse accents is so iconic though, and I’m sure she will be glowing under the sun.

2. Ferrari SF-23 - 9/10

She’s hot. We all know this. I apologize for objectifying this car but UGH. The side pods look incredible from overhead, and I love the slits. My only comment is that I would have preferred a pearly red. I know the matte is lighter but I want to see her shine like a Mazda in red metallic.

1. Mercedes W13 - 14/10

*Slaps the roof*

*Sinks to my knees*

When I watched the reveal my jaw dropped.

I won’t apologize for objectifying this car because she is sex. I would do anything for her.

I mean….

I have nothing I would change about her. The lines. The side pods. The stabby parts next to the front wheel. It’s absolute filth. If I was run over by this car i wouldn’t be unhappy.

Fidelity, didn’t you say you liked colorful cars?? This is just all carbon.

SHUT UP. She’s perfect. I will gatekeep black cars just for Merc. And the story of stripping paint to reduce weight is so iconic to the Mercedes story.

Name a human more attractive than this car. I will wait.

[ausetkmt]

Eternal Soul

On the heels of her best-selling debut, Age Ain’t Nothing But a Number, fifteen-year-old Aaliyah was rocked by a sex scandal that would have crushed a lesser talent. But breaking ties with her label and former producer and paramour R. Kelly afforded the teenage singer to create a new musical life for herself. She joined forces with production/songwriting duo Timbaland and Missy Elliott, who crafted a set of funky and futuristic soul tracks that took audiences and stale R&B radio by storm. Aaliyah showed strength and resilience—and effortless cool—and went on to garner multiplatinum sales, becoming a huge star. But her comeback was short-lived. At twenty-two, just as she released her third album and started an acting career, Aaliyah lost her life in a plane crash. However, icons never die, and her musical legacy endures.

published online Wednesday, December 9, 2020 Originally published in Issue 59, Summer 2014 By Michael A. Gonzales

It was the last weekend before Labor Day 2001, and the sidewalks of New York City were brimming with Saturday-night folks looking for fun. While a decade before the Meatpacking District was literally just that—with refrigerated trucks parked in front of dingy warehouses and the cobblestone streets sticky with animal blood—by the new millennium, those same blocks had transformed into a chic section of town overflowing with boutiques, restaurants, and clubs blasting the songs of summer that included P. Diddy’s Black-rock single “Bad Boy for Life” and Destiny’s Child’s pop-tart anthem “Bootylicious.” 

As I was passing one trendy spot, pop sensation Aaliyah’s latest single, “We Need a Resolution,” blared from the speakers. With a voice that was shy and sexy, the mesmerizing track was the first from her self-titled third album, released a month before. Produced by frequent collaborator Timbaland—whose signature cyberfunk explorations into sound put an electrifying mojo on Black radio in the mid-’90s beginning with Aaliyah’s sophomore album, 1996’s One in a Million—her cool, broken-hearted soprano blended perfectly with the heat generated from his funky, futurist machine dreams. 

Like Rachael, the emotional android in Blade Runner, Aaliyah became a cyborg chanteuse, a digital diva for a new generation of soul children. With the music being stuck in a rut of stylistic nostalgia and neo-soul mania, One in a Million made R&B’s potential feel limitless again, as it pulled listeners into the future. 

Coming a year before Björk’s equally brilliant 1995 album Post, Aaliyah’s debut, Age Ain’t Nothing But a Number, came from a teenage girl from the D who brought the rhythmic weirdness first. 

In 1995, Aaliyah Dana Haughton met Timbaland when she was sixteen after leaving her first label, Jive Records, amid much controversy of an illicit marriage to her then twenty-seven-year-old producer R. Kelly, who’d written most of the material on Age. Although both sides denied the allegations, a marriage license was later published in Vibe magazine. 

While the “pied piper of R&B”—as Kelly proclaimed himself—had gained much fame since the release of his multiplatinum 12 Play album in late 1993, and was given a pass by the press and his fans, Aaliyah was portrayed as a Lolita seductress. When her picture was shown at the 1995 Soul Train Awards (she wasn’t in attendance), audience members booed. 

Years later, allegations of Kelly’s alleged sexual misconduct continue to overshadow his music, including an infamous golden-shower sex tape, a housekeeper who sued him for sexual harassment, and rumors of millions doled out to settle “dozens” of “harrowing lawsuits” brought by scores of underage girls the musician reportedly sexually abused.

Although Age was a platinum-seller for Jive, the label allowed Aaliyah to be released from her contract. Her management company, Blackground, owned and operated by her mother’s brother, Barry Hankerson, who also managed R. Kelly, signed her with Atlantic Records. At the urging of Atlantic vice-president of A&R Craig Kallman (who in 2014 is the label’s chairman), Tim (aka Timbaland) flew to Aaliyah’s hometown of Detroit, Michigan, with fellow producer, songwriter, arranger, and rapper Missy Elliott.

Initially, Aaliyah’s second album was supposed to be helmed by the jiggy prince of production Puff Daddy (P. Diddy) and his trademarked, sample-heavy touch with the Hitmen team (Chucky Thompson, Deric Angelettie, Ron Lawrence, Stevie J., and others), but it never happened. 

“I went to Puff’s studio in Trinidad for a week,” Aaliyah said in 1996. “We started working together, but we couldn’t finish the songs on time. I had to leave, because I had to go to Atlanta to record with Jermaine Dupri.” 

Setting up shop in Detroit at Vanguard Studios, which was owned and operated by producer/guitarist Michael J. Powell, who’d overseen Aaliyah’s demo material when she was twelve, Tim and Missy went to work. “The first song we recorded was the title track [‘One in a Million’],” Timbaland told me in 1999. “From our first session, I was blown away by how talented she was.” While Missy later claimed that “If Your Girl Only Knew” was the song recorded during their first session, what remains undisputed was the closeness the trio felt during that time. 

The Black noise duo christened the beautiful Brooklyn-born, Detroit-reared singer “Baby Girl,” and they became inseparable. Staying at Vanguard for a week, the three of them later flew, according to Missy Elliot, on “a little, little plane,” to Pyramid Studios in Ithaca, New York, to finish their work. The end results were the six groundbreaking tracks and two interludes from her second disc, One in a Million. 

Legendary engineer Jimmy Douglass (who worked on countless Atlantic R&B classics) connected with them in Ithaca. “Aaliyah was coming off such a big debut,” he says, “so it would’ve been all right for her to be bratty, but she wasn’t. She was such a nice human being. Aaliyah was very quiet, but when she sang, she sounded great. I was impressed.”

In July 1996, a month before One in a Million was released, I interviewed Aaliyah at the Sea Grill, a restaurant at Rockefeller Plaza in New York City. Having first met her two years before, I realized that Aaliyah was always a sweetheart, yet very guarded. After a sex scandal that might’ve squashed a lesser talent, she was obviously resilient. She answered questions thoroughly but tried not to disclose too much about R. Kelly or the alleged marriage. 

“I faced the adversity,” Aaliyah said. “I could’ve broken down, I could’ve gone and hid in the closet and said, ‘I’m not going to do this anymore.’ But I love singing, and I wasn’t going to let that mess stop me. I got a lot of support from my fans and that inspired me to put that behind me, be a stronger person, and put my all into making One in a Million.” 

Sitting next to her equally beautiful mother, Aaliyah was radiant, coy, and confident as she talked about Tim and Missy’s production skills. “At first, Tim and Missy were skeptical if I would like their work, but I thought it was tight, just ridiculous,” she said. “Their sound was different and unique, and that’s what appealed to me. 

“Before we got together, I talked to them on the phone and told them what I wanted. I said, ‘You guys know I have a street image, but there is a sexiness to it, and I want my songs to complement that’; I told them that before I even met them. Once I said that, I didn’t have to say anything else. Everything they brought me was the bomb.”

Besides Tim and Missy, she also worked with producers Kay Gee (Naughty by Nature), Daryl Simmons (L.A. Reid and Babyface), and Vincent Herbert (Toni Braxton), who laced her dope remake of Marvin Gaye’s classic “Got to Give It Up,” which featured a smooth Slick Rick rap. Aaliyah explained how the remake came about: “I wanted some real party songs, so when my uncle played me that [original track], I thought of how I could make it different. Slick Rick [who’d been in jail] was on work release at the time, so Vincent got him on the song. 

“I don’t know how Marvin Gaye fans will react, but I hope they like it,” she continued. “I always think it’s a great compliment when people remake songs. I hope one day after I’m not here that people will cover my songs.”
Aaliyah’s uncle and manager Barry Hankerson was the person most responsible for making his niece a star. “Barry was bringing Aaliyah to the studio to record when she was twelve years old,” remembers producer and Vanguard owner Michael J. Powell via telephone from his home in Detroit. “At the time, Barry was trying to get Aaliyah a deal with MCA, and he came to me to make her demos.” 

Powell was a Chicago native whose studio, Vanguard, was a place that made sophisticated soul. Best known for the lush retro-nuevo production on Anita Baker’s incredible Rapture album in 1986, Powell has also worked with Aretha Franklin, Patti LaBelle, and Gladys Knight, who was married to Barry Hankerson from 1974 to 1978. “As a producer, Michael is a very patient person with great ears,” says Bill Banfield, composer and professor at the Berklee College of Music. A friend of Powell’s, he has also recorded with him. “Vanguard was the second generation of Motown with a live band, polished arrangements, and Detroit soul.” 

Powell, who is still working in Detroit, recalls working with the singer back before her debut: “That was the time before Aaliyah went to work with R. Kelly, and she sang in a full, powerful voice that was like Whitney Houston’s. We recorded a few covers—‘The Greatest Love of All,’ ‘Over the Rainbow,’ and ‘My Funny Valentine,’ which she had sung on Star Search. She could handle big ballads, and she had great range. I have heard her do things the public have never heard. She was a natural.”

One of Aaliyah’s first professional gigs was singing with her aunt Gladys Knight in Las Vegas. “We performed at Bally’s five nights a week with a little break in between,” Aaliyah said in 1994. “Singer David Peaston [whom Hankerson also managed] opened the show, and then Gladys would bring me out to sing ‘Home’ with her, and then we did ‘Believe in Yourself.’ I loved it; for me, it was like being on tour.” 

In 1996, while Aaliyah cited “One in a Million” as her favorite song, the label chose to release “If Your Girl Only Knew” as the first single. However, having debuted in 1994 with the more traditional soul stylings of R. Kelly writing and producing Age Ain’t Nothing But a Number, not everyone was pleased with the singer’s new direction. 

That album broke ground with its experimental tempos and drum programming and hip-hop soul songwriting. Jason King

“Me and Tim were so excited, because this was the first production we were doing outside of DeVante’s camp,” Missy explained. In addition to Jodeci and their famed producer DeVante Swing, the aforementioned camp of young upstarts included Sista (Missy’s rap quartet), Ginuwine, Magoo, Playa, and Tweet. “We were only supposed to do one record, but Craig [Kallman] kept asking us for one more; but, when they played [the singles] ‘If Your Girl Only Knew’ and ‘One in a Million’ for radio programmers, they were afraid to embrace it. They said the beats were too different and it wouldn’t fit in with their playlist. They wanted something that sounded like Puffy.” 

Still, when a few braver souls started playing the record, it just took off. “That album broke ground with its experimental tempos and drum programming and hip-hop soul songwriting,” says Jason King, cultural critic, musician, and the director of the Clive Davis Institute of Recorded Music.

By 2001, Aaliyah released a handful of Timbaland-produced, soundtrack-supported singles that pushed the experimental sound even further—including the Grammy-nominated scorchers “Are You That Somebody?” from 1998’s Dr. Dolittle and “Try Again” from her costarring vehicle Romeo Must Die in 2000. As pop critic Kelefa Sanneh wrote in 2001 in the New York Times, “ ‘Try Again’ helped smuggle the innovative techniques of electronic dance music onto the pop charts, establishing Aaliyah as pop’s most futuristic star.”

The lyrics of both songs were penned by former Playa member Static Major, who also wrote “We Need a Resolution.” Like Missy and Timbaland, the songwriter was once a protégé of Jodeci producer DeVante Swing. Engineer Jimmy Douglass, who has worked side by side with Timbaland on every production since the early days, says of the late songwriter, who died in 2008 from myasthenia gravis: “Static was like a brother to Tim, and he knew exactly how to write to Tim’s music. The first record they did together was Ginuwine’s ‘Pony,’ and that led to their [musical] history.

“We recorded ‘Are You That Somebody?’ at Capitol Records’ studio in Los Angeles,” Douglass recalls, “and it was a soup-to-nuts session, which means we did the entire song in one session. Wrote it, tracked it, and mixed it from 11:00 p.m. to 9:00 a.m.; the next to last thing we added was the sound of the baby, and the very last time was Tim saying, ‘Dirty South.’ It was a union studio, so they weren’t used to working overnight; we were trying to finish that song as quick as possible.”

Douglass also engineered the “Try Again” sessions, which began with Static writing a song that was inspirational. Recorded in New York City at Sound on Sound Studios, “Try Again,” as Douglass recalls, “was originally written to inspire young people, but Barry [Hankerson] heard it and told them, ‘It’s got to be about love.’ The melody and hook were the same, so Static changed the lyrics and it became a love song.” 

In addition, Aaliyah had begun an acting career that was taking off. Cast in the Joel Silver–produced kung-fu crime flick Romeo Must Die as well as the Anne Rice vampire thriller Queen of the Damned and the Matrix sequels, Aaliyah hadn’t released a full-length album in the five years. “I wanted to take a break after One in a Million to just relax, think about how I wanted to approach the next album,” she told journalist Elon Johnson that April. “Then, when I was ready to start back up, Romeo happened, and so I had to take another break and do that film and then do the soundtrack, then promote it. The break turned into a longer break than I anticipated.”

Back in the Meatpacking District that August night in 2001, I gathered with friends at the then-popular club APT where DJ Chairman Mao spun old-school hip-hop and soul as high-heeled girls sipped crimson-colored cosmopolitans. 

Two hours later, a strange vibe could be felt in the wood-paneled room as folks began looking strangely at their Blackberries, pagers, and cell phones. Standing beside me, a female friend suddenly blurted, “Oh my God, it says here that Aaliyah died in a plane crash.” Seconds later, along with other women in the room, she began to weep. 

The accident occurred when she and her team were returning to Miami, Florida, from the Bahamas, where she shot the video for “Rock the Boat,” the third single from Aaliyah, her third album finally released in 2001. Their small twin-engine Cessna plane was several hundred pounds overweight and crashed after takeoff, exploding on impact. The pilot was found to have had cocaine and alcohol in his system and had falsified data in order to receive his FAA license.

At the age of twenty-two, Aaliyah Dana Haughton became the latest pop star to enter that rock-and-soul heaven that the Righteous Brothers sang about so many years before. Glancing around at the crying females, most no older than Aaliyah herself, it became obvious to me that she was much more than a star—she was one of them. 

Harlem resident and former Jive Records executive Jeff Sledge, who had known the songstress since she was a fifteen-year-old schoolgirl, had returned from the movies with his fiancée when he heard the news. “It was supposed to be hip-hop night on Hot 97, but they were playing a mix of Aaliyah songs instead,” he recalls thirteen years later. “And then [DJ] Red Alert announced that she had died. I was stunned.” 

Of course, he wasn’t the only one. For days, the world mourned the young star with television specials, radio interviews with her contemporaries and friends, and a candlelight vigil in front of her alma mater, the Detroit High School for the Fine and Performing Arts. Furthermore, her stunning movie-star features were plastered on the covers of newspapers and magazines. 

Although she had the looks of a femme fatale, she was a sweet girl who’d been forced to grow up much too fast and died too young. However, as we all know, icons never die, because the images are forever. In her short lifetime, Aaliyah must’ve had her picture taken a million times, made countless videos, and created music that is still relevant to fans as well as to fellow pop idols Beyoncé, Drake, Chris Brown, Rihanna, and others. 

“There are so many artists trying to re-create the Aaliyah vibe in their music,” says singer Courtney Noelle, who was in seventh grade when the Black pop princess died. Growing up on the East Side of Pittsburgh, Noelle made up dances to “One in a Million” while watching the video constantly. “Aaliyah was so relatable and cool; she wasn’t over-sexualized, so we didn’t worry about Mom disapproving,” Noelle continues. “She sang, danced, and acted, but she did it all so effortlessly. She was just so beautiful and graceful.” 

While One in a Million was a landmark, the adolescent wonderfulness of Age Ain’t Nothing But a Number is often overlooked when Aaliyah’s small canon of work is examined. Of course, as Jason King points out, “Age has been marred by their troubling marriage and the [statutory] rape/pedophilia allegations that would come later. I don’t think we can now hear Age, particularly given the title, without taking the issue of teenage rape into account. So when I’m listening to Age, I’m struggling to try to listen to it out of context, but mostly I’m hearing R. Kelly as an alleged predator presenting to us his sonic and musical vision of how he wanted Aaliyah to exist in the commercial marketplace.” 

Still, for me, Age Ain’t Nothing But a Number connects with many memories of the ’90s soul years that gave us debuts from Mary J. Blige, Jodeci, D’Angelo, Faith Evans, Maxwell, Erykah Badu, and the era’s most successful singer, writer, and producer, Robert Sylvester Kelly.

In 1991, R. Kelly and Public Announcement signed to Jive Records a few years before Britney Spears and the Backstreet Boys took them mainstream. Better known for being the home of top-tier hip-hop acts A Tribe Called Quest, Boogie Down Productions, Schoolly D, and E-40, the Jive label was put into the business of soul by the success of Kelly’s post–New Jack Swing sound on Born into the 90’s and 12 Play.

“Barry Hankerson had been talking about his niece Aaliyah since she was twelve, but [label owner Clive Calder] thought she was too young,” says A&R man Jeff Sledge, who began working at the label in 1992. “When she turned fourteen, Clive agreed, but only under the condition that R. Kelly produced the whole album. Musically, it just made sense.”

For Robert Kelly, 1993 was a hell of a year. A bittersweet twelve months that included a substantial development in his R&B sound, the death of his beloved mother, Joanne, and the success of his album 12 Play, which was praised by critics and fans alike. It was also the year he began working on the material that would eventually become Age Ain’t Nothing But a Number. 

Although R. Kelly attempted to uphold his Chi-Town swagger after the death of his mother, the man was a mental mess. There were bizarre reports of the singer locking himself in hotel bathrooms during press days, blowing off Rolling Stone photo shoots, and sleeping in the closet. “His mother was the sweetest lady,” Jeff Sledge says. “When she died, he had a nervous breakdown. During that time, he was also making Age, so Aaliyah was always around to comfort him. After his mother’s passing, all he felt he had left in life was his music and working with Aaliyah.” 

R. Kelly’s love for music began when he was a fifteen-year-old student at Chicago’s Kenwood Academy where he encountered famed music instructor Lena McLin. The niece of gospel innovator Thomas A. Dorsey, she taught her students opera, gospel, jazz, and soul. As a child growing up during the Depression, she lived with Reverend Dorsey and played in church. While other girls wanted dolls, Lena McLin wanted sheet music. 

McLin taught R. Kelly everything she knew about the keyboards, pushing him by anointing her student “the next Stevie Wonder.” Encouraging the poor lanky boy from the South Side to put down his basketball and sit at the piano, she started him writing songs as well as teaching him discipline. “He didn’t have much,” McLin explained to me in 1995 in a Chinese restaurant in the Hyde Park section of Chicago. “He came from a terrible ghetto and sometimes wouldn’t have the clothes the other kids had, but I had a vision of what he was going to be. The Lord told me he was a genius, and I wouldn’t take no for an answer.” 

So, what exactly is a genius? “A genius lives in the present day, has studied the past, and preconceived the future,” explained McLin. “Robert’s mission is to bring back the real essence, the real creativity, the real soul to the music.” Although Robert dropped out of Kenwood when he was seventeen, he already had five hundred completed songs in his portfolio, according to McLin. “Well, I don’t think it was five hundred, but it was a lot,” R. Kelly told me in 1995 while mastering his third album at the Chicago Recording Company (CRC). Founded in 1975, it is billed as the largest studio in the Midwest. The studio became R. Kelly’s main sound factory in the early years. 

For R. Kelly, the state-of-the-art room became the rhythmic cathedral where he would expand on the musical legacy of Windy City soul—his city where the Chi-Lites once doo-wopped on street corners, Leroy Hutson made gangster-lean tracks for Curtom, and a young rapper named Common was recording his Resurrection album somewhere across town. 

“Miss McLin started me writing every day,” Kelly said. “I’d write a song and she’d tell me it was the most beautiful song she’d ever heard. She also started me messin’ around with the piano. I just wanted to make her happy.” Growing up in the notorious Ida B. Wells Homes, Kelly found those streets a lot more dangerous than the days of Cooley High. 

“I had a lot of ups and downs, lots of lessons, and trials and tribulations,” Kelly said. Avoiding the gangs, he spent much time at a neighbor Willie Pearl’s house playing her keyboards. One of the first songs he wrote, “Orphanage,” was inspired by a television program. Singing in L stations throughout the city, he waited for strangers to drop change in his chitlin bucket. 

Kelly was discovered by house-music pioneer and former Trax Records employee DJ Wayne Williams. After seeing him perform original material at a friend’s barbecue, Williams had to convince his new bosses at Jive Records to sign him: “I was constantly telling them that R. Kelly was the shit, but it took Barry Weiss, the president of the label, coming to Chicago, before they finally said yes. Jive had full confidence in him and gave R. Kelly creative freedom.” While Kelly’s debut, Born into the 90’s, sounded as though it was jacked wholesale from the Teddy Riley/Aaron Hall school of Harlem boogie, by the time 12 Play came out in 1993, the brother had perfected a baby-makin’ style on tracks “Bump N’ Grind,” “Your Body’s Callin’,” and the epic erotica of “It Seems Like You’re Ready.” 

Additionally, the album’s more danceable tracks, “Summer Bunnies” and “I Like the Crotch on You,” showed his dance-floor diversity. Still, whether the tempo, Kelly’s lyrics were often sexually explicit, filled with lustful references and obvious double entendres. “He grabbed the brass ring by stepping fully into the role of hypersexual super-stud,” Jason King says. “That’s an archetype in Black music that stretches very far back and that Isaac Hayes took to new heights in the early 1970s. Songs on 12 Play were very much musical analogues of the celebration of Black, freaky, and carnal culture in the 1990s.” 

Soon afterwards, Kelly began applying his newly developed, smoothed-out, seductive sounds to singles for Hi-Five (“Quality Time”) and Changing Faces (“G.H.E.T.T.O.U.T.”), and was more than ready to tackle a full-album project for his manager’s niece. “With the flair and energy he puts into his music, we can feel it,” McLin said. “Even when working on songs for others, he touches all the talent he comes in contact with; Robert’s mission is to bring soul music back.” Inspired by an extensive list of vocalists, musicians, and producers including Quincy Jones, Donny Hathaway, Curtis Mayfield, and Tyrone Davis, he turned himself into an R&B auteur on the Age Ain’t Nothing But a Number project. 

R. Kelly was determined to become a one-man Holland-Dozier-Holland with a splash of Phil Spector eccentricity to keep things interesting. “Age was solely an R. Kelly production intended to not only introduce us to Aaliyah, but to show off R. Kelly’s polymath awesomeness,” says King. “It’s hip-hop soul in the way that Mary J. Blige, Xscape, and SWV fused those genres. But, Aaliyah embodied the hip-hop soul merger in a different way. She had the sweet, soothing, and slightly reserved soprano more associated with Diana Ross, Minnie Riperton, or Janet Jackson. I don’t think any producer understood what contemporary R&B audiences wanted to hear and pushed them further in the 1990s more than R. Kelly.”

In the summer of 1993, with Aaliyah on break from the Detroit High School for the Fine and Performing Arts, she spent her entire vacation holed up inside the CRC. “The first song we recorded was ‘Old School,’ which I loved, because it had an Isley Brothers flair,” Aaliyah said. “That song didn’t take long to do, maybe two days. At first, I had to get comfortable, but I had been around Robert, so it was cool. Both Robert and I are perfectionists, and if you listen to the music, there is a lot of passion in it.”

Like Batman, one of his favorite comic book characters, R. Kelly worked best at night. “Most people are asleep, so it’s just the moon, the stars, the quiet, and the music.” Subsequently, the nights spent with the underage singer led to Kelly’s first accusations of statutory rape when an alleged affair began between them. Although there was a twelve-year age difference, the affair supposedly led to marriage, which paved the way for scandal and an annulment. While R. Kelly and Aaliyah always denied these accusations, the man who wrote the title track to Age tellingly said, “I write from everyday experiences and what moves me; that, to me, is a true writer. I love all forms of music. Everything that comes into my mind and hits my heart, I write it and record it. I love songs that mean something, and have some kind of truthfulness to them.”

Photographer Terrence A. Reese (aka Tar), who shot the album covers for 12 Play and Age, recalls that during the shoot “Aaliyah relied on Robert to teach her. He was like Berry Gordy to her Diana Ross. The following day was her fifteenth birthday, and she was also going to film the ‘Back & Forth’ video, so they were working on the dances and styling. You could see the attraction between R. Kelly and her.”

Turning back the hands of time to Good Friday, 1994, I was on a flight from New York City to Detroit to interview Aaliyah. Hired by Jive Records publicist Lesley Pitts, who was also my girlfriend, I was assigned to write the budding singer’s bio. Having worked with TLC and Toni Braxton on their debuts, Lesley was excited about the teenager’s pop potential.

Aaliyah’s first single, “Back & Forth,” was already being played on the radio and video channels. Unlike the broken-glass balladry of Mary J. Blige, which was hard as the Yonkers ghetto she hailed from, Aaliyah’s voice had a soft strength that reminded me of the Black pop women (Dionne Warwick, Marilyn McCoo, and Barbara McNair) I’d grown up listening to in the ’70s.

For weeks, Lesley had been bragging that this new kid was going to be large; after hearing a few tracks, including “At Your Best (You Are Love),” her lovely cover of the Isley Brothers’ ballad, I was hooked. “I like to groove to artists like Parliament or the Isley Brothers, because that was when music was really real,” Aaliyah said later that day. “I just think the Isley Brothers are so unique.” 

After my jet landed in the Motor City, I took a short cab ride to the Sheraton Hotel and within minutes was sitting in the dining room with Aaliyah, her mother Diane, and Lesley. Dressed casually in jeans and sneakers, Aaliyah wore her shades, but soon took them off as she became more comfortable with me. “When I was younger, I used to go around the house singing with my mother,” Aaliyah said, her voice poised and proper. 

Coming from a middle-class family, she was a product of nice schools and an artistic yearning that was encouraged with classes. “I’m a big fan of Johnny Mathis, so I used to sing ‘Chances Are’ with my mom. Luther Vandross was another favorite. I was so drawn to singing, because I could get away from everything, and I just loved it.” 

Uncle Barry first introduced Aaliyah to R. Kelly when she was twelve. “He was just completing Born into the 90’s, and I sang for him,” she smiled, her voice lightening. “I sang for him, and he liked what he heard. Still, we didn’t start working on the album until a few years later.” 

Arriving first in January of ’93, when there was snow on the ground, Aaliyah returned in the summer, and their relationship clicked in the studio. “We vibed off of one another, and that’s how the songs was built,” she said. “He would vibe with me on what the lyrics should be. He’d tell me what to sing, and I’d sing it. That’s how the whole album was done. We put in a lot of hours; as far as the music, we’d be in there all night making sure it was perfect. There were times when I was tired, but I knew I had to push on if I wanted to come off.” 

When the two weren’t recording, they’d be in the studio watching horror movies. “Silence of the Lambs was my favorite,” she said. “The studio can be hectic, so sometimes we went to McDonald’s.” 

While some of the Kelly’s double entendres could be embarrassing, Aaliyah defended “Back & Forth,” a song whose title hints of sex. “It’s not a song about love or whatever; it’s about going to a party and having fun. I have songs about love, crushes, or whatever, but that song is about dancing. This album is about teens and what they go through.” One of the more forward crush records was the sensually upbeat “No One Knows How to Love Me Quite Like You Do.” Aaliyah smiled when I asked about it and said, “Every girl looks for that one person who is going to love them right. That song is saying, when it comes down to it, I like how you satisfy me.”

Months before Age was released on May 24, 1994, the stylish Millicent Shelton–directed clip for “Back & Forth” was shot at Aaliyah’s performing arts school in Detroit, where teens were recruited to be in various scenes. “That was my first video, but Millicent made me comfortable.” Between takes, she listened to the music of Tupac, Wu-Tang, and Gang Starr. “They all rap on an intellectual level.”

In the studio, she was a sponge who later spoke about her aspirations to produce and write: “When we were recording ‘Down With the Clique,’ I watched how Robert [Kelly] laid the drums and everything. He taught me to play the piano a bit, and I’m also trying to learn the mixing board, though it looks complicated. The studio is my first love.”

After wrapping the interview, Lesley and I went upstairs to our hotel room. Once inside, I turned to her and bluntly stated, “I know this sounds crazy, but I get the feeling R. Kelly is sleeping with that girl.” 

Looking at me as though I was losing my mind, Lesley was appalled. “Why would you say something like that?”

“It’s just a feeling I get.”

“Well, it’s not true, so don’t say that,” she scolded, more protective publicist than loving girlfriend. Of course, a few months later, the entire sordid story became yet another tale in the Babylon that is the music industry that eats its young. 

In 2013, journalist Jim DeRogatis, who broke the R. Kelly sex scandal in 2002, told the Village Voice, “I had Aaliyah’s mother cry on my shoulder and say her daughter’s life was ruined. Aaliyah’s life was never the same after that.”

Six days after the disaster that ended Aaliyah’s life as well as the lives of the pilot and seven members of her team, I sat in my Brooklyn apartment watching footage from Aaliyah’s funeral on Entertainment Tonight. There were images of the white horse-drawn carriage that carried her casket from Frank E. Campbell Funeral Chapel to St. Ignatius Loyola Church on East Eighty-Third Street in Manhattan.

After the funeral, in front of thousands of fans, twenty-two doves representing the years of her life were released in front of the church as her mother Diane, father Michael, older brother Rashad, Uncle Barry, and fiancé Damon Dash cried. The only person missing, for obvious reasons, was R. Kelly.

Six years before—just a year removed from his notorious split with Aaliyah—R. Kelly sat inside his studio at CRC telling me about producing for other artists, including Michael Jackson (“You Are Not Alone”) and Kelly Price (“Friend of Mine”). “I have many styles,” he said. “I’m more than just the 12 Play guy. I don’t write one kind of thing.”

Looking at him closely, I asked, “If there was just one person you could work with right now, who would it be?” Without hesitation, he held his head high and shamelessly answered, “Aaliyah.”

[dansnaturepictures]

12/06/2023-RSPB South Stack 

Photos taken here today in this set are of: 1. Chough, it was astonishing so see a decent handful of these energetic and ravishing scarlet billed crows as they picked at the grassy cliffs and dashed over our heads announcing themselves with their sharp and vibrant onomatopoeic calls as they went. An exceptional way to see my first of the year of this species, taking my year list to 205 just one behind last year’s total my highest ever, one of a few amazing experiences we’ve had with Choughs over the past few years at this sensational place for them. 2. Puffins, another red beaked bird I love so much that it was incredible to see well today. Four trips involving seeing Puffins in 2022 and 2023 makes me feel incredibly lucky and I never tire of seeing these iconic birds. 3 and 4. Guillemots and Razorbills, two more amazing seabirds it was wonderful to see packed tightly onto the cliffs, on the water and flying today. I love these birds and it was another splendid and immersive seabird experience today. 5, 9 and 10. Views at this beautiful spot. 6. Sheep’s-bit, an enigmatic and pretty flower that has been a star this holiday so far. 7. Some of my first centuary of the year, a smashing flower that I always like seeing. 8. Mating Swollen-thighed beetles. 

Fulmar, Kittiwakes, Gannet, Raven, Magpie, Jackdaw on a strong corvid day, Stonechat, Rock Pipit, Pied Wagtail, House Martin, Common Blue butterfly, Red Admiral and Small Tortoiseshell were other highlights here. It was a strong insect trip here with a phenomenal Hummingbird hawk-moth seen fluttering through the air, my first Six-spot Burnet moth seen this year, an Oak Eggar moth caterpillar and exquisite views of a shiny Rose Chafer beetle our first ever. Stunning moments with Hairy shield bug seen too. Heather in flower as we’ve often seen here the great purple colour, honeysuckle, English stonecrop, chamomile, restharrow, purple sandwort and sea plantain again key finds so far this holiday, thrift and thyme including mixed well at one point and sea campion were key flowers seen here.

[psymmetry]

writer 20 questions!

so aoba tagged panda and yellow (@guesst), who tagged me, but i saw panda's post first for some reason. hi everyone. thanks for remembering i exist, i had to dust off my writer card. i will be responding to everyone's points…

1. How many works do you have on AO3?

36

2. What's your total AO3 word count?

125,372

3. What fandoms d(id) you write for?

mairimashita

4. What are your top 5 fics by kudos?

dying doesn’t suit you either (433), trying not to move (same fic) (360), pandemonium (280), it’s not the end of the world (239), soft cream otoshichatta(191). what, no kidnapping fic on here?  no vampirio? vampirio is still my second most iconic work; people mention it to this day 

5. Do you respond to comments? Why or why not?

i think i do. enough that the number of comments is different from the number of comment threads.

6. What's the fic you wrote with the angstiest ending?

probably the one where kiri makes azu kill people and then it ends with him dissociating sitting on the bathroom floor knowing that his life is ruined. what a great fic. does anyone else want to read this fic? the statute of limitations has passed i don’t even mind

7. What's the fic you wrote with the happiest ending?

uuuu….. FIGURE IT OUT I DON’T KNOW

8. Do you get hate on fics?

never in my life lol i am a perfect angel

9. Do you write smut? If so, what kind?

surprised to see other people saying they don’t. hey, if you get to write without being a disgusting pervert freak, why not me? if you can be motivated beyond a base impulse. if you can want something closer to pure, just for the satisfaction of pieces clicking into place, words coming easy for once– i want satisfaction in a bad way.

10. Do you write crossovers? What's the craziest one you've written?

IN… theory. A. i love crackficcing and B. i feel like it’s hard to find an interesting crossover, which is a challenge, but hm, not really a thing i do. 

11. Have you ever had a fic stolen?

no, but someone once used my manga coloring for a fancam. i can’t be mad, i stole that shit in the first place lolol

12. Have you ever had a fic translated?

nooooo (psy is not that famous) (never got a podfic either)

13. Have you ever co-written a fic before?

yes! i have been listed as a co-author for beta-ing and i have also written fics that were completely co-concepted and beta’d by the other person. never written by like, trading off chapters or had both people write extensive passages though. 

14. What's your all-time favorite ship?

I’M POLYAMAROUS I DON’T HAVE AN OTP 

15. What's a WIP you want to finish, but doubt you ever will?

vampirio #2… i drafted it out and everything… from WIP to RIP… 

i don’t need to finish things for them to count towards my artistic development or whatever. you know, perhaps fans of my work would disagree. perhaps such people would prefer that i post things for them to read

16. What are your writing strengths?

this is too embarrassing. words pretty :> flow flow :> 

17. What are your writing weaknesses?

i can’t structure and follow through on anything longer than 10k. i don’t block out time to write.

18. Thoughts on writing dialogue in another language for a fic?

tu quieres escuchar mi espanol terrible? en un fic? por que’ yo quisiera hacer este NFDNs?? escribir fic por the smash hit sensation EL CUARTO MISTERIOSO. yo debo mirar mas shows en espanol…. este keyboard no tene un numpad. fun fact. no alt codes para mi

19. First fandom you wrote for?

uuuuuuuuuu nope that’s LIMITED INFORMATION

20. Favorite fic you've ever written?

playing the victim. the aforementioned serial killer fic. 

i am tagging @cometkov and @dragonofthedepths! and everyone. everyone at all. if you see this you have to answer all 20 questions. 500 words each. assignment is due 11/30 11:59. by the way, here is a blank to make it a little easier.

[stackthedeck]

Do you have recommendations for comics to read for Black Cat other than her solos?

Love this ask but I do have to remind y'all that I have objectively terrible taste in comics, also if you haven't you should definitely read Felicia's solo comics they're excellent

Alright so her first appearance is in Amazing Spider-Man #194-195, I personally think it's worth the read because there's also a soft spot in my heart for old comics. She shines as a villain and even this early there are hints about how she's much more than a thief

Felicia has a lot of team up books, my personal favorites are Iron Cat, all the Mary Jane & Black Cat issues (I try to overlook the dark web stuff and just focus on their friendship lmao), Spider-Man/Black Cat: The Evil That Men Do. Another popular team-up is Claws, I don't super love it, but also I'm not a huge Wolverine fan idk if you like Logan give it a shot. The evil men do tackle some heavier themes and I do think Felicia is over sexualized at times, but the mystery element and how tight the storyline makes it worth the read

Amazing Spider-Man #677 or Daredevil #8 is the iconic Black Cat, Spider-Man, and Daredevil team-up (they've actually been in the same issue many times before this) you know the one where Felicia kisses Matt, but it really is a fun story that highlights Felicia's cunning, I'm sure you've already read it but if you haven't

Amazing Spider-Man #341-342 is so fun, we get to see Felicia with Flash and her saving Peter and again I just love these older comics

Marvel Knights: Spider-Man #9-12 features Black Cat, frankly I know I'm not the intended audience for marvel knights, I don't vibe with these darker stories, but I've heard great reviews so if you've enjoyed other stories in Marvel Knights, give it a shot

Black Cat features a lot in Sensational Spider-Man (2006) but issues #33 and #34 are really interesting. She's avenging Peter, but she's not quiet sure why and she's not even sure if she still has feelings for him but it's an interesting start to untangling the complexity that is Felicia

Black Cat also appears in Silk #5-#6 but I recommend finding any and all of their interactions because their dynamic is just flawless! I believe they're getting a team-up comic soon so I'm looking forward to that

[an-angenehm]

Some other ones, not writing-related, just some things I've noticed:

That feeling when talking or writing, like there's a word or phrase you're looking for at the tip of your tongue. But after you rack your brain for it, you realize the word you're looking for only exists in the other language, not the one you're currently using.

Bilingual people tend to sound like their first language when saying exclamations - words like "umm, ow, huh, eh, ah" etc, expecially when they're caught by surprise.

Words that are spelled the same but pronounced differently can be confusing. Like the word "plus" is pronounced differently in German and English, and I used the English pronounciation in a conversation once without even realizing it.

People from different countries may write the numbers 1-9 slightly differently.

German computer keyboards are different than ones produced in the US.

When asked to jot some stuff down quickly and at short notice, bilingual people will often take notes or type on their phone in their primary language, even when the info is given to them in another language.

Hearing a bilingual friend speak another language that you also understand is a strange sensation. They will feel like they've transformed into a different person. Their whole vibe shifts, or the tone and cadence of their voice is suddenly different.

Bilingual people will probably have a dictionary app on their phone, and a machine translation website saved in their browser shortcuts, especially if they're currently studying their second language.

People that often have to write in Chinese will have a tiny little tab either floating on their computer sceen, or as an icon in the taskbar. That's an input software, and you can't type Chinese characters without one.

Different languages have different sentence structures. They also have different "paragraph structures", how an idea is conveyed through multiple sentences. Sometimes bilingual people will speak or write one language with another language's structure. It's subtle but it's there.

im going to have a stroke

[techygeeks]

Guru Randhawa: Chart-Topping Hits and His Global Appeal

On November 6, 2020, Punjabi pop sensation Guru Randhawa’s iconic song Lahore reached a remarkable milestone of one billion views on YouTube, marking an achievement that few Indian artists have accomplished. The success of Lahore, with its infectious beat and memorable lyrics, has established Randhawa as a powerhouse in both the Indian and global music scenes. His unique style and ability to seamlessly blend Punjabi and Hindi pop sounds have given us countless hits over the years. Let’s dive into some of his top tracks, including his journey to global stardom, his album, and his remarkable connection with audiences worldwide.

For fans of Randhawa and other Bollywood and Punjabi music hits, tune into Ruh Radio on 1440 AM, where we celebrate artists like him every day! Ruh Radio brings you the best of Hindi and Punjabi tracks, so you don’t miss out on any chart-toppers from artists like Guru Randhawa.

1. Lahore: A Cultural Phenomenon

Released in 2017, Lahore quickly became a favorite across the globe. The song’s catchy tune and vibrant video resonated with fans, and it joined the billion-views club on YouTube three years later. The track compares a woman's beauty to the city of Lahore, and its captivating beat made it an anthem for parties, gatherings, and clubs worldwide.

2. High Rated Gabru

This song is one of Randhawa’s biggest hits and a must-play for any upbeat gathering. High Rated Gabru became so popular that it was later featured in the Bollywood film Nawabzaade. With its energetic vibe and memorable chorus, it remains a go-to track for parties.

3. Suit Suit

Originally an independent release, Suit Suit gained mainstream attention after being featured in the Bollywood movie Hindi Medium in 2017. The song is a celebration of modern Punjabi culture and has become an evergreen track for its rhythmic beats and fun lyrics.

4. Ban Ja Rani

Featured in the movie Tumhari Sulu, Ban Ja Rani is one of Randhawa’s best-loved romantic songs. Its catchy lyrics and relaxed beat make it an ideal choice for weddings and couples. Randhawa’s smooth vocals add a charm that resonates with listeners.

5. Made in India

Made in India was released in 2018 and became a cross-cultural anthem, particularly popular among the Indian diaspora. This song’s upbeat tempo and Randhawa’s signature Punjabi pop beats make it a celebration of Indian pride and identity.

6. Ishare Tere (featuring Dhvani Bhanushali)

This duet with Dhvani Bhanushali showcases Guru’s versatility and ability to create feel-good music. Ishare Tere became popular for its playful lyrics and upbeat rhythm, making it an instant hit among young audiences.

7. Patola (featuring Bohemia)

Collaborating with Bohemia, one of the most popular Punjabi rappers, Randhawa took Patola to new heights. The song’s mix of Punjabi rap and pop beats made it a huge success and introduced a unique style that remains fresh even today.

8. Slowly Slowly (featuring Pitbull)

Guru Randhawa’s collaboration with American rapper Pitbull took him to a global stage, as Slowly Slowly became a fusion of Punjabi and Western pop beats. This English-Punjabi mix brought a new twist to his style and expanded his reach to international audiences.

9. Naach Meri Rani (featuring Nora Fatehi)

The EDM-influenced Naach Meri Rani, featuring Nora Fatehi, went viral quickly with its catchy beat and Nora’s impressive dance moves. The futuristic music video and danceable beat made it an instant favorite on social media platforms and party playlists.

10. Surma Surma (featuring Jay Sean)

In collaboration with British singer Jay Sean, Surma Surma is another example of Randhawa’s versatility in blending Punjabi and English lyrics. This cross-cultural collaboration added a refreshing touch, making it popular with fans worldwide.

Guru Randhawa’s Journey and the Impact of Lahore’s Success

Guru Randhawa’s Lahore not only crossed one billion views but also brought Punjabi music to the global stage. It is a shining example of how Indian pop music can bridge cultural and linguistic divides. His album featuring Lahore and other hits further proves his ability to resonate with diverse audiences.

For all the latest and greatest hits by artists like Guru Randhawa, tune into Ruh Radio at 1440 AM, where we play a mix of Bollywood, Hindi, and Punjabi songs around the clock. Whether you’re in the mood for party hits or soulful tunes, Ruh Radio has you covered with a curated selection of the best from the industry.

Conclusion

Guru Randhawa’s rise to fame with songs like Lahore, High Rated Gabru, and Made in India has been nothing short of inspiring. His music celebrates modern Indian and Punjabi culture, and his ability to connect with listeners across the world is a testament to his talent and versatility. With Ruh Radio, you can stay updated on the best tracks from Bollywood and beyond, enjoying music that transcends language and brings people together.

Follow us on Instagram and Facebook for all the updates.

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Mahendra Kapoor - Bio, Top 30 Best Bollywood Music

Mahendra Kapoor was one of the most celebrated vocalists in the history of Indian music. Known for his powerful voice and mastery of classical music. Kapoor left a significant mark in Bollywood music. He has sung over 2,500 songs in various languages ​​in his five-decade career, becoming the voice behind some of Bollywood’s most iconic songs. His association with patriotic songs, especially in Manoj Kumar’s films, impressed him.

Best Mahendra Kapoor  Bollywood Music Download

Biography and Early Life Born on January 9, 1934 in Amritsar, India, Kapoor grew up loving music. His family later moved to Mumbai, where Mahendra Kapoor began his musical journey determined to make a name for himself in the world of live music. His dedication and love for music helped his become a star in the competitive industry of Bollywood. The influence of Mahendra Kapoor Mohammed Rafi As a child, Kapoor idolized the legendary singer Mohammed Rafi. But instead of copying Rafi’s style, Kapoor created his own unique voice, which made him stand out in the industry. His inspiration from Rafi was not only strategic but also about discipline and dedication to the task. He teaches under Classical Music Maestros To hone his musical skills, Kapoor trained under many classical masters. His teachers included Pandit Husanlal, Pandit Jagannath Bua, Ustad Niaz Ahmed Khan, Ustad Abdul Rahman Khan and Pandit Tulsidas Sharma. These Masters helped him to master Indian classical music, the foundation that shaped his performance. Metro Murphy won the overall Indian Music Competition In a major breakthrough, Kapoor won the Metro Murphy All India Music Competition. This success opened doors for his in the film industry, giving his the confidence and recognition he needed to pursue a serious career in the music industry His first big break in Bollywood was Navrang (1958)  Kapoor's Bollywood career began with his debut song "Aadha Hai Chandrama Raat Aadhi" in Navrang (1958). The song titled The Beginning of Kapoor’s Musical Journey was composed by C. Ramachandra. The song is a hit, praised for its melodies and Kapoor’s soulful feel. Uday is famous for his association with Manoj Kumar Kapoor's career reached new heights when he bonded closely with actor and director Manoj Kumar. Kapoor lends his voice to most of Kumar's films, especially those dealing with patriotic themes. This collaboration produced some of Bollywood’s most memorable songs, making Kapoor synonymous with patriotic music. Mahendra Kapoor's voice in patriotic songs Kapoor's powerful voice was a perfect match for Kumar's films, which often had nationalist themes. Upkar's song "Mere Desh Ki Dharti" became a national sensation and remains an evergreen patriotic song till date. Award-winning songs from Bollywood films Kapoor's versatility as a singer was evident in his work across genres. Some of his favorite songs are: 1. "Let's Be Strangers Once Again" from the movie Gumrah 2. "Blue Sky Locks" from Hamraaz These songs highlight Kapoor’s ability to convey deep emotion through his voice, making it a timeless classic. Most popular song: Upkar's "Mere Desh Ki Dharti". Among his collection of great songs, "Mere Desh Ki Dharti" stands out as his most iconic song. The song not only showcased Kapoor’s amazing voice but also became a patriotic song in India. The song's powerful lyrics and Kapoor's shining voice continue to inspire generations. Mahendra Kapoor's contribution to Indian regional music Kapoor was not limited to Hindi films; He also contributed to regional Hindi music. He sang in Punjabi, Marathi, Gujarati and many other Indian languages, extending his reach and influence throughout India. Achievement and recognition Kapoor’s talent and dedication didn’t go unnoticed. In 1972, he was awarded the prestigious Padma Shri by the Government of India. The award recognized his outstanding contribution to Indian music, solidifying his status as a legendary artist. In 1972, he was awarded the Padma Shri The Padma Shri is one of India’s highest civilian awards. Kapoor receiving this award reflects his influence not only on Bollywood but also on the cultural fabric of the country. A career spanning more than fifty years Kapoor’s career spanned over five decades, during which he captivated audiences with his voice. His ability to adapt to changing musical trends while staying true to his ancient roots made him a timeless artist. Mahendra Kapoor’s legacy and influence Even after his death on September 27, 2008, the Kapoor legacy still exists. Contemporary artists continue to draw inspiration from his work. His contributions have influenced generations of musicians, keeping his Hindi songs alive in the hearts of music lovers. Conclusion Mahendra Kapoor was more than just a playback singer he was a symbol of the passion, dedication and versatility of Indian music. His ability to seamlessly blend classical and Bollywood songs has earned him a unique position in the industry. From patriotic songs to romantic gads, Kapoor's voice changes cotinues to resonate with audiences. His legacy will forever remain a cornerstone of Indian music. FAQs 1. What did Mahendra Kapoor make famous? Kapoor became known for his soulful singing in Bollywood films and his association with patriotic songs, especially in Manoj Kumar films. 2. Which was Mahendra Kapoor’s most iconic song? Upkar's "Mere Desh Ki Dharti" is considered his most iconic song. 3. How many songs did Mahendra Kapoor sing? He performed more than 2,500 songs in various languages ​​during his career. 4. When did Mahendra Kapoor receive the Padma Shri? He was awarded the Padma Shri in 1972 for his contribution to Indian music. 5. When did Mahendra Kapoor die? On September 27, 2008, Kapoor passed away in Mumbai, India. Read the full article

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The Week Ahead 8/25-9/1

How? How did summer go by so fast? We're all feeling the pangs of melancholy that come with the final week of August, but fear not, New Yorkers! The sun is still out, the city is still buzzing with the energy of the season, and we're still giving you the best of the best for less...

$29 Summer Spritz Series: Rooftop 3 Hour Open Bar With Food

The Amalfi Coast is calling, and Simona Rooftop is here to answer that call, all without stepping foot outside of Manhattan! Grab your $29 Ticket for admission to the Summer Spritz Series, complete with access to a 3 Hour Spritz Open Bar serving various styles of spritz cocktails, as well as 1 Fritto Misto, and 1 Dessert - hello, pistachio gelato! Eat, sip, cheers, repeat - this jewel in the sky is magnifico!

Dishoom x Pastis Pop-up

Running from August 19 to August 30, Dishoom is serving a U.S. audience for the first time. An ideal landing spot for the Indian restaurant is Pastis (52 Gansevoort Street), an iconic locale in its own right.

$29 VIP Salsa On The Roof Tickets: Open Bar, Salsa Lessons, & More

A night of Latin sounds & sultry sensations await at Elsie Rooftop! Surrender to the allure of sophisticated pink velvet touches, an opulent marble bar, a verdant garden oasis, breathtaking views, and whimsical accents at every turn as an open bar pours an abundance of libations like cocktails, brews, and exquisite wines. Each sip will build your courage as you learn how to salsa, all in preparation for a night of shimmying, shaking it, and savoring rooftop vibes galore...

Christopher Esber Sample Sale

Australian designer Christopher Esber established his eponymous brand in 2010. Harmoniously blending structured silhouettes with fluid drape, Esber subverts the notions of convention with design concepts informed by his background.

50% Off: A New York Times Critic's Pick Interactive Comedy Show

"Drink sir, is a great provoker." So is the famed line from Macbeth, and the perfect way to sum up a night at Drunk Shakespeare! Dubbed by Time Out as a “live-action Drunk History,” Drunk Shakespeare always starts the same way: classically-trained actors perform the classics with upgraded style, while one cast member downs shots of whiskey - what's next will be a complete surprise...

Join Climate Cafe for Yoga, Coffee & Snacks With Their Community

Join Climate Cafe on Governors Island for an uplifting afternoon of snacks and refreshments, meditation, and a meaningful conversation on climate emotions! Jolly Patel will be leading a yoga session for the first 30 minutes of the cafe.

[nniccolx]

Week 9: Instagram Filters

welcome back to nn’s blog 𓏲 ࣪₊♡𓂃

Hello there my lovely peeps! It’s been a minute, but guess what topic I'm going to talk about today? Hmm… let’s talk about something we all use but rarely think about – Instagram filters. Now, let's just dive into this fun topic!

A random question ✧˚ ༘ ⋆｡˚

Have you ever posted a selfie and scrolled through the filters, trying to find the perfect one that makes you look just right?

To be honest, so am I! Instagram filters can be super fun and creative, but they also have a bigger impact than we might realize.

Let’s be real for a second.

Who hasn’t felt that little boost of confidence when you find a filter that smooths out your skin, brightens your eyes, or gives you that perfect sun-kissed glow? It’s like magic, right? But here’s the thing: while filters can make us feel pretty, they can also set some pretty unrealistic beauty standards (Mckay 2020).

Take the perfect selfies we see all over our feeds. They often have flawless skin, sparkling eyes, and those cute little hearts floating around. It’s easy to forget that these images are often filtered and edited. And when we compare our real, unfiltered selves to these idealized versions, it can sometimes make us feel a bit… like less than perfect (Chae 2017).

Remember the hot trend in 2021? The glitter mask filter was everywhere! It gave everyone that sparkling, ethereal look, like we all just stepped out of a fairy tale. It was super fun, but also a perfect example of how these filters can create a kind of fantasy version of ourselves (Pavlova 2020).

And let’s not forget the iconic dog filter selfie that took over our feeds back in 2016. Who didn’t try it at least once? It was cute, playful, and made us all feel a bit more adorable with those floppy ears and nose. It’s amazing how a simple filter can add a touch of fun and whimsy to our photos (Omar 2016).

ROSÉ from BLACKPINK using Snapchat Dog Filter

But don’t worry, filters can also be a tool for self-expression, it can be a fun way to play around with different looks and moods without taking things too seriously. Sometimes when you scroll through your Instagram explore feed, you will see some people also often post unfiltered, candid photos, reminding us that real beauty comes in all shapes, sizes, and forms. They show us that it’s totally okay to love yourself, filters or not (Lupinetti 2021).

So, how do we balance the fun of filters with staying true to ourselves? Here’s my opinion: enjoy filters, use them to express your creativity, but don’t let them define your worth.

"Remember that everyone you see online has their own insecurities, and those perfect pics are just a highlight reel." (Wood 2019)

So, after finishing my blog, what are your thoughts on Instagram filters? I'd love to hear them!

Now this is the end for today, stay tuned for my next blog! see ya <3

Reference

Chae, J 2017, 'Virtual makeover: Selfie-taking and social media use increase selfie editing behavior', Computers in Human Behavior, vol. 66, pp. 370-376.

Lupinetti, L 2021, 'Instagram filters and their effects on self-esteem', Psychology Today, viewed 6 June 2024, https://www.psychologytoday.com/us/blog/more-self-less/202101/instagram-filters-and-their-effects-self-esteem.

McKay, T 2020, 'Instagram’s new beauty filters can harm your self-esteem', Healthline, viewed 6 June 2024, https://www.healthline.com/health-news/instagrams-new-beauty-filters-can-harm-your-self-esteem.

Omar, B 2016, 'The Snapchat dog filter: An Internet sensation', Social Media Today, viewed 6 June 2024, https://www.socialmediatoday.com/social-networks/snapchat-dog-filter-internet-sensation.

Pavlova, A 2020, 'The glitter mask filter and the fantasy of beauty', Vogue, viewed 6 June 2024, https://www.vogue.com/article/glitter-mask-filter-beauty-fantasy.

Wood, L 2019, 'The highlight reel of social media: Impact on self-esteem and mental health', Journal of Social Media Studies, vol. 12, no. 3, pp. 45-53.