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eddiernunson · 6 months ago

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Bikinis, Ice Cream and Other Ways To Torture Him | Older Rockstar!Eddie Munson x Harrington Fem!Reader | 18+

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Summary: The stories of Eddie Munson, front man of Corroded Coffin and his music filled the Harrington household, his albums on shelves and picture frames hung of your dad and him, young and dumb. You’re home for the weekend, which happens to be the same weekend Eddie is in Hawkins on a personal errand. The longtime crush bubbles to the surface as you meet him, giving into the temptation of small summer dresses and bubblegum gloss for the fun of it. Until your dad is called in to an emergency work meeting. Then the fun of torture becomes temptation.

Warnings: Older Rockstar!Eddie, Harrington!Reader (Steve’s daughter), use of excessive nicknames, no use of y/n, ambiguous ending, smut

Describes: long hair, shorter than Eddie by a few inches, reader is described to look like her mom (can be ANY race) with Steve’s freckles. No skin Color or body shape/type.

Word Count: 6.8k

This is the last chapter so…enjoy! Thanks for reading! Sorry for the delayed posting today! Parenthood is kicking my ass.

Chapter 6

You hesitantly accept his offer, getting up to sober up a little and grab a bathing suit as Eddie comes from behind you, hands grabbing your shoulders and resting his chin on one of them as he asks, “Where are you going?”

“Grabbing a bathing suit,” you answer, gulping at his stubble pressed directly against your cheek.

“Don’t think so,” Eddie jerks his head, not giving you a moment to wonder what he meant before you hit the icy cold depths of your pool, hearing Eddie also hit the water as you went under.

“Jesus!” You cry as you hit the surface, wiping your face from the water that got into your eyes. “Warn a girl!”

“We were going into the pool anyway, we got towels, where’s the fun in that?” Eddie asks, starting to swim circles around you.

“You could’ve at least let me take my shorts off, they are already falling off my legs,” you whine, grabbing the pair from below the waters’ surface around your shin to throw on the pool’s edge.

Eddie scoffs, attempting not to leer to your underwear under the water, wondering if the pool’s liquid had made it see through, or what kind you were wearing. It occurs to him he hadn't thought this impromptu swim very well through.

He swims to the edge to take another drink of his beer, offering you one as well when you pout to your beer still sitting by the dwindling fire. “Alright, I bet…” he trails off, his eyes shining mischievously, “I could beat you to the other end of the pool,” Eddie announces, already starting the race.

“Hey, it’s not fair if you’ve already started!” You huff, quickly starting some breast strokes right behind him.

He beats you by mere seconds, grinning at you cheekily when your face lifts from the water. “You got a head start,” you pout, splashing him childishly.

He splashes you right back at twice the force, a tidal wave completely drowning your head. “You’re just a sore loser.”

“Alright, then, one two three go!” You launch yourself off the wall, giggling when Eddie gives the same attitude towards your unfair headstart as you did to his.

Somehow, he manages to get ahead, out of breath as you reach the surface but grinning stupid all the same, proud of his besting you once again. “Cheaters never prosper.”

“Yeah, or you just have better lungs and longer legs, Munson,” you sneer, not letting him be too proud of his second win.

“Better lungs? Prove it. Wanna test it?” He teases, his eyelashes dripping with the chlorine water but not paying any mind how it drips into his eyes.

“By what, by seeing who can hold your breath under water the longest?” you joke, giggling when he nods in all seriousness.

You agree to it, but just as you could’ve predicted, he wins all three tries. He shrugs, saying something about you must’ve been right about his singer’s lungs.

You usually don’t take losing so well, a competitive streak from having three siblings who all succeeded in almost everything they did, but you were getting so much joy from your adventure in the water with him you forgot to be sour.

“You talk a big talk, but I could beat you in math any day, Munson,” you jeer, internally panicking when it doesn’t affect him in the slightest.

“Oh yeah? Well math ain’t gonna help you here, sweetheart.” He lurches forward, initiating a chase that sends a thrill up your spine, immediately turning away and freaking out when you hear his splashes grow closer and closer.

The pool wall ended up being much closer than you had expected, turning around to him nearly colliding with you from the full force of his momentum. He’s breathing heavily, his bare chest after complaining about his shirt dragging him down pale in the blue night lights, two hands right next to your shoulders on the tiles. He licks his lips, a playful grin still on his face yet slowly fades.

Your shirt has also dragged you down, having taken it off and throwing it just a few feet from where your shorts lie. Your underwear does little to hide what it’s meant to, two thin fabrics between you and the wall. You recall when you considered putting on a bathing suit after your shower earlier but thought it would be silly.

Now all of that seems silly.

The music, now faint, still carries on in the background as Eddie nor you move from the spots, the space between your chests seemingly smaller and smaller.

You’ve held back from this tantalizing temptation so many times, you’ve lost track. You don’t have the strength to hold back any more, so you don’t. You finally take a bite of the damn apple, whether or not there’s hell to pay for it.

Your legs wrap around his waist, tugging him in as you finally press your lips to his gorgeous pink ones. Eddie immediately tenses up, going stiff as a rod. Your first instinct is that you’ve obviously made a blunder, misreading all the signs and were waiting for the humiliation to start, for his apologies to bumble out.

When you attempt to let go and apologize profusely, he cuts you off, pinning your back against the pool as his hands work their way up your body, restless and careless until they stay still on your ass, rough and commanding as you feel his boner right on your desperate heat. His lips against yours take complete control, one hand landing on your cheek as he opens his mouth just a little bit more to allow your tongues collide, beers and smores and musk and watermelons and oh fuck he’s a good kisser.

His stubble collides with your cheek and burns in the best way, drinking in every moment as he kisses you slow but desperately, not wanting to waste a single second after burning for it, his lips on yours.

“Do you know what you do to me, you beautiful little tease?” He mutters, rutting himself as if to demonstrate what he meant.

“I have an idea,” you smirk, gasping the smile away as soon as the boner collides again, harder.

“Do you? Do you know that everytime I see you in a new slutty little outfit I get fucking hard? Every small action you make, taking joints out from your fucking bra, licking jam off your hand,” he ruts again swallowing a whimper that leaves your mouth, “the fucking ice cream, fuck, it is torture just being near you.”

Your legs cling onto him, heels digging into his thighs as one hand wedges itself between your panties and your hip, toying with the thin fabric, his hand roughly digging into the doughy skin of your thigh. “Tell me more,” you plead, chasing his full lips as they messily plant kisses all down your neck, teeth scraping against your skin while his nose nuzzles it, taking deep inhales on his trek.

“God, baby, everything about you had me ready to mark you as mine, I just needed you so fucking bad it drove me insane. Did you need me too? I-I fucking know the answer, but I need to hear it, you need me too, right?” He borderline begs, his voice gone from rough and aggressive to needy almost instantaneously.

“I-I need you, Eddie, I really, really need you,” you answer him in full honesty, overwhelmed by the force of vulnerability that rushes through you like a gust of wind.

The only thing that you can call what comes out of him next is a whimper, his brown eyes searching both of yours rapidly as his hand tightens on your bare hip. “Say it again?”

“Say what again?” you frown, your face close enough to his that the only thing that passes through it are the loud gasps in the quiet of the night. Even with the music still playing in the background, it really only feels as its you and him alone in the world.

“Say my name?” He licks his lips right before scattering kisses all along your collarbone, sucking and nibbling weaved with little whimpers, his wet hair brushing against your chin in the meantime.

You smile, not having noticed the subconscious attempt at distancing yourself. Referring to him as Eddie, even in place of Munson, feels too personal, too real. If he’s Eddie, he’s on your level. Attainable.

Something you have told yourself all weekend that he is anything but.

Your mouth opens to give him exactly what he wanted, but you decide against it at the very last second, “Make me,” husking out instead.

The breathy, seductive tone took him aback, his brow scrunching for just a fraction of a second until a change cascades over his face. Half of his open mouth quirks itself upward, and it’s dark out, the sun having said its final goodbyes, but his brown doe eyes darken as he collects himself. “Make you, hmm? S’that my pretty girl asking me to make her moan my name?”

You nod, out of focus but staring up at him through your lashes all the same, arching your back when he takes you by surprise as he gropes the soft skin of your ass.

“You have been a very good girl, I suppose,” he hums, as if still considering your offer, like he wasn’t just begging for it only moments ago.

You could argue against that, but you won’t if he’s offering you this leeway. “Mmhm,” you nod eagerly, your breaths growing shorter and faster biting your lip in anticipation.

“Alright, then be my good girl and say please,” Eddie mutters, landing one hand next to you on the pool tiles.

“Please,” spills out your lips before you even process it, your legs slowly wafering through the water as he remains still, his lips and hand once all over you now a simple tease in comparison to the touch he finally granted you.

“Please?” Eddie mutters, tilting his head in false curiosity. “Please, what, baby?”

“Please, please t-touch me,” it ‘s so simple, so delicate yet so intimate, crossing a boundary the both of you tried so hard to refrain from. “Want you to please make me moan your name with your fingers, Please.”

“See?” Eddie’s hands start again, hand on the tiles slotting itself on your cheek, the other abruptly slotting itself on your heat. “See, I knew you were a good girl.”

Just his touch alone sends a jolt up your system, a hot flash of lightning as your body jolts up weightlessly held up by his support but mostly the water. He watches you, his jaw dropping as his fingers start moving with purpose as the searing pleasure overwhelms and electrifies your nerves, starting to gasp out little mewls for him no more than two minutes after they started their pattern.

You leant in to kiss him but he keeps your forehead glued to his, turning away from your quivering bottom lip when you lean in again. “No, I know, I just wanna watch your pretty fucking face fall apart for me,” he whispers, his eyes raking across your increasingly ruined form. “Jesus your pussy is so fucking wet f’me. Did checking me out really get you this hot n’ bothered, baby?”

Your eyes start to close, fading out as that similar heat starts to build low in your stomach, as slow as his circles on your clit are, the impending orgasm is rushing at you in a record speed.

Your eyes jolt open as he shoves a long digit in as he barks out, “Nuh-uh.” You’re even more weightless as you practically float on his finger, jaw dropped as his actions have completely halted. “Keep those pretty eyes open and on me, got it?”

“Okay,” you whimper, clenching around the digit three knuckles deep.

“Good, good,” Eddie mutters, slowly moving his finger, watching your face carefully. “Jesus, you’re tight,” he bites out, adding a second finger without any warning. You sob through a little moan, the skin of his shoulders dimpling around your nails as they dug into it.

Slowly your moans have gotten louder, the temptation to allow your eyes to flutter closed fizzling at your vision but you push through it, bobbing up and down in the water in sync with his arm, giving your weight completely to him.

Your tongue laps across your bottom lip easily into a bite, still watching his face with his eyes on yours, what was just half a grin now spread into a manic smile. “You’re being so fucking good for me, sweetheart, just like you have all weekend. You take my fingers so well, can’t wait to see how you fucking take my cock.”

A whimper gasps through your lips, spasming around his fingers at his deliciously filthy words. “Fuck–Eddie–p-please–”

“See, making you moan my name wasn’t so hard,” Eddie whispers right as he leans in to capture your lips in his. His thumb starts rotating on your clit, quickly flooding you with an orgasm that you weren’t even aware you were that close to.

Eddie’s lips muffle the cry that otherwise would’ve been heard by the entire neighborhood, a shout of pure ecstasy that has you writhing up against his strong chest.

Your lips let go of his in a gasping breath, your lip trembling your elbows dig into the delicate skin between his ear and shoulder, pulling him closer as you bore into those big brown eyes. They’re as dark as the night sky yet they shine just as bright as the stars.

Smile lines and dimples are present as he stares up at you, his thumb still rotating slowly and fully responsible for the shaking of your poor thighs. His fingers are still in you, nestled and happy as he feels you flutter around them.

“You,” he drawls, slowly moving his fingers, “are radiant,” you can barely focus on the next kiss he seeks from you, your thighs clinging onto his hips, the momentum building even quicker and hotter than before.

“Oh m’god,” you whimper, throwing all your weight on one forearm as you suddenly have to get his fingers out, its too-too fucking much. “Ed–fuck!”

“You can take it,” he mumbles, one arm across your back as he peppers wet sloppy kisses along your collarbone. “Right? You can handle one more little orgasm.”

You buck into his hips as a silent confirmation, the splashing water around your forms loud from all your thrashing.

The kisses along your collarbone have moved south, the sudden scrape of his teeth against the curve of your breast a welcome shock as he starts to peel back the soaked fabric now glued to your skin like latex. “Look at these fuckin’ perfect tits,” Eddie growls, his hand movements turned sloppy as he wraps his tongue around the peaked nipple.

The added sensation clouds your head, bucking against him and practically sobbing into little whines while he perfectly works you like he already knows you.

“That’s it, fuck yourself on my fingers, you look so good like this, baby,” the praise lights your body ablaze, clutching onto him tighter.

Oddly enough the thing to send you over the edge again was a long lick up your sternum, an image you’ve seen time and time again on the edge of his guitar. Stars crash into your vision, knocking you senseless as you tug him in for a kiss, more teeth than lips as your legs shake but the giggles bubble out from your chest.

“Just one more?” He smirks, adding, Jesus, a third fucking finger.

“Eddie–” you startle, choking on your own oxygen.

“I really need to repay you,” he mutters, starting back on your jawline.

“Repay me?” You manage out, choking back a near shout when he curls his fingers just so.

He nods, focusing a toxic mix of his tongue and teeth against your racing pulse. “Mmhm. Repay you for every little time you managed to make me rock hard.”

“Huh?”

“Don’t worry.” he laughs, gnawing down your shoulder line. “I couldn’t repay you for every time, you’d be here for hours. And we both just found out how quick I can make you cum.”

You gulp, barely able to think through any of what he had just told you. “I-huh?”

“Jus’ one more, baby? Jus’ one more after being relentlessly teased by those fucking thighs of yours? Your pretty tits? That chokable neck–baby fuck you really make me fucking crazy–” his voice has somehow gone from commanding back to whining, his voice drowning in pure, needy, wanting.

“You are–” you start, cut off by a kiss he throws in as he becomes restless in his motions, “you are going to be the–” you giggle as he kisses you again, nipping at your bottom lip. “Ah–the end of me.”

“You fuckin’ like it, don’t you?” He laughs, one hand spread on the back of your neck as his eyes remain on yours. “You love how much my fingers can ruin you.”

“Your–your voice,” you choke out, eyes rolling into the back of your head. “Your voice does a lot-a lot a lot-of the work.”

He chuckles darkly, curling his fingers against your g-spot impossible harder, an impossible fire somehow hurling through your pussy still submerged in the pool. “I think I know why Hell’s Angels is your favorite album, hmm? It is a very carnal album.”

You giggle, somehow more cognitive. “My number one most played on Spotify.”

Eddie huffs out a chorus of laughter, leaning down to lick a wide fat stripe up your neck. “That is so fucking hot to me.” You shiver, blinded by the roll of ecstasy that just ran through you. “Would you believe I am just as obsessed with you?”

“It-it’s a high bar,” you admit, peeling your other arm out of its bra strap to completely expose yourself.

“Oh my god you’re fucking adorable,” Eddie hums, nibbling all down your chin, his lips seemingly unable to rest as they roam around you. “Now fucking cum for me so we can get out of this pool and I can finally fuck you.”

Something that’s only been possible under perfect circumstances while bonding with a vibrator occurs, you squirt all over his hand following a sudden heat that boils in your skin and acts like an anchor in your body weighing you down. The weightlessness water usually brings to you has disappeared swiftly, clinging onto him as he peels his fingers from where they sat still nestled as they finished working you through it.

He reciprocates the tight hug you give him, strong arms holding you close to his chest as your legs still spasm and quake.

“That’s my good girl,” he whispers encouragingly, gently petting your dampened hair. “C’mere, I’m gonna see if I–” he grunts, the muggy air engulfing you whole as he lifts you up onto the edge of the pool as if you weighed nothing, winking playfully as he lifts himself out.

“Ok, you obviously lift,” you mumble, being tugged by his hands and escorted into the house, leaving only the still lit embers of the pit and the scattered ingredients and clothes behind.

He chuckles, momentarily squeezing you as he wraps his arms and clasps them together in front of your torso. “Please, you weigh nothing.”

He stays like that every step on the cement to your house, playfully nipping at your neck, tickling it with his deep breaths until you reach the threshold of the double doors. Eddie lets go of you, watching your ass for a moment, your hand yanked by his hand in yours as he leans against the island kitchen counter.

“Where do you think you’re going?” he doesn’t give you a chance to respond, tilting your head as he lays a wet one on you.

“U-upstairs–” you sigh as he interrupts you again, magical, only the smell of beer left over but his lips so nice and plump.

“I don’t think so,” he mumbles, working his other arm around your torso to single handedly undo the bra clasp. It falls from your chest,Eddie eagerly kneading his hand on your left tit, two fingers playing with the nipple as you sigh into his mouth.

A whimper passes through your lips, gyrating your hips against his needily as you crave more friction despite your greedy cunt still soaked from its three releases. “Well then hurry up,” you huff, starting to play with the band of his boxers. “Can’t wait much longer.”

Your panties are yanked down, landing on the floor with a wet plop. Eddie lifts you effortlessly onto the counter, working his tented fabric against you roughly, watching your jaw drop as he rolls his hips against yours. “Please.”

“I would tell you to be patient but ever since I heard you yesterday I can’t think of anything else, baby,” Eddie sighs as you pull down his boxers, gasping as it bounces against his taut belly.

A sudden urge fills you to have its weight on your tongue, the girth down your neck, to fill your throat, the primal need alerting you as you never knew wanting a cock like this so badly was even possible. By pure instinct you reach out to grab him, basking in the moan he chokes out.

His voice could satiate a hungry belly, if you had one.

His previous confession suddenly sparks, looking up at him curiously as you work your hand along his devious length. “What did you hear yesterday?”

“Baby, your house has some thin fucking walls,” he husks out, watching your eyes go bug wide in the revelation. “I didn’t hear anything but moaning, but if it's any constellation, I hope you were thinking about me, because I sure as shit was thinking about you right outside your bedroom.”

You start to guide his leaky tip toward your mound, biting your lip as you peer up at him with doe eyes. “Please?”

“Were you?”

You sob out of desperation, your forehead landing on his shoulder. “Eddie, please–”

“Patience, slut.” You pause, pouting as you look up at him. “Were you thinkin about me while you greedily came over and over again?”

You nod, biting your lip anxiously as you glance down to his length only mere inches away from your weeping, begging entrance. “You used your tongue on the soft serve like it was–”

“I know I did, baby.” Eddie smirks, watching the shiver roll through you as the head collides with your clit. “So glad you noticed.”

You sigh impatiently, clawing your nails into his shoulder as he continues to tease you. “Eddie, pl–”

Your pathetic begging is turned off as soon as he pushes in, splitting you open as he slowly works his way to the hilt. “Jesus.”

“Eddie,” you moan, the heels of your hands digging into his collarbone. “F-fuck!”

His dark eyes bore into yours, labored breath piercing the air in the otherwise deadly quiet house. “I fuckin’ knew your pussy would be like this.”

“Like what?” You ask, pulling him closer as he did with you.

“Like a fuckin’ drug,” Eddie growls, rolling his hips against yours, the symphony of moans swallowed as he crashes his lips onto yours with an almost angry force.

It begins with a few stings, but the pleasure drowns it out before you even get a chance to revel in it, his cock hitting places you didn’t even know possible.

Your legs cling onto him, lapping kisses and nibbles down his chest hungrily as he works into you with choked out moans, seemingly losing himself in the heat of your pussy.

You slowly bruise your way down his chest, remembering every time you’d ever said how badly you’d wanted to bite him and to mark your territory as yours. All through the night he has called you his girl, but you finally get the chance to claim him. “Mine.”

“Feelin possessive, are we, baby?” He gasps out, curling his fingers through your hair and pulling at your scalp.”Wanting to claim this old man all yours?”

“You’re all fucking mine, Ed,” you claim again, moving to lap at one of his peaked nipples.

“As long as you’re mine,” he gasps back, pulling your head back up to where you can kiss him again.

You nod eagerly, the double meanings of the words seemingly lost on you to what he actually might mean. Regardless, the following kiss is desperate, even more so as his hips continue on their relentless pace.

You whine at the sudden loss, feeling empty and lonely when his body warmth leaves yours for the moment. “Bend over the fucking couch.”

It takes a minute to register, floating on the kitchen counter in a daze.

“Awww, my cock drunk slut,” his voice is sweet, malevolently so as his fingers dig into your hair and pull on your scalp as he leans in against your ear. “I said, bend over the fucking couch.”

You whimper, scrambling to climb down and run shakily to the living room. You’re guided by his hand in your hair again to the arm rest, using his foot to widen your stance. “Arch your back. More. There you go. Now be a good slut and tell me how fucking good it feels to be ripped in half by the rockstar of your dreams.”

Eddie lets go of your scalp to smack your ass, the thwack startling you in the best of ways as he watches it jiggle from the force. “Shove your face into the pillow, there we go.”

No more warning is provided when he pushes himself into you, making what you used to think was hard and fast into slow and pathetic. Eddie’s relentless hips are in their own fucking league. He sirens primal moans from you, your fingers digging into the cushions as he pounds into your pussy relentlessly.

“I just started, and you’ve already gone completely dumb? God I’ve ruined you for every bad fuck you’ve ever had.”

It’s true. Eddie Munson has ruined you in ways you simply could not comprehend, your torso practically flat on the couch as he tightens his grip on your hips. You push your ass against him, somehow communicating how fucking much you need him.

“Bet you’ve dreamed of this, yeah?” He mocks as his grip tightens on your hip. “Well for the last three nights I guess I returned the favour because I have dreamt of nothing but you. What you’d sound like, what you’d look like, god what you’d taste like— you’re in my fucking head.”

Your knees dig into his legs, your toes curled close to your ass as they possibly can be as you feel the impact of his hips start to form an ache against your thighs, your cheeks, fuck–your hole. Regardless of the spreading throb, you squeeze him tighter, silently begging for more. Just when you thought you understood what the term fucked stupid meant, you realize you had no idea as your brain starts to turn into mush.

“You’re taking it so fucking well, princess,” fuck, usually princess is a massive turn off but even you could tell the immediate reaction of you gushing around him. “Likes bein’ called princess, hmm? Give me your arm, then, princess.”

It’s a reflex how your hand raises backwards toward him, limply hanging as high as it can go which is barely a foot over your torso.

“Good, other one, too,” you whine, cut off by a sharp thrust as he grabs your other wrist to hold them both together in one hand. You think you’ve gotten the new position figured out when one hand moves up to your forearm, yanking it harshly so he has his good arm slotted between your elbows and the small of your back. “There we go.”

You’re practically standing on your two feet again, your back arched at an impossible angle as his other hand wraps itself around your neck. “Aah, that's much better. Look up.”

Your eyes flutter up to see a small round accent mirror on the wall directly across from you on the wall directly above a record player, yours and Eddie’s reflection featuring your faces, your hair tussled and eyes dazed. You blink to Eddie’s who’s smirking over your shoulder with hot cheeks and half-mooned eyes. You shyly look way from his possessive hold, having pulsed around him at how fucking gone you both look.

“Look back in the fucking mirror,” he commands, tightening his once lax grip on your neck so he constricts your airway just the littlest bit. “Look how fucking gone you are, you’re just covered in me, hmm?”

All you can do is bite your lip and push back on him, begging for his hips to continue that oh so powerful trek.

The following movement of his hips are barely noticeable, but your reflection gasps, her jaw dropping to the needed friction. “Ed–”

“Keep being my good princess and watch yourself be fucked in the mirror for me, won’t you sweet girl?” You nod, but Eddie doesn’t seem to care to wait for your answer, his hips colliding with your in a harsh slap, officially rendering any left over brain you might have had completely useless.

“Look at your fucking pretty face,” he shudders, starting to sound quite desperate himself. “There’s not a thought behind those gorgeous eyes of yours. Every muscle on your face is relaxed, your jaw falling open as if begging for me to shove my cock past those lips of yours, fuck you look so fucking perfect for me, princess.”

Your brain begs you to say something, to tell him how fucking good his cock feels, how he’s splitting you open as he feels impossibly deep as if he were kissing your cervix with every hit, how sex like this was only supposed to exist in softcore porn. How watching yourself get stupider with every hit with his hand wrapped around your neck in a claim of ownership turns you the fuck on, adding fuel to an out of control forest fire.

But your brain has turned into a puddle.

“That’s it, baby, keep bein’ good for me I’m almost done,” he lets go of your neck just to grab a handful of your hair once again. “G’nna fill that fuckin pussy up, s’ that ok?”

You find it in you somewhere to nod yes in direct juxtaposition against the grip on you, vision now fizzling as your eyes slowly fall closed. Whatever you have ever wasted time fantisizing clearly will never live up to the real thing.

Eddie’s words have warped into grunts and half finished sentences, hitting somewhere deliciously deep until his sticky ropes cover your walls up in him, filling you to the brim to make you impossibly, impossibly full.

He works himself through it, whimpering at his own sensitivities when the arm clutching yours sets you free but works itself on your clit once more, jerking you up from where you crumpeled forward onto the couch.

“Just need to feel you squeeze my cock while you cum, princess,” he mutters, sounding utterly destroyed as his voice croaks.

You try to wiggle away from him, feeling so oversensitive it forces its way up your throat in an intense sob. “Too-too much!”

“I know you can take it, princess,” he drawls, darkening his voice in the way he knows you like.

“Ed–”

“Please, jus’ for me?” He asks, his grip on your hip too tight for you to keep crawling forward.

“I-I c–” stars crash in your vision, thrashing as you feel his strong torso directly against your back.

“See?” he mumbles, peeling his arm around your tummy as he maneuvers you and him on your sides, spooning you on the couch, both covered in sweat. Eddie lifts your chin in his grip, shoving his tongue down your throat, the vibration of his humming helping you come back down to earth. “I knew you could do it.”

Somewhere in the kisses he slips himself out, distracting you with his marvelous kissing expertise as his hands find themselves enwrapping yours, fingers intertwined against your sternum fiercely as you get lost in his taste. Eventually you need to catch your breath, gasping as your head lands on the fabric of the sofa roughly, slowly drifting off to sleep.

Eddie gets up, ignoring your calls to stay with you. After some loud rummaging and swearing he returns, shocking you with a yelp as a wet cloth cleans you from the dripping cum out your full pussy. “Sorry. Didn’t want to ruin the nice couch.”

“Think we past ruined long ago,” you comment, peering up at him as he sends you a soft smile.

“Might be true.”

First thing you notice is he’s gotten dressed again, and just like that the spell is broken, and the aftermath of your adventures settle in.

His brown eyes tentatively meet yours, pensive and careful as you slowly sit up on the couch. What now?

He wears no smile on his face, searching yours as he leans in, his pointer finger hooked under your chin as he plants a gentle kiss on your lips that makes you miss the feel of him already. “I’m definitely not tired, would you like to watch a movie with me?”

You nod, eyes still closed as you reel from the whiff of emotions that repeatedly compound through you. “I don’t think I can stand.”

“I’d be insulted if you could,” he huffs, planting a sweet kiss on your nose. “Be right back. You want sweatpants or something more akin to those pretty dresses you’ve been flouncing around in?”

“Hmm, happy middle, please,” you ignore his jab, if just for the obvious amusement in his voice.

“Aah, a thong and a necklace coming up,” he jokes, running up the stairs before you could playfully glare at him.

He brings you a matching tank and shorts and a light blanket, setting up Smile for you two to watch as he curled you into his chest. When the movie is over you glance up at him, worried for what exactly came out his mouth next.

We probably should keep it as a one time only event.

You reluctantly agreed, crawling into a too big bed as you already miss his comforting weight right next to you. Sleep never comes, in fact, sleep has stopped texting you back because you have never been more wide awake.

Sweat seeps through the sheets and shines on your forehead as you wrap yourself up in an accidental burrito from all the turning and tossing, your emotions one puddle, thundering and storming into a lake of aroused confusion and clouded judgment as your weekend plays on repeat.

By the time the sky shines a periwinkle blue once again you’ve decided you could not take it for two more seconds, impulsively getting up to run back across the hall.

The door opens to a wildly disheveled head of curls, his hand raised as if he was about to knock. His mouth opens but you don’t give him the chance to tell you Yeah, no, fuck that, because your lips are on his in a flash, arms recklessly thrown around his shoulders and pulling him into your bedroom for some more of his lips, his hands, his hips, his tongue.

Neither of you had enough resolve to decide it would only be a one time thing.

Six Months Later

Eddie huffed a few bouts of laughter as you litter kisses all over his neck, refusing to listen to his out of breath protests as you nuzzle into his intoxicating stubble. “Babe, babe! I have to take a shower, I fucking stink!”

You giggle, working your hands up his fishnet shirt layered under the graphic tee. “Mhmm,” you hum, lapping up some rank sweat that has built up at the hinge of his jaw. “Smells amazing.”

“You’re a fucking freak, have I ever told you that?” He laughs, intertwining his fingers through your hair as he shoves his tongue down your throat.

“You’ve mentioned it,” you sigh, gasping against his minty breaths. “Helps having a smoking hot boyfriend, you know?”

“Baby, I really need a shower, I will meet you in the lounge,” he sighs, sounding like he’s about to give up.

“I could join you,” you suggest, pulling him in closer against you.

“As tempting as that is, we both know neither of us are getting any cleaner if that happens,” he sternly holds your face at a distance from his, his eyebrow flickering up pointedly when you attempt to lean in for more. “I promise to fuck you into the mattress, against the couch, and wherever else you might want later, okay, my sweet princess?”

“Fine,” you huff, grinning against his lips at the final sweet kiss he gives you, at the shivers down your spine that have never stopped, that have never shown signs of stopping.

The dressing room door closes behind you as the spray of the water hits the shower floor, a taunt that you are not in the cramped space with him, the one place you crave.

After offering his bandmates your best compliments, you act as a wallflower, watching the moon-eyed fans get their selfies as you played with the guitar pick chained around your wrist. You scrolled through your twitter app, saving photos of your gorgeous boyfriend in quality photos and the litter of hickeys you had spent hours giving him for hours the previous night.

A sudden impossible yet familiar laugh fills the air, your eyes snapping up to your dad’s familiar swoop of brown locks tossed back in a full body chuckle. Your stomach falls into the pits of hell.

You had checked with Eddie before hand that Steve hadn’t gotten any tickets emailed to him to avoid this very particularly sticky situation. You had agreed to keep it quiet until it started getting more serious.

Well…it had turned serious but you knew for a fact your dad wouldn’t be too happy with the coupling.

Your eyes jolt around the room to look for a quick escape, forgetting there’s only one door in, and unless you were going to turn unrealistically stealthy in the next minute, sneaking past him was not an option.

Your hesitation turns out to be your doom, just as you make a choice his brown eyes landed on you, lighting up in surprise.

Shit. Shit. Shit.

“Sunshine!” He calls out, holding his arms out and reaching for a hug. “What are you doing here? Thought you were staying with your roommate for the week!”

You had specifically told him you were stuck with your roommate who was getting over an ex boyfriend. The ex boyfriend part was right, but you were assisting from afar, with your own boyfriend luring you off the phone.

You hug him back, a wave of guilt washing over you, unable to relax in his familiar arms. “I made it down last minute!” The lie is forced, reminding you of times you knew you were caught but chose to dig deeper rather than climb out.

Sometimes it's just easier that way.

Steve’s brows furrow, crossing his arms just as something occurs to him. “How-how did you even make it down so quickly, I just called you this morning—“

He is interrupted by a familiar set of arms thrown around you from behind, squeezing you tight until you weasel out of them, your nerves on a hotwire.

For a moment that stretches out, lasting forever enough for you to see the V between Steve’s brow deepen, his head tilting ever so slightly, a slight frown downturning his lips.

And the panic that shifts every muscle of Eddie’s face when he sees Steve.

Finally, things set back into motion as puts on a facade of surprise, well not a facade as he’s actually surprised, he certainly knows how to put on a face of delight.

“Steve, my boy!” He collides his chest with his best friend, back pats exchanged as they embrace one another. “I didn’t know you were coming!”

Steve shrugs, his hands slotted into his pockets once they separate. “You didn’t answer my email, but Gareth did.”

When you switch your gaze to the drummer, he winks, telling you he has been paying attention to the shit show the entire time.

A few beats in the conversation, Steve starts to wonder if he was making everything up in his head, if he was just imagining your awkward stances and the way you’re standing just an inch too far away from one another.

Because there is no other reason you’d have to lie.

But all the little things keep sticking out to him. Your disheveled hair, in a way that couldn’t be manufactured. A bruise on Eddie’s neck, no bruises, but this one seemed familiar—

Steve’s eyes dart to your smudged lipstick, just barely fixed.

The fidgeting of a bracelet around your wrist, your anxious swaying, Eddie’s nervous rambling.

The way Eddie rushed to hug you like an old friend yet can’t seem it dare keep his eyes on you longer than a second.

”Eddie Munson, tell me you are not hooking up with my daughter.”

Oop.

Thanks so much for reading! Please remember reblogs and replies are the best ways to support fic writers on tumblr!

Tag list: @alastorssimp @mmunson86 @skrzydlak @thirddeadlysin @sammararaven @bebe07011 @prettylovely @josephquinnschesthair @forget-you-morelike-fuck-you @names-were-taken @oddussy420 @joequiinn @arlxtoa

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This is the last chapter hope y’all loved 😭

#eddie munson x reader #eddie munson fanfiction #eddie munson x you #eddie munson x y/n #eddie munson fanfic #eddie munson smut #eddie munson x fem!reader #eddie munson x reader smut #older!eddie x reader #rockstar!eddie x you #rockstar! eddie munson #rockstar!eddie x reader #rockstar!eddie munson #rockstar!eddie smut #older eddie munson x you #older eddie munson x reader #older!eddie munson #older eddie munson #eddie munson

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hooked-on-elvis · 1 month ago

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JERRY SCHEFF ON ELVIS

"There was just something about the way he sang, and also the way he'd interact, that was really really good. It was the musical communication and personal communication. He was just really nice to us. It was fun to play, you know." — Jerry Scheff, bass player.

Scene from "Elvis On Tour" (MGM, 1972): Elvis and his bass player Jerry Scheff. Jerry played bass for the singer from July 31, 1969, to February 23, 1973, and again from April 24, 1975, until Presley’s final show on June 26, 1977, at the Market Square Arena in Indianapolis.

The admiration in Jerry's eyes when he looks at Elvis... it was earned. 🥹 Jerry said in an interview he didn't like Elvis' work until 1969, when he was invited to play in Elvis' band in Las Vegas for the first time.

Jerry 'thought that jazz and classical was what was happening at that time' and, although he had played some pop and rock 'n roll songs before working with the King, he never played rock "Elvis' way". The funny thing is: Jerry was a recording studio musician and played in several artists' records, including two records by Elvis himself, but from that moment as a musician working in studios with Elvis prior to work in his live concerts, Jerry has no memories. There's records showing that Jerry Scheff was one of the professional musicians playing in Elvis' soundtrack recording sessions in two occasions prior to the invitation to join in Elvis' TCB Band, but he doesn't remember such moments or ever seeing Elvis at that period. Jerry was asked about it and his first answer was negative, saying that he never played in any of Elvis' soundtrack albums, so the Union contracts were presented to him and there it was. Jerry played bass on the soundtrack albums for the films 'Double Trouble' and 'Easy Come, Easy Go' (both times in 1966).

Below, another picture of Jerry looking at El with that same shine in his eyes (this is 1970 - and that admiration in his eyes means a deep respect, as you'll notice further on):

1970. Jerry Scheff is at the far left in the picture above.

This information above comes from an 1999 interview with Jerry Scheff. Following, a few excerpts that I found very interesting.

Do you remember what songs you rehearsed [in 1969, getting ready for the 'comeback' at the International Hotel in Vegas]? J: Oh, I can't remember. Blues songs, and 'Trying To Get To You', 'My Baby' - things like that. I read somewhere that you rehearsed about 150 songs. J: Oh yeah, we went over a LOT of songs, and then later we never rehearsed at all, so it's a good thing we rehearsed then! (laughs). It surprises me a little that you rehearsed so many songs, and yet stuck to the same 12 - 15 songs the entire engagement. J: Well, that wasn't up to us. It does after a while when you play the same songs, you know, get a little - But the saving grace was that Elvis never did anything the same way twice. We always had to keep our eye on him. You never could just, you know, relax (laughs), you had to pay attention. You never knew what he was gonna do. Never.

Elvis on stage in late 1969 and then early 1972 (with Jerry Scheff).

One interesting point in this interview is what Jerry said about Elvis and his political views:

Did you ever discuss political issues with Elvis? J: No, I never discussed politics with him. But in some ways Elvis was more conservative, and in other ways he was very liberal. He wasn't someone that was following some political line, you know. He'd figure out for himself what he thought was right.

Elvis with Jerry Scheff onstage in the 70s.

Here it is: The most heartwarming moment in this whole interview (I recommend you reading the full article that I'll link at the end), is when Jerry Scheff stands up for his friend:

Towards the end of his life, Elvis was criticized badly for his appearance, his weight gain and so forth. J: You know, I've always been the kind of person that - I don't judge people on what they look like or on their faces. Period. I think that it very well could be that Elvis thought that he was a normal American man approaching middle age, and let himself go a little bit: 'It wasn't anybody's business'.

March 1977: Elvis and his musicians (TCB Band) on stage. Jerry Scheff is at the far up left corner, Ronnie Tutt hides behind his drums and James Burton is at the far right corner.

"The idea that it was Elvis' duty to keep himself pristine looking is ludicrous. It makes me angry to think that people think that. Why, what does he owe them? He doesn't owe them anything."

— Jerry Scheff

The press really went after him for it. J: The press was just horrible. But then again, I don't remember a good review, even in the early years. The press was always horrible. I discounted what they said. There were jokes about him on television shows and stuff, and people were really really cruel. They don't say that about, let's say Neil Diamond. They don't say: 'Neil Diamond is bald now, why doesn't he get a toupet?' or 'He's got a paunch'. Or David Crosby of Crosby, Stills and Nash. They don't go on about him, and he's overweight. But it was Elvis, you know. It makes me angry, it really does. People wanna make money, and if they need to be nasty about it, they'll do that. They'll crack jokes - Saturday Night Live will have a parody of Elvis, some fat guy with a jumpsuit on, and everybody goes Ha, Ha, Ha. They're like grave-robbers, you know. I don't have any respect for them. That part of human nature is not a very positive part of our make-up. A lot of the troubles between human beings are the lack of compassion of one another, and a lack of tolerance between human beings. How many of these same people that are saying this about Elvis and putting these parodies on the screen, how many of them have potbellies, how many of them have let themselves go, how many of them have other faults that are far worse than than the 'sin' of letting yourself get a little overweight? Or being so unhappy that you're - Because I have been there. I had a really bad bout of clinical depression some years ago. I was in that syndrome, that whole thing - drugs, alcohol and stuff. I understand that, you get caught in that. It's not a nice thing. Elvis was obviously in a depression in his last years. Feel some compassion for him, you know. He's a human being, for crying out loud - no worse, and no better. But he was certainly not as bad as some people. He always treated me with respect. We had an extremely good relationship. He was NEVER disrespectful to me. He was always there if I wanted to see him.

Another very interesting thing Jerry Scheff said concerns Elvis' Memphis Mafia guys. It caught my attention because linked that recollection to one of Elvis' old times army buddies' book (Johnny Lang's "My Army Days with Elvis: Friendship, Football, & Follies"). Johnny mentioned attending Elvis concerts in 1975 and 1976. In one of those occasions, Johnny talked to Charlie Hodge backstage and asked him if he could see Elvis and talk to him up close again, after many years without seeing each other after the army service. As Johnny shared, Charlie behaved overprotective and, without even checking, said Elvis was too tired to see anybody, but that he would say Johnny said 'hi' to him. It makes me sad to know not only friends like Johnny were hurt by what they probably assumed were strict orders by Elvis to those men working for him, and that they were only following them, but to think that Elvis many times didn't even was aware there were old friends that still cared for him so much to travel far distances with their families just to watch him perform live on stage, but also hoping that maybe they could be with him for a moment just to catch up a bit, and he never even heard about it... never. We know more about some of those cases than Elvis knew. That's so sad and it makes my blood boil, to be honest. How could they? Jerry Scheff, however, trusts they had their reasons to do such thing as to block people to get too near to Elvis, even old friends:

J: During the last years, these people in the so-called Memphis Mafia got into this Howard Hughes thing, where they could pick and choose who could see him. One night Charlie Hodge came down in the dressing-room, and said: 'You know, Elvis is really bumped out because you guys don't wanna see him'. And Ronnie and I said: 'Charlie, we have been down there to see him, but these guys always say: 'Oh, Elvis is busy'. So Charlie went back and told Elvis that, and Elvis hit the ceiling. Charlie came back and told us that Elvis just blew a stack. So there was that kind of stuff. I'm sure that all these people fulfilled some need that Elvis had, and I don't mean to question their motives. They just did what they thought would be best for him. So I don't try to judge that. But I do know that Elvis was always there for me.

Interview conducted in Denmark 1999 by Arjan Deelen. All rights on the excerpts published here goes to elvis.com.au. There's many other interesting information to learn on this interview. READ THE FULL ARTICLE HERE.

#elvis presley #it's so heartwarming to see the band members admiration in their eyes when they look at Elvis... they're always smiling #elvis #elvis history #tcb band #jerry scheff #bass player #70s elvis #elvis the king

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thebearme · 5 months ago

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Here's my Parappa hcs and reimagine ideas for Matt & Paula

Sunny

Sunny is a cosmo flower like her mother.

Because of her mother's recent death, her dad Potter became UBER PROTECTIVE. The classic "ur the last thing of her, I have to protect you" you know.

Unrelated thing but idk when I'll ever talk about this guy but Potter HAS to be half object head, the only plant thing apart of him is his hair. idk maybe yall can figure it out... also i think he gave birth to sunny and no i will not elaborate.

Sunny is asexual and intersex but what do you expect, she's a plant.

She got all her arm strength from her dad. All those home military drills really helped.

She's superb at skateboarding but tends to not do so beings she doesn't want to get her dress ruin. But give her time to change, and she'll start shreddin.

Sunny has Bipolar disorder type 1.

Sunny grew up a lil sheltered. She lives in the middle of the woods and only goes into town for groceries! She started going out more and more when she started school for the first time, especially after she got some friends.

I'm taking this headcanon from the fic life in parappa town and expanding it but Sunny is in this plant belief system where you stay loyal to Mothernature and when you die you'll become a part of her. She doesn't eat meat, she gives back to nature and be kind to all Mothernature's creatures.

Sunny take cares and own her mother's "small" farm. She used to give her produce to the community for free, but because of the government finding out about that, she had to put it on pause. She either sells it for big money, or the government will take her land and profit from it them self.

Parappa

Parappa is his rap name. His name is Pa and his nickname is Pappy.

He's a bagel and hound mix, but has more bagel dog tendencies.

He's hat was bought by his mom before she left.

Parappa's mom divorce her husband after one too many financial crises, just when Parappa was just graduated high school. (explaining the past tense in PtR2) Leaving Pappy with Papa Rappa while she takes care of Pinto herself.

His Mama always encouraged Parappa to reach his dreams as long it wasn't expensive. So after everything, Parappa was more determined than ever to believe in himself and never give up.

Parappa would do anything for Sunny, he would kill Joe Chin even!

After a while working at the videogame shop, Parappa will later work for Master Onion cuz at least he pays him.

Parappa has the n card cuz he's cool like that. im tired of hearing 'who gave him the n card?' well maybe he just born with it. stop judging my dog bro

Parappa's rapping career just recently started. He began rapping his poems by the end of high school, luckily for him his best friend has connections to get him up there.

He grew up with classic 80s-90s rap. Pappy is an oldhead.

Pappy is anti-drug, anti-gun rights and a BIG ACAB. He is a huge believer that 'only community can fix the issues and not some cops that with guns trying to make the problem worst' but if you listen to parappa's album you've probly already saw this coming.

He still an up-and-coming artist, eventho he's known around the town and performed with Club fun's mc twice... he just started selling his first album.

Pappy is pretty smart and could have got into a science major like his dad but choose music instead. His father wept.

Parappa guessed that Katy is lesbian years before she started dating Lammy because the god awful dates she would go on.

Parappa loves frogs, they're his favorite animal.

He has a concentration issue, dude can't stay on track for the life of him. And no he doesn't know he has ADHD.

His ass has maladaptive daydreamer.

Boxy boy was made for Parappa by his dad because of tendency to daydream everywhere and anywhere, he gives him sense.

Pappy has a stuttering and lisp problem, but it adds an interesting element to his raps.

Pappy can NOT keep a secret. He WILL tell Sunny!

He got orange hair

Pj or further known as King Berri is still the same as always, maybe a lil more tired.

He uses king as a stage name so he can have a bit of his fantasy come true.

Eats weed brownie everyday.

Pj now wears a hooding for pure comforter, it like wearing sleepingbag at all times.

Pj seems very comfortable with his life but he really just compliant.

Pj is estranged from his family. They have not talked in years and he doesn't plan on changing that.

Just like everyone, Pj doesn't hate being a dj but just hate working. All the fun he had for his craft was gone a long time ago. But if he still gets paid by his boss MC Mushi and gets his 'stuff' then his fine.

Pj is brutally honest to Parappa like always, someone got to be the straight man in the friendship.

He's the most likely in the friendship to get the other in trouble.

Pj lives in the college housing, particularly in the basement. He just likes it down there. But funny enough, it turns out the house doesn't stay as empty as what the staff said it would be.

He's roommate is Matt. He's not that bad when you get to know him, He's just a bit snobby, know-it-all and WAY to competitive... but chill? Ok he's a Chin but hey, atleast he's better then Joe.

Him and Matt met one rainy day when the power went out and Matt got jumpedscared but the bear in the basement.

Katy

Chatty Katty was her nickname back in high school and even in the college campus right now. She gets this nickname not because she talks bad of anyone, honestly the opposite. She talks up everyone she knows! Right after talking up herself.

Katy was a church goer growing up, so no duh she'll know everyone in the community.

Her and Pappy were in the church choir growing up, that's how they met. Later she got introduced Pj in school, the three of them started hanging out after that.

Parappa gives the biggest little brother vibe to Katy.

Katy has the vocabulary of a old lady and it's because of the older lady she works with at the diner.

Katy is that friend that went on so many bad dates, tells you about and it makes you think HOW the hell are you still dating men??

She met Lammy after running into each other from the college lecture hall. And she immediately invited her to the milkcan band practice.

Lammy and Katy were a will-they-won't-they thing then they met. Lammy likes Katy but doesn't think she would like her, Katy likes Lammy but doesn't think she's likes women so she continues going for men.

Katy has been going to church less as she goes into college, jobs, dates, band practice and battling the gay thoughts. oooo scary

Katy and Sunny met in middle school, Katy never liked the idea of girls tearing each other down. And Katy was right, Sunny was sweet as she thought.

Katy introduced Sunny to the boys and everyone went nicely, they shared lunch together.

Paula

Paula is base off a kit fox, she just put makeup over her facial mark.

She's got abit of rewrite; She's from a new money household but unlike her parents that fell into complete greed, She's still her old self.

Paula is a tomboy at heart and her true love is basketball and women.

She's a business major oooo. AND the captain of the basketball team.

She still beefing with Katy but you know- it's a friendly rivalry. Or at least it becomes one.

Paula has a little crush on Sunny after meeting her but she's very respectful about it and very real told anyone about it... besides Katy... who told Pj... who told Matt... who told Parappa... who told Sunny. But otherwise Paula got turned down rather nicely and took it well.

Matt

Matt and Joe are doodles, partially a cockapoo.

He is the younger brother of Joe Chin and makes it his LIFE GOAL to be Parappa's rival.

He bascally bradley for the extremely goofy movie.

Matt has a big gay crush on Pappy but he refuse to admit!

Joe Chin got to inherit the family business without even doing anything and Matt is really mad about that. So he's in school for a business degree and in the frat club for extra bonus points. All to impress his parents and get the family business instead.

Ok not related to Matt hcs but just one thing- I think Joe Chin is a womanizer manipulative creep! That's why Matt is a funny villain while Joe is a flatout villain villain.

There more hcs in the bottom but I didn't feel comfortable putting up with more of the light hearted stuff so...

darker things below, read with caution.

#parappa the rapper #ptr #parappa the rapper 2 #ptr 2 #parappa rappa #sunny funny #katy cat #pj berri #paula fox #matt major #this might be a lil messy but i just want to post this already

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cantcompetewhereudontcompare · 2 months ago

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A complete deconstruction: Louis Tomlinson is a terrible songwriter. Part II

In part one, I debunked this assertion that Louis' songwriting was "crucial" for 1D. That post, I know, was probably quite boring and full of statistics, but I think it was important to be able to go to the fun part now.

Now we get to prove that he's not a good songwriter in the slightest.

POINT 1. He can't play instruments

Louis Tomlinson has been in the music industry since 2010. He was in a band when he was a teenager and he auditioned for the X Factor twice before he got in (2008 and 2009).

Despite all of that, and the millions he's racked in and rubbing elbows with incredible musicians, he still cannot play an instrument proficiently.

I stopped paying attention to him when the band broke up, but I've actually been asking around and digging to see if I was wrong about this before sitting down to make this post. Turns out, I'm not.

For instance, he has never played an instrument in one of his albums, and he barely ever does his backing vocals. He doesn't do ANYTHING ELSE either.

These are the personnel credits for his first album. He didn't even play the tambourine in it. In fact, he only did background vocals in 1 song out of 12.

For his second album nobody bothered to transcribe the personnel credit to its Wikipedia page, so I had to manually check song by song on Genius. You can skip this list as it's super long and nobody cares. I'm adding it because I find it super funny that SO many people are involved in his albums and he's, well, not. But his fans will tell you he's the songwriter of the century.

Vocals:

Louis Tomlinson — lead vocals (all tracks)

David Sneddon — backing vocals (12)

George Tizzard — backing vocals (2, 3, 5, 6, 9, 14, 16)

James Vincent McMorrow — backing vocals (1, 7, 13, 15)

Rick Parkhouse — backing vocals (2, 3, 5, 6, 9, 14, 16)

Robert Harvey — backing vocals (2)

Stephen Sesso — backing vocals (4)

Theo Hutchcraft — backing vocals (10, 11, 12)

Musicians:

Alex Thomas — drums (10, 11)

Carlo Caduff — drums (8)

Christopher Illingworth — piano (11)

Dan Crean — percussion (3, 4), drums (3, 4)

Fred Ball — percussion (1, 7, 13, 15), keyboards (1, 7, 13, 15)

George Tizzard — piano (2, 5, 6, 9, 14, 16), acoustic guitar (2, 5, 6, 9, 14, 16), keyboards (5, 6, 16)

James Birt — drums (2, 5, 6, 9, 14)

James Vincent McMorrow — guitar (1, 7, 13, 15), drums (1, 7, 13, 15), percussion (1, 7, 13, 15), keyboards (1, 7, 13, 15)

J Moon — bass (1, 13, 15), guitar (1, 13, 15), percussion (1, 13, 15), keyboards (1, 13, 15)

Joe Cross — guitar (10, 11, 12), bass (10, 11, 12)

John Foyle — synths (1, 7, 13, 15), bass (1, 13, 15), guitar (1, 7, 13, 15), drums (1, 7, 13, 15), percussion (1, 7, 13, 15), keyboards (1, 7, 13, 15), piano (15)

Liz Hanks — cello (10)

Mike Crossey — keyboards (3), bass (3, 4)

Nicolas Rebscher — guitar (8), keyboards (8), bass (8)

Paul Walsham — drums (12)

Rick Parkhouse — electric guitar (2, 5, 6, 9, 16), bass (5, 6), bass guitar (16)

Robert Harvey — electric guitar (2)

Stephen Murtagh — bass (9)

Stephen Sesso — acoustic guitar (3, 4), electric guitar (3, 4)

Tobie Tripp — strings (6)

END OF BORING BLOCK OF TEXT

Anyway, this time around he didn't even do backing vocals on 1 track. I'm not saying he should play the cello or the synth, or even bass. I'm not saying he should do every instrument like an absolute prodigy, but the LEAST a MUSICIAN can do if they're this incredible of a songwriter is participate in any capacity aside from lead vocals. At least on one track. One instrument. The fucking tambourine. SOMETHING.

I checked his other singles (the ones that aren't on either of his albums), and aside from (shared) backing vocals on Miss You, he also doesn't have any sort of credit in any of them. He has 34 recorded tracks total (12 in his first album, 16 + 2 bonus tracks in his second one, and 4 standalone singles) and aside from the lead vocals (duh) he only does backing vocals IN TWO. And NOTHING ELSE.

For comparison's sake, in his debut album Niall plays guitar in 9 out of 13 tracks, in his second album he does background vocals in 9 out of 16 tracks, plays guitar in 6 out of 16, and acoustic guitar in two additional ones, and in his third album he does background vocals in 9 out of 10 tracks, and plays harmonica and piano in track 6.

In his debut album, Harry does background vocals on every track, plays guitar on track 4, and the omnichord in tracks 1 and 4. In his second album he does background vocals on all tracks except 11, plays the dulcimer on track 10, and acoustic guitar on track 12. In his third album he does background vocals on all tracks, plays the glockenspiel on track 10, keyboards on track 11, and the tubular bells on track 4.

And Niall and Harry are not exceptional, top notch, creme de la creme songwriters. I'm comparing Louis to them because they were his peers, have the same background, and had the same opportunities to learn their craft for the same amount of time.

I could also compare him to Shawn Mendes, who plays guitar and keyboard in his own albums. Or even to someone like Olivia Rodrigo, who played the piano in her debut album. Billie Eilish played multiple instruments in her latest album. Taylor Swift has become quite lazy, but she used to play multiple instruments in her albums. Adele plays instruments on her albums as well. So does Lady Gaga. Someone like The Weeknd plays multiple instruments in his albums.

Not every popstar plays instruments, but those who don't 1. aren't regarded as great songwriters and/or 2. do other things, such as producing or stacking vocals. Like, Ariana Grande isn't a huge instrumentalist, but she does her own vocal engineering, for instance.

If he at least played a single instrument live, we could look past this, but he's been in the industry professionally for close to fourteen years and he has never, not once, performed a song while playing an instrument.

He toured the fucking world TWICE as a solo artist and never picked up a guitar for a single song.

The most we've seen of him with instruments is idly stroking a guitar for a couple of seconds twice that I can find (here and here) and then he once, in 2012, played 15 seconds of a song by The Fray on a keyboard.

He has posed with guitars a bunch

And he has footage of himself looking forlornly into the horizon as he "plays" guitar, but that footage is muted while he talks about himself very seriously on top of it.

He also has an entire music video where he acts like he's playing piano on top of someone else playing it (Duck Blackwell), which would be all fine and good if he had actually ever even hinted at being good enough to play an entire song on the piano. Both Taylor Swift and Harry, for instance, have similar music videos (in Cardigan Aaron Dessner is playing piano, in Falling, Kid Harpoon is playing). But we know that Taylor and Harry both can actually play (and have both played piano or keyboard in their own albums as well, just other songs).

It's a Thing that he doesn't play instruments nor does melodies. His often writing team Liam, is on the record saying that he would do melodies while Louis did the lyrics while they were in 1D.

He said it first in 2017 in a fan Q&A:

Fan: When you were in One Direction, you and Louis were a really strong writing team. As you've transitioned into solo stuff, have you felt really strongly about working on music vs lyrics more? Liam: To be honest with you, I've never been much of a lyrics man. I kind of bungle along with the lyrics. I'll be honest with you, sometimes lyrics just feel like homework. So when I'm sitting down to write I'm more of a melodies man. I like to just escape a little bit. There's a lot of pictures of me asleep in the studio, it looks like. But I'm not asleep. That's just where I go to when I'm trying to think about what's gonna come next in the song (...). I'm kind of more of a melodies person, I'd say. Louis was always more for the lyrics

Then he said it again in 2023 in an interview with a Chilean media outlet (note how Louis doesn't even do the lyrics alone haha):

"Whenever I was in the studio with Louis, I'd kind of do the melodies and then Louis would kind of do the lyrics with Jamie (Scott), and I'd kind of zone out whenever there were words on the page."

Louis said it as well in an interview with Radio DeeJay in 2022.

"Personally, for me, it's always been easier to write lyrics than melody and music, but I think it's like, each to their own in that."

He also said this in 2022:

“Sometimes, it’ll depend on who you’re working with, sometimes you kinda lean on whatever their side is. For me, 9 times out of 10, I come into the room with minimum a concept, or a lyric, or a title or something I want to talk about. And again, my strength lies in lyric, I’m trying to get better…So we’ll have a concept, and then probably some, one of the lads I’m working with will pick out a guitar line, we’ll find a melody about that and try and match the title we started with to what were writing.”

I think we can thoroughly confirm that Louis is not proficient with instruments. Add to that that he even confirms himself (two years ago, so 12 years into his career), that he has an easier time writing lyrics than melodies and music and that he's not really that good at writing melodies. There's nothing wrong with it, everyone has their own strengths, but it's the combination of things that makes it sting.

He has never played an instrument in public, he has never played an instrument in one of his albums, he only did background vocals for 2 out of 34 songs, and he AND Liam both say his strength isn't melodies. He's even outright admitting that his co-writers often come up with his melodies.

Songs aren't just lyrics. The melody of a song is just as important (some would argue, more important). If he himself admits that he has issues with melodies and music, then you can't just decide that it doesn't matter and he's "an incredible songwriter" anyway. He's simply not. If you like his music, then what you like are the co-writers he chooses to work with.

POINT 2. He's not that involved in his own songwriting process

I'm not saying that he's not involved at all or that he never writes anything, but he's not the driving force behind it. He's not the main songwriter, the one who commands the room, the one who comes up with everything.

How do we know this? It's pretty simple.

For one, the amount of collaborators he has.

Walls had 34 songwriters in 12 tracks. THIRTY-FOUR. Huge block of text incoming (used for impact):

Sean Douglas

Jamie Harman

Stuart Chrichton

Cole Citrenbaum

James Newman

Stephen Wrabel

Bryn Christopher

Andrew Jackson

Duck Blackwell

Levi Lennox

Julian Bunetta

John Ryan

Amish Patel

Jim Lavigne

Danny Majic

John Mitchell

Justin Franks

Noel Gallagher

Dave Gibson

Jacob Manson

Iain James

Wayne Hector

Steve Robson

Matthew Burns

Jason Reeves

Ali Tamposi

Andrew Watt

Ed Drewett

Yei Gonzalez

Jamie Scott

Johan Carlsson

Joe Janiak

Valentina

Louis, obviously

Of course, not every songwriter was on every track, but you can't possibly have a vision if you're working with this many people for a single project. There was only one sample (Noel Gallagher on Walls), so it's not even a Beyoncé case, where she had many songwriters but it was because she was sampling a bunch of songs.

This many people on a single, very short, project simply means that there wasn't a unified vision and a unified leader. How can you possibly make an album sound cohesive if it was written by two entire soccer teams and their benches?

Faith In The Future was much more concise in terms of its collaborators with fourteen (seventeen if we count producers), which is not a small number, but it's more standard for a pop album. So props to him for narrowing it down, I suppose.

The problem here, and with Walls and all his other singles, is that there are a lot of cooks on every song and Louis doesn't seem to be the primary songwriter in any of them.

I don't want to be hypocritical, so first I'll address that Harry's debut album also had a lot of writers in each song, but there was a caveat there, Harry's first album was written in a retreat in Jamaica. All the songs had the same names because he just gave blanket credit to everyone present.

The main producer of that album was Jeff Bhasker, so he got writing credit on every song. Then Tyler Johnson was basically an assistant to Jeff, and he also got credit. Ryan Nasci and Alex Salibian were engineers who were helping with the mixing, and they also got writing credit on every song. With two exceptions, 1. Two Ghosts, which Harry had written when he was in 1D in 2014/2015. 2. Sweet Creature, which he wrote alone with Kid Harpoon. The rest of the 8 tracks on HS1 were written by the same six songwriters. The total number of songwriters + producers for HS1 is 9, including 2 former 1D songwriters who got credit for Two Ghosts.

Another caveat here, is that if you read my last post, you know we can tell the % of songwriting of each collaborator. Harry was the driving force behind every single HS1 song, Jeff, Tyler, and Mitch got minority credit, while Alex and Ryan got a small percentage.

For instance, with Sign of the Times (the lead single and most successful song of that album)

Ryan Nasci + Alex Salibian = 9.5% Mitch Rowland + Tyler Johnson + Jeff Bhasker = 40.51% Harry Styles = 50%

Harry has primary credit on every single song on that album, FYI.

For Fine Line, the team was tighter. There are still 9 names total but the average number of co-writers goes down in half to 3.6 per song, because the core group is smaller (Harry, Tyler, Kid, and Mitch) and the add-ons are just there in one or two tracks. Harry also has primary credit on almost every single song (except Lights Up, where he has 40% credit and Tyler Johnson has 45%).

In some songs, such as She, he has 80% credit and the other 3 split the remaining 20%. This screenshot is old, Kid Harpoon has since signed to GMR so we can no longer split his and Harry's %, but that happened after the release of Fine Line, and luckily I'd saved these.

For his third album, the team is now 7 (with Harry, Kid, and Tyler doing the bulk of the work), and the average songwriters per track is 3.07. Sadly, since Kid signed to GMR I can't get a breakdown of the % anymore.

One day I'll make a post about this because I think it's so telling, in terms of Harry as a musician, but I just wanted to get this out of the way. I HATE hypocrisy, and I'm not going to bash Louis for something if the person I support is doing the same. He's not. And I needed to show that.

So, for his first album, Louis had the 34 songwriters I mentioned above + 5 extra producers. Each song had an average of 4.25 songwriters.

For his second album, Louis had 14 songwriters + 3 extra producers. Each song had an average of 4 songwriters.

The average in and of itself isn't that bad. It's pretty standard for pop musicians. The thing is that the standard pop musician isn't constantly gloating about his songwriting prowess and doesn't have a fanbase that constantly boasts either.

If Louis had primary credit in his songs, even if he had a lot of collaborators, I couldn't really fault him for it. Alas, he does not.

As I said in the other post, Louis' PRO is PRS, which is British. Foreign PROs have to collect through an American one, usually ASCAP or BMI. It seems like Louis collects through BMI. Why? Well, because

In songs where all the other songwriters are with BMI, BMI controls 100%, meaning, also Louis' part. We can't say what % each of them wrote, but we can infer that this means Louis is collecting royalties through BMI.

Anyway, there's nothing really all that interesting about the % of his writing credits. All songs have an equal distribution among all participants, except some notable ones (and I'll get to that in a sec). The fact that everyone gets the same % of credit on every song is... well, telling. It's impossible for every single collaborator to have contributed the same amount to every single song in every single case. That's just not what happens when you have a group of 34 or 14 people writing an album.

Louis made a point, particularly with his second album, of working with artists as opposed to professional songwriters:

“Through my own experience, sometimes, with a ‘professional’ songwriter (...) they write hits for a living, that’s their livelihood. So to ask them to go in the room and want to write an album track, sometimes those are difficult things to ask for. ‘Cos the back of their mind they’re thinking 'but if we shape this like a single, who knows?’ and all of a sudden, again you’re changing the song. Whereas with artists, they completely understand this is a 16 track album, track 11 is as important as track 1.”

What he calls a "professional songwriter" takes this job as a 9 to 5. That person will split % evenly and call it a day, unless there's some very specific reason to get more or less credit. But Louis was writing as a collaborative effort with a group of people who he calls artists. This wasn't a job for them, this was art.

They didn't all contribute the same, so why should they all get the same %?

It does save me time, because 99% of the songs look like this:

If there's one songwriter from ASCAP among 4 songwriters, and he gets 25% and the other three divide the remaining 75%. Pretty straightforward, each get 25%. You're free to look it up yourself.

The notable exceptions are Only The Brave

We know Louis is with BMI, and BMI only controls 5% of the song. So the other two songwriters split 95% of the writing credit (this isn't surprising because it's known that Louis hadn't actually written in this song. Seems like they threw him in a 5% for some reason).

And Just Hold On

Steve Aoki has 25% and the other 75% is divided among four people (we don't know how, though, but it suggests that Louis has slightly less than Steve).

Anyway, I'm bringing this up because I'm trying to be as fair as possible. You can be very charitable and believe that Louis was the driving force behind every song and he just generously gave away equal writing credit for people who didn't do as much as him. But that's simply not true. He got equal credit when he didn't contribute to those songs equally.

You can actually look up what the people involved have said, and if you're honest with yourself, you will conclude that Louis was not the driving force behind his own music.

Louis said this about the process of writing his songs:

“9/10 melody will come first, but before any of that happens we normally talk about a general concept on what we want to get across, what we want it to sound and feel like. Then it kind of just happens naturally, really.”

So they come up with a concept, then go to the melody, then the song comes up from that. Cool.

Now, remember that quote I posted above? About how he has a hard time coming up with melodies and how he leans on whoever he's writing with?

“Sometimes, it’ll depend on who you’re working with, sometimes you kinda lean on whatever their side is. For me, 9 times out of 10, I come into the room with minimum a concept, or a lyric, or a title or something I want to talk about. And again, my strength lies in lyric, I’m trying to get better…So we’ll have a concept, and then probably some, one of the lads I'm working with will pick out a guitar line, we’ll find a melody about that and try and match the title we started with to what were writing.”

He gives them an abstract concept and whoever he's writing with comes up with the melody, and then they go from there. That's not an equally collaborative effort. "Whoever he's working with" is doing the bulk of the work while all he does is say "yes" and "no" and give vague concepts and ideas.

Let me be clear, this isn't bad. Most pop artists work this way. It's FINE. But those artists aren't considered proficient songwriters and are usually belittled for their small contributions, while Louis is out there talking himself up as a songwriter and his fans eat it up and attack his peers.

If you can't write music, or play instruments, if you don't come up with the melodies, and you get help to come up with the lyrics, how exactly are you "a great songwriter"?

The answer is that you're not.

But let's actually see what Louis has to say about his songwriting process. I looked up quotes to see if he has any insight that would point to him being more involved, having some technical (if base leve) knowledge, being knowledgeable about processes or any sort of musical element and I found absolutely nothing. I could be missing it — as I said, I stopped paying attention to him years ago. But I do think I'm a pretty good researcher, and still found nothing.

But since I'm very charitable, I decided to use two long-form sources where he specifically talks about his second album.

The following is a track by track breakdown of his second album he did on Twitter. It's basically just his tweets for every song. If you're already familiar with this you can skip it. I'll discus it in an abridged way anyway.

The Greatest: "[It] was written in London with [co-writers]. It was always written as a tour opener, but also made sense to start the album off with a bang."

Written All Over Your Face: "Love the guitar line that comes in towards the end. Rob Harvey working his magic."

Bigger Than Me: "[It] was really important for me making the record. It gave me the confidence early on in the process. Ambition [sic] chorus vocally but suits a big show and us singing it together."

Lucky Again: "This song started of [sic] with this like hypnotic guitar riff Jay Moon came up with and we built the song around that. Feels like a good driving song."

Face The Music: "Me and Dave Gibson wrote [it] together in LA. One of my favourites on the album! Love that opening lyric. Did so many great sessions with Dave!!"

Chicago: "[It] was written in LA with Dave. Love the lyric and the concept."

All This Time: "I've always loved [it]. Just feel like a feel good tune from the off. James had a great vision for this song."

Out Of My System: "[It] was such a moment in the studio. I was with Nico and Dave was on zoom. I wanted to write something that had a bit of danger to it and had the title. Nico straight away played the riff and we were off."

Headline: "I think [it] was the last song for the album. Red triangle lads smashed the production and the academic for writing it. Made some subtle changes but loved the song as is."

Saturdays: "It felt emotional writing recording and performing this song. There’s something about it. Love the trainers lyric as well! Joe cross absolutely smashed the production, love the way the song grows.

Silver Tongues: "Had such a great few days written with Dave Sneddon, Theo Hutchcraft and Joe Cross. [It] is defo one of my favourite on the album. Love everything about this song!"

She Is Beauty We Are World Class: "Written in the same few days as the last two songs. Dave turned up with this picture on his phone of the title ‘She is beauty we are world class’ it was taken in the toilet mirror of a train. Felt like a weird place for such a poetic sentiment"

Common People: "[It] is about Doncaster having a place on my album. Such a big part of who I am. Love the simplicity of the song and the lyric.

Holding On To Heartache: "[This] is a song I’ve always loved. I’m glad I found a place for it on the deluxe. The middle 8 takes it to another gear as well! That’s going to be a fucker to sing night after night haha!"

That's The Way Love Goes: "Also one of my favourites. Always loved dry your eyes by the streets and wanted to write a similar concept. Again love the strings at the end!"

Overall, he had one sort of technical comment to make, about Holding on To Heartache. "Middle 8" is when a song switches up/adds new elements. He's saying that the song had a switch-up and it took it to the next level.

The rest of "songwriting notes" are:

I wrote [song] with [name of collaborator]

We wrote [song] while [activity] in [place]

[Collaborator] had a great idea and we built on that.

I love [part or sound of the song]!

The only commentary on what he wanted from sound is about That's The Way Love Goes. He liked a song by a band and he wanted to recreate it. Of course, he doesn't say what he liked about that song or that band and what he wanted to recreate. Is it the drums? The ambiance? The backing vocals? The reverb? Does he even know?

He never talks about coming up with ideas himself — it's always one of his collaborators coming up with something and then building up on that.

He also never mentions specific instruments or sounds that he likes. Reading these, I definitely he believe he was there when the songs were written. I believe he told his collaborators, in very vague terms, what he wanted the songs to sound like, and I believe he told them what he wanted the songs to be about. But so far, I have no reason to believe he had any of the knowledge necessary or took any of the necessary steps to achieve those sounds.

Of course, this could be just off the cuff commentary and not serious, so I can't take this as the only contributions and opinions he has on his album, can I?

Give me credit for how charitable I am... Let's give him one more chance. This time, going by his track by track video. He's going to discuss every single song and the album as a whole in detail. It's a one-on-one interview posted directly on his YouTube channel.

He starts off discussing how different his sound is from his last album and worrying about alienating fans, but he doesn't describe what's different or why. Why would it alienate fans? I don't understand why he's so vague. It just sounds like he has no idea what he's talking about.

About The Greatest:

"I think straight away, from the off, Fred Ball did a really — goes way beyond my musical comprehension — but really really clever kind of opener, really slaps you round the face."

That's all the songwriting commentary we get about this song. His collaborator did something he didn't really understand but it was sick. He's not starting off very promising...

About Written All Over Your Face:

“That’s a song where straight away I can picture Rob Harvey, he’s a brilliant lyricist but also brilliant with melody as well. He sang out that melody and from the off, once we had that lead part — I don’t want to say the song wrote itself, but it kind of really set the tone for the kind of style that we wanted to do.”

Someone else came up with the melody and the song "wrote itself". Well, he didn't want to say that it wrote itself, but he also didn't say what it did do, so I'm going to believe that it did write itself. It certainly doesn't sound like Louis wrote it.

About Bigger Than Me: Nothing. He just talks about what the song is about. No insight on its composition.

About Lucky Again: He repeats what he said on Twitter about the hypnotic melody someone else came up with setting the tone for the song. It's completely normal for an artist to bounce ideas off collaborators, but it's slightly worrying that every single time it's someone else's idea that he builds on. Are none of this ideas his own?

He then talks about post-production of the album, and I said to myself, "Oh, he's finally gonna give us some insight!" Nope.

He just said that it was hard because he was on tour, and he'd say yes to something and then he'd regret it, but being on tour affected the way he made decisions because he was being influenced by the shows.

And this actually grinds my fucking gears. What did he say yes to and why did he regret it? What part of the shows influenced the songs and how?

This man has now been a part of releasing SEVEN profesional studio albums. And he can't name a single specific production note he gave?

"I wanted this instrument here because of this reason." Or "because of the live shows, I realized I preferred a crescendo of the melody." Or even "I asked the background vocals to be this way because of this reason." LITERALLY ANYTHING. He can't articulate a single music-related thought. It's actually impressive (derogatory).

He expands on how he thinks he writes better in the UK (?????) and when he starts his writing sessions midday instead of early in the morning (????????) because he doesn't want it to feel like work (IT IS WORK!). None of this is technical songwriting stuff. Next he's gonna describe his BREAKFAST on songwriting days. HOW IS THIS RELEVANT TO A TRACK BY TRACK ANALYSIS??

These anecdotal details are great when surrounded with technical commentary. They're shallow and ridiculous when surrounded by literal empty space.

He waxes poetic about how cool the people he worked with are (which is great!) but he doesn't really get technical about why he likes working with them other than "attention to detail" and "really fucking cool." At this point it feels like he's writing an essay and he's trying to run the words.

He mentions being inspired by Arctic Monkeys... again.

And The Snuts (one of his openers on tour). He mentions nothing specific about the sound of either of these bands, because that'd probably kill him on the spot. The only specificity we get is that he grew up close to Sheffield, where AM are from. In case you forgot he's a Northern Lad From The North.

"And it wasn’t until I heard that DMA’s record and how Stuart Price had produced it and of course they’re using some of these modern, trendy, radio, whatever word you wanna use to describe it sounds. They do it in a really authentic way, it’s not in there just because it’s trendy, it’s in there because it serves the song."

"Modern, trendy, radio, whatever word you wanna use to describe it." I don't wanna use any words, Louis, you're the one nit!! Describe it?? have NO IDEA what he's even saying here. This was in 2022, what was dancey, modern, trendy, and radio in 2022? As it Was?? WHAT IS HE TALKING ABOUT??

I actually went and played some DMA's to try to understand what he's saying. Their most streamed song is a chill-out version of Believe (the Cher song), the only dancey, trendy, modern thing about that song is the inspiration. it's literally chillout pop. The second most streamed song sounds like old Coldplay + bossa n stone. There is nothing modern, dancey (does he mean EDM?) or trendy about any of this. I'm losing my mind. This man is musically illiterate.

About Face The Music:

"I am not the most sophisticated musical listener, I kinda like songs like this that have got that wall of sound that will give you that energy. Again, it’s easy to kind of imagine in the live context."

This is actually hilarious, because Louis is so musically illiterate, that he just used a real concept (Wall of Sound) to describe something that doesn't apply in the slightest. "Wall of Sound" is a concept by Phil Spector (who, incidentally, is a convinced murderer). It consists on duplicating or triplicating a certain sound and making it build up on itself to the point where the sounds are indistinguishable from each other. For instance, you play the piano, then you replicate that on a keyboard, then you replicate that on a synth, and you mix them together in such a way that you can't tell each instrument from the other, you just hear the result.

The most famous example of a Wall of Sound song is God Only Knows by the Beach Boys. It can be applied to any genre and sound, but because of the nature of how you mix it, it tends to have an almost orchestral sound and it works well in very grandiose songs that sound kind of ethereal. Another song that uses Wall Of Sound is Halo by Beyoncé or Set Fire To The Rain by Adele.

Face The Music does NOT do this in the slightest. You can very clearly hear each individual instrument (derogatory). Louis is using the very real and tangible musical concept of Wall Of Sound to describe this because the song is loud. He probably heard of the concept in passing and took the meaning of it in its face, a literal wall of sound, as in, loud (and this song isn't even that loud — he's a pussy).

This is why I say this man isn't a great songwriter. He's been in the industry for FOURTEEN YEARS. Can you imagine being a professional songwriter and going to the studio with someone who can't articulate a singular musical thought? And he's worth millions while you're struggling to pay rent?

He used this expression wrongly twice so far, btw. (After the interviewer says it's a festival song) "Yeah, yeah definitely but you still kind of got that sing along chorus but dressed up with enough of that wall of sound behind it."

About Chicago:

"Sometimes what I find challenging, is I can see the picture or I can hear the song or I can see the concerts in my head and sometimes it’s quite hard to articulate that cause you’ve got such a clear vision in your head and you just want someone else to be able to read your mind, go ‘Yeah that’s what Im talking about!"

You know what you could do to help you with this Louis? Study music theory. Read a book. Watch a documentary. Listen to literally any music. He can't articulate it because he knows nothing about music and can't play any instruments. I believe wholeheartedly that he has a vision for his albums. It's not that hard to conceptualize a sound in your head, if you're able to hear and have lived in this world for a couple of decades. But it's very, very hard to translate that into words if you don't know the first thing about music theory.

Other than this, he just discusses being vulnerable in his lyrics in Chicago. Cool, not really technically about songwriting, but whatever.

About All This Time:

"I think Fred did a brilliant job on this. And again this is something where I know what I like, but in terms of a production, it wasn’t as if I had loads of notes to give on this. It’s a little bit more me taking a risk, doing something slightly dancier."

I hadn't listened to this man's album, and good lord I wish I hadn't taken research for this so seriously. This has got to be one of the worst songs I've ever heard. But I was curious as to what he meant with "dancier." And I mean, I guessssss??? I don't think this song has any idea what it's supposed to be.

Notice how he said he didn't have any notes to give? He just let the man do his thing? He shouldn't have. Perhaps notes would have killed it and ended its misery.

About Out Of My System:

"That was a song, again, where we started out with a guitar riff. I went into, I want to say, definitely Arctic Monkeys, maybe Teddy Picker, maybe Dancing Shoes, and I was listening to it on the way to that writing session. I went in and I said to the lads, Nico and Dave ‘I want to write something as punk as I can get away with’ and that’s when Nico straight away came up with that really kind of punchy riff. And that riff kind of sums up the song, really, that kind of danger and that kind of energy."

I don't even know where to start.

Once again, he doesn't come up with a melody, he doesn't come up with a song. He goes to the studio, tells other (more talented) people "I want a song that sounds like this", the other (more talented) people come up with a riff, and that's how he builds the song. THIS IS YOUR GREAT SONGWRITER??? He's using his co-writers as ChatGPT in human form are you fucking kidding me?

The AUDACITY to compare Teddy Picker or Dancing Shoes to whatever it is he's trying to do actually offends me. Teddy Picker and Dancing Shoes are two technically flawless songs that sound tight and fresh 20 years later.

If you've never listened to Teddy Picker, I implore you to press play here.

youtube

Now go and listen to Out Of My System. Don't get me wrong, OOM isn't nearly as criminally offensive as All This Time. The musicians playing it (not Louis) are competent enough and it doesn't sound bad. It also doesn't sound good. It's a 6/10 song. It sounds dated, like a 2000s Christian rock band doing a Limp Bizkit but if the lead singer had to leave and they let the son of the pastor take over for shits and giggles.

He's also SO BASIC. I love myself some Arctic Monkeys, but does he not know any other bands? If at least he picked songs that weren't incredibly cliché I could overlook his fascination with the most obvious choice he could reach for over and over. But no, he chooses a huge single and a cult classic. If anything, I think Out Of My System is more similar to Perhaps Vampires Is A Bit Strong But... (still kind of insulting to a quality song, but more appropriate). But I doubt Louis has ever listened to any song of theirs below 100M streams on Spotify. I already covered that this whole indie rock thing is all a front and he's a Top40 poppy boy at heart here.

About this song, he actually does give a morsel of technical commentary, saying he recorded the vocals right after a show to get a rougher edge. I mean, I don't think he needed to wait until after a show to get a rougher edge to his vocals. They're rough 24/7, but anyway. The one insight on something technical and it's about the one thing he obviously knows about, since the lead vocals are his one and only job in his albums.

Then he talks about touring, and about one of the million indie garage rock bands with multiple white boys that all sound the same that he has in his "festival." And then about his "festival." Then for some reason he gets on to talk about his bucket list and skydiving. And I'm here wondering WHEN IS HE GONNA START TALKING ABOUT SONGWRITING?

About Headline:

"Um, yeah this was the last song that we got on this record and I’m not gonna lie, it was like 85% finished when I heard it. Well, it was finished, um and there was just a few things across the lyric that were good, that were great but they just didn’t feel true to me so we kind of remolded it, reshaped it so it felt kind of relevant to this record."

So the song was done when he got it and he just touched a couple of lyrics. Color me surprised. His voice sounds like nails in a chalkboard on it. Worse than I've ever heard it. I can't believe he put this out to the world.

He says it kinda sounds like Blossom when they do their 80s sound. I mean, he's not completely off. I would say that the song sounds like a The 1975 or Bleachers reject if Matty Healy/Jack Antonoff had swallowed several sheets of sandpaper. I guess I'll give him props for knowing another indie English rock band aside from Arctic Monkeys and the ones that do his "festival"?

About Saturdays:

He talks endlessly about lyrics and Doncaster and........

Anyway, then he says this:

"Again goes way above my musical comprehension when he mentioned at the time I’m like I don’t really know what you’re on about there but Joe, did Joe Cross do something brilliant with Saturdays and there is little to no bottom end until the drums come in which is about halfway through the song now, once you hear it and listen back you kind of miss it you’re like where is it and then when the drums hit in every single time it just feels like a slap around the face and that was one of those moments for me where just thankful to being for being around these brilliant musicians because that’s not a trick I could pull out your sleeve."

He thinks having the drums come in mid-song is revolutionary. BEYOND HIS MUSICAL COMPREHENSION. Bless his heart. The fact that he admits that this is something that he could never come up with himself simply blows my mind. He was 30 years old when he did this, btw. He sounds like a child who's setting foot in the studio for the first time ever.

He's gonna lose his mind when he finally hears In The Air Tonight for the first time.

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He then adds:

"I have a very, what’s the word? I’m not, you know in terms of when I speak about music there is no musical education there it’s all on feel so I rely on people like Joe to bring that incredible musicality to the production."

Really? I never could've guessed... Maybe you should tell your fans, as they have somehow convinced themselves you're the best songwriter to have graced this earth.

About Silver Tongues:

"Sonically I think it’s really clever because the first time people hear it you kind of get into a false sense of security where it comes in with the piano and it feels really emotional. It feels like you’re gonna go into a ballad and then straight away the production kicks in so that’s something again in the live show I think that’ll be a moment."

He's endlessly fascinated by the most basic musical concepts. It's kind of sad. Starting a song slow and upping the tempo is not "really clever," Louis. It's been done a million times. You literally "wrote" End Of The Day in 2015. Were you asleep the entire time? Huh??

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About She Is Beauty We Are World Class:

He repeats the story he told on Twitter. Then adds this:

"That was that was an interesting moment I think this is where we said, “let’s really try and go all in on the dance-ier sound of things” because I kind of allude to it on like All This Time but like it’s not quite as like trancey as this is. Almost has that kind of DMA’s lift with it with the instrumental that comes in on the post chorus."

I haven't listened to a ton of DMA's music, but the few tracks I did listen sounded nothing like this. It cracks me up that he doesn't have the lingo to describe music genres. We saw it painfully when he kept describing hip hop, rap, and trap as "urban" back in the day, but the fact that he keeps describing electronic music/EDM as "dancey" and "trancey" is super funny. Like, EDM does have the word "dance" in its name, but nobody calls it "dancey", Louis. You sound like an old man.

About Common People:

"I'm from Doncaster, and me friends, and me family, and Doncaster, and I'm just a lad from Doncaster."

About Angels Fly:

The technical commentary is limited to "it has a big chorus." Moving on.

About Holding On To Heartache:

"It's a bit more pop. I think fans will like it." is the extent of his analysis. He's actually incapable of uttering a single technical sentence. It's incredible.

About Lucky Again:

He gives lots of credit to one of his collaborators (Vincent McMorrow), which is nice of him. Once again he cannot articulate what's so good about good ol' Vince. He's just "an absolute genius" and "constantly challenging different ideas." What those ideas are, we won't find out.

He then starts to talk about a concept, loses train of thought mid-sentence, and he says (and I quote) "We’ll just scrap that. I can’t remember what it was… fucking some line." Why wasn't this edited out? I truly cannot even begin to understand.

About That's The Way love Goes:

"Me mates, and Doncaster, and me mates..."

He then again talks about having a Wall Of Sound, and at this point I'm getting extreme second-hand embarrassment because I can totally picture him describing loud songs like that in front of very well educated musicians, who in turn would have to contain their laughter and do their very best not to correct him.

And that's the end of it. I think I've given him enough opportunities to talk about songwriting. He doesn't know the first thing about it.

When I say I want him to talk about technical stuff or about the process. I mean stuff like this:

"'Fine Line' I wrote during a gap in the tour. It was January 2018 and I was at my friend Tom's house, who I work with, and we just started strumming this thing, and we started layering these vocals, and it turned into this 6-minute thing. (...) I wanted it to turn into something else at the end, I wanted like a big crescendo ending. While we were in Bath, Sammy [his engineer] started playing this little thing on the piano, and I tweaked it a little bit, and I was like 'That has to go at the end of Fine Line.'"

Harry for NPR in 2019

I don't need him to discuss this sort of thing as if he was a Juilliard professor. But just... some idea of the technical aspects of it. Like layering the vocals, wanting a crescendo. And HE did it, HE tweaked it, HE got the idea of adding it to Fine Line. It's a collaborative effort, for sure, but he's an integral part of it, because at the end of the day it's HIS song.

"That's just a voice note of my ex-girlfriend talking. I was playing guita and she took a phone call — and she was actually speaking in the key of the song."

Harry for Rolling Stone in 2019

Super simple and short, but it explains an artistic decision (adding Camille's voice at the end of Cherry), and why he made it, and how HE made it, how it was his idea and his decision, and why, musically, sonically, he chose to do it.

"It's a weird one. It started simple, but I wanted to have this big epic outro thing. And it just took shape as this thing where I thought, 'That's just like the music I want to make.' I love strings, I love horns, I love harmonies —so why don't we just put all of that in there."

Harry for Rolling Stone in 2019

More about Fine Line. Concise information about what he wants in music instead of "oh I have it in my head but I can't put it into words."

Harry: One of the songs on my record, She, we got James Gadson who played on all the early Bill Withers stuff. He's like 81. And he came and played on the record. We were like, putting down like a demo drum-thing, and we were like, "Oh, we love the sound of these drums." And they [the engineers] were like, "Oh, he's still alive." So we just got him to come play! Zane: Can I ask you what you got out of that session? When you actually got to experience a player who was inspiring the sound you were searching for, and you got to actually witness the player... Was it the feel...? Cause we can try to recapture all we want, but only one person can play like Gadson, right? Only one. Harry: Yeah. I think it's one of those things that, like. I mean, with all instruments, but with drums, and with live drums, you just can't get the feel from a machine. You can have it so it so it makes your chest drawl, but there's like a groove and a feel and a swing, that someone who's that seasoned, who has just played on anything and everything and is such a master...

Harry for Selects Beats 1, March 2020

DO YOU UNDERSTAND? A songwriter involved in his own music knows at least surface level technical stuff and can off the cuff talk about them in conversation, because he lives them. He's there as they happen. He makes the decisions and he understands what's going on. Even if they aren't a proficient drum player, they still have some level of understanding.

Same interview, talking about doing his own backing vocals:

"I do all the harmonies. I can go pretty high full voice, and then there's like a falsetto bit, and then if I'm doing really high harmonies, you wanna get like that Queen-y thing. I have like a squeal thing that's pretty up there, which you don't wanna do too often, but... I have a funny video of me recording some harmonies from the record. I'll send it to you. It's definitely squeal-y. I usually stack my own harmonies. I can't remember when I started doing it, but I try to get a crowd sound, so I just do each harmony in a different accent. And you end up with someone Scottish in there, like a French guy. And you go like London, Northerner, couple of Americans, and you end up with like an amazing crowd."

I'm using Harry as an example because he's an artist I pay a lot of attention to who has the same background and has been in the indistry for the same amount of time as Louis. They share the same resources to learn and educate themselves, perfect their own profession.

I don't think Harry is necessarily a prodigy, but he's an actual songwriter who's involved every step of the way.

And this is what I wanted to close with.

"I think that the first cut that changed it for me was the Steve Aoki song with Louis Tomlinson. I just wrote that with this amazing writer Eric Ross (...). We just wrote a bunch of stuff together, and we wrote that, and one day a couple of years after it was written I got a text, and it was like, 'Hey, Louis Tomlinson is cutting this.' And as a One Direction stan I lost my shit."

Sasha Sloan, co-writer of Just Hold On.

"Louis Tomlinson’s track ‘Silver Tounges’, from album ‘Faith In the Future’ recorded @80hertz | Engineered by @gj_atkins, recording to a Studer A80 1” tape machine (courtesy of @studio_magnetique) | Produced & written by @joejrcross"

Caption by the studio where Silver Tongues was recorded

"I was in with Andrew Jackson and Duck Blackwell, two of my collaborators, Louis wasn't there, my manager had a meeting with his management and they said 'Louis is looking for songs', the brief was like Oasis and I was like 'I don't think he should do Oasis so let's give him a pop ballad." Bryn explained that the trio didn't know much about Louis but were aware of Johannah's death and decided to channel that into the song. "It was a little bit weird, we don't know him, we don't know what he went through," he said before adding: "But we did it and we're bringing our own elements, we've all lost people so we were putting our own words into them. "We sent it to his team and he was like 'Oh my God, I've been waiting to write this song but I couldn't,' I heard that he'd been encouraged to 'write a song about my mum but I couldn't' he'd heard bits and was like 'This is it. This is what I was feeling. This is all that I wanted to do'. And so then he went, came in and wrote a bit more like the middle eight and yeah, then he released it."

Bryn Christopher, co-writer of Two Of us

James Vincent McMorrow via instagram (he has archived all posts prior to the end of 2023, so this is gone now)

I'll be fair and include this quote by Theo Hutchcraft:

"I absolutely love these lads and being part of [Louis Tomlinson's] masterplan and creative vision has been a total joy. He deserves it all."

It does absolutely nothing to convince me that this "masterplan" and "creative vision" was anything other than him giving out vague notes that he couldn't otherwise describe.

This is what Harry's collaborators have to say about him:

"The other thing that happened with me not being there at first was that Harry got to lead the room. He didn’t have to sit there and constantly feel like he’s got to defer to me. Harry was the boss. And they all just bonded so hard and it just became the dream scenario, and everyone contributed in such a fantastic way. (...) I wanted it to be something that Harry really felt was his baby, making his creative mark. With me, if it comes from the artist, that’s the best thing. If it’s real, people are going to know it’s real. (...) I’m hopeful that we’re gonna do many more albums—this is just the beginning. But I thought it was really important to set the tone of, “We’re gonna do exactly what’s in your heart, Harry.” (...) And what a luxury to have Mitch and Ryan, where they could come up with an idea and it could just be tracked and sound like a record instantly. And that’s how “Sign of the Times” happened. Harry was playing it on the piano and we fleshed it out a little bit. Then he jumped on the mic, I played piano and we cut that whole record in three hours."

Jeff Bhasker, producer of HS1

"He had asked for a specific guitar, which I loved. He knew my music well enough to request a specific sound from a specific instrument. I got there and he said, 'Let's eat.' We ordered food, we sat, we talked, we laughed. (...) And then we went in and spent the day recording. When I watched Harry track his vocals, it was a singing lesson in its own way."

Ben Harper, who played guitar on Boyfriends.

"One of my favorite parts of the session was after the session, because as I was loading out all my gear Harry invited me to stick around because he wanted to finish the song right then and there. To get to watch Harry in his process was eye-opening, and I learned a lot. He orchestrated the vocal harmonies like a classical composer, spot on, note for note. He just stacked them perfectly in pitch, one better than the next, and it was really eye-opening to see somebody step on the mic and have the parts orchestrated in his head. I’ve never seen anything like it. actually."

More of Ben Harper

“Day one, we’re writing a song, and [Harry] came up with this piano part. And then I was like, ‘Oh, that could be faster. And you could do this chord, and we could do this.’ ” That evolved into “Late Night Talking,”

Kid Harpoon, producer of Fine Line and Harry's House

We recorded the song at Rob Stringer’s house in England. We moved all the furniture out and put a drum kit in the TV room. “As It Was” was done in that setup. Harry came in with a riff idea, and we ran with it. It’s a funny one because it happened so quickly that I don’t know if I’ll ever be able to recreate that magic again — it was just so good. Lyrically, what I love about Harry on this whole album, is that he has a lot to say but he can tease meaning. What’s going on in his life is intertwined in that song, and in that line, “Harry, you’re no good alone.” I love the way he built the lyrics across his whole record, so when I think about “As It Was” I think about the whole album, to be honest.

More from Kid Harpoon

I could go on...

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If Louis isn't interested in that sort of thing, that's fine. He doesn't have to be an involved songwriter. But then his fans should act accordingly. The Hags, specifically, who continue to pedal this idea that Harry is dumb, a puppet, who takes credit for his producers ideas, who can't explain the songwriting process. The projecting is off the charts. And it's why I needed to include this section about Harry.

There's actually a final part to this series, which is analyzing his lyrics. I thought I might be able to put it in this post, but it's already long enough, so I'm going to split it.

But bottom line, there isn't a single musical bone in Louis' body. He's not curious or interested in music, clearly. He got lucky he got put in a band because his looks fit what the producers of the X Factor were looking for. And he got lucky that his bandmates were charismatic, naturally talented, and also good-looking.

He could perfect his voice, he could learn instruments, he could study music. He could do something to improve. He's had the time, the money, and the resources for a very long time. The fact that in almost 15 years he hasn't, isn't just telling of his lack of natural talent, but also of his own lazy personality.

#Louis Tomlinson #Harry Styles #One Direction #Larry #Larry Stylinson #fandom myths #long post

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delopsia · 1 year ago

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Harrison has SUCH alpha energy though…. raging breeding kink with that one

Ugh, you have such a good point there 😩 y'all wanna know the real reason why they call him Harrison Knott? I'll see myself out

Harrison strikes me as the kind of guy who would intentionally hide the whole alpha thing; he isn't necessarily shy or insecure about his status, but he's obsessed with the idea of falling in love with him for who he is, not his status. He's an alpha and then some. Think of a/b/o statuses as liquid in a cup. Some are fuller than others.

Harrison's is overflowing and pouring off the side of the damn table.

And he's painfully aware of it. Growing up, he found himself constantly pursued, all because of this dumb status he's found himself with. Fun at first, but it gets old very quickly. Harrison is very, very careful to scrub himself down twice a day, uses special soap, and takes medication to reduce the scent he naturally produces.

He used to love surfing with friends in more public areas, but once he'd start sweating, heads would turn, and suddenly, he had a bunch of unwanted interest. Attention that he hadn't received when he was passing as a beta. So he surfs alone or with close friends. He pays extra to access a private gym, and if he ever feels like jogging, it's in very secluded areas.

Enter, you.

A quiet omega who wandered into his place of work, looking for a CD by a band so niche that even he didn't know where to start looking for it. The owner had said they carried it, but not a soul knew where the hell it had been stashed. Harrison offered to look for it while you visited some other shops, but you'd politely insisted that you help him. It's a good thing, too. The CD had fallen behind a cabinet too heavy to be moved. Harrison couldn't reach it, but you could.

You returned a week later, looking for another, and Harrison's joke about you intentionally picking hard-to-find albums devolved into you staying long after the disc had been found. Chatting in between customers, debating on songs, challenging each other's music taste. It was settled; you'd each take the week to curate the perfect playlist and exchange them. But Harrison called in sick the day you came in, and the girl at the desk passed along a note with his phone number.

At the time, you'd found it odd that he hardly had a scent. Even betas have their own unique aroma, but with no further indication of what he could be, you presumed him to be one. Blissfully unaware and, quite frankly, didn't care what his secondary gender was. How could you?

He's always so sweet, fetching the door for you, distracts you and pays the bill when you two go to a local diner. Takes you dancing, covers your drink with his palm when you leave it unattended, and drives you everywhere, no matter the distance. He takes you on a day trip to a niche record shop with a CD you've been hopelessly searching for. Leaves you weak in the knees when he walks you up to your door after, hesitantly leans in, and kisses you right then and there, under the pale outdoor light.

For a while, it's not spoken of. It's as if that kiss never happened; he's busy with work and figuring out his schooling, and you're suddenly hosting a friend who, without warning, was broken up with and cast out of her apartment. Between being a shoulder to cry on, helping her settle in, and other life events, you lose track of your dates.

When Harrison invites you to join him on a trip upstate, saying something about getting accepted into two schools and not being able to decide unless he saw them in person. It's a welcome escape and an adventure all wrapped into one. Your friend can have her time alone and watch over the place while you're gone, and you can go and blow off responsibilities with a pretty-faced beta for two or three days.

Your face feels oddly warm that morning, but your friend says you look fine, and it seems to go away once you step out into the cool morning air. Harrison is two hours into the drive when he tilts his head and asks if you're feeling alright. You don't get why he's asking; nothing relatively seems off. In fact, you're well enough to walk to every place he wants to see. The record shop, the beach, the actual school itself, and all of the niche little places around it, looking for something, anything to help him decide.

Until you're standing in a convenience store, and someone—an alpha, approaches you. You don't understand his heavy flirting until he mentions your heat. And then it hits you. Your heat was due to start today. You're stumbling back, all too warm, muttering an apology as you turn to walk away, but this guy is persistent, grabbing hold of your shoulder before you can get too far.

Or at least...he tries.

Harrison comes out of absolute nowhere. Shoving himself between you like a brick wall, and he's arguing, saying something, but you can't hear it. There's a new scent in the room. Faint at first, but it follows you as he guides you out to the car, promising to come back with your chosen snacks. Something akin to pineapple and a fresh ocean breeze, like you've been transported straight to the beach.

Harrison thinks you've figured out that he's an alpha.

You just think he smells good.

It's hard to recall how things escalated after he carried you back to the hotel room. Whether it be the moment your pained plea for help met his ears or when his kind, inexplicably dark eyes met with yours. But one way or another, you find yourself gasping at the feeling of his scruffy mouth against your lips, cradling your face between his big hands, promising he'll take care of you; he'll make it stop hurting.

He eats you out like a man starved. Works you through two long-winded orgasms, has a sheen of sweat clinging to his flushed skin when he comes back up to kiss you again. It's still not enough, but you can't even think about it because something has just occurred to you.

He's an alpha.

And he's just shocked to the core that you didn't realize until now. But maybe that's also what makes him so eager to please you; it's everything he's craved. To be wanted, regardless of his status, and hear you are, mid-heat, begging for him for the sole reason of it being him.

Regardless of the reason, it's a wonder you can even walk when he's done with you. Hiking your legs over his broad shoulders, biceps bulging as he fucks you nice and proper. Makes you beg him to knot you, to breed you nice 'n full, make a complete mess of your poor pussy. Shushing and kissing you as it catches, grunting prettily into your ear and filling you so full that your head spins.

The trip is only meant to be two days. It extends to five because he can't keep himself away from you. Rubbing his scent all over you, nipping at your soft skin with his teeth, and grumbling into your neck. The closest thing he can get to a contented purr. He bends you over the sink, fucks you into the mattress, and guides you to ride him on the couch, never once misses the chance to sink in deep and let your bodies tether. Grows annoyed when he can't keep his cum from leaking out and down your pretty thighs.

And when you do head home, you can only press pause for so long. Fighting the temptation to pull over and tangle in the back seat, only held back by the fear of being caught. Your friend isn't home when you tumble through the door, and you're so thankful that she isn't because your shirt is off before you make it into your room. Luggage long forgotten because you can only focus on the warm, oversized alpha squeezing you in his big arms.

In fact, you keep him there for the night. And the one after that.

Over the course of a short trip, Harrison goes from passing as a beta to going without the medications and washes, shamelessly rubbing his scent all over you and bugs you to do the same 'cause he needs everyone to know he belongs to you. The deciding factor on schools is you; he wants to be fifteen minutes away rather than a couple of hours. And then your friend gets back on her feet, finds a place of her own, and one day, Harisson quits leaving your home.

This man loves to watch you mosey about the house, gathering up his softest clothing and situating it all into one big nest on the bed. Harisson isn't the biggest on scenting things that aren't you, but if you hold something up to him and ask for it, he'll gladly rub the side of his head against it until you deem it suitable. Always waits for you to invite him inside of it, too; it's such an intimate space, and he'd hate to upset you by intruding. One of his friends accidentally opened the bedroom door on you while looking for the bathroom, and Harisson damn near lost his mind. "This is a cute bedroom." "Yeah, it is; now shut the damn door."

There is rarely a day when a head doesn't turn Harisson's way; classmates, coworkers, friends, and strangers alike hit on him, but he's only got eyes for you. If you'll let him, he'll parade you around every chance he gets, showing you off to the world; grows possessive when anyone takes that as an invitation to touch you. It's a wonder it takes him so long to mark you as his because he sure is eager to ensure everyone sees the healing scar on his pretty neck.

Everything you want, you get. He spoils you to no end. He supports the whole independence thing, but once he gets on his feet as a doctor, he's too happy to let you become a stay-at-home omega if that's what you want. Because there is nothing this man loves more than walking through the front door of his house and being greeted with your chirps and kisses.

...well, he might enjoy the sound of you begging him to knot you a little bit more, but that's neither here nor there.

#harrison knott #press play #harrison knott x reader #delgato's asks #omegaverse

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stonathandreamer · 2 months ago

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Stonathan Christmas Headcanons to Brighten Your Day ✨

🔸 Stonathan Masterlist

A/N: Fun fact: here in Brazil, we celebrate Christmas twice! Celebrations start on the night of the 24th when we exchange gifts at midnight, and then there's Christmas dinner. Then, on the 25th, there's Christmas lunch, where we usually eat what's left from last night's dinner, and our celebrations are superior!

✨ On their first Christmas, the boys were freaking out! What should they buy for each other? "Will he like my gift?" Is a constant question that plagues Steve's and Jonathan's minds until Christmas day. And spoilers: they loved each other's gifts;

✨ Steve likes to wear matching Christmas sweaters, so Joyce knits sweaters for her sons and Steve;

✨ Steve helps Jonathan buy gifts for his family - though he isn't that helpful, but hey, it's the thought that matters;

✨ They help Joyce cook dinner. Well, Jonathan helps her cook, and Steve passes the ingredients and reads from the recipe book - he sucks at cooking;

✨ They put up the Christmas Tree together, and when Jonathan asks Steve to put the angel on top of the tree, Steve will lift Jonathan in his arms, much to Jonathan's surprise, embarrassment, and amusement;

✨ Steve likes to buy gifts for all the Byers! That includes Hopper and El;

✨ If Jonathan is having difficulty finding a gift for Steve, he'll ask Dustin for help or Robin. Though they aren't of much assistance. Too much sass, too little assistance;

✨ Steve will ask Will for help, and he's much more helpful than Dustin and Robin combined;

✨ Jonathan likes to give Steve homemade gifts, like an album containing that year's photos of them together;

✨ Once, Steve tried giving Jonathan a homemade gift and asked Joyce to teach him how to knit a neat sweater for Jonathan. He's a surprisingly good knitter;

✨ Steve may suck at cooking, but he's a master at baking cookies, and his gingerbread cookies are divine, and he and Jonathan always bake them together;

✨ Steve will spend as much time as possible in the Byers' house before going home. He'd rather stay with them, but ditching his parents on Christmas day isn't a savvy idea;

✨ Christmas is Jonathan's favorite holiday. It's one of the only days where he's able to spend it with his whole family and boyfriend;

✨ Steve carries a mistletoe with him all the time so he can hold it above Jonathan's head and have a kiss. And damn, he uses that trick every five minutes or so;

✨ Will stay up late together, cuddling and sharing a plate of cookies and hot chocolate while a Christmas movie plays on the TV - they don't pay any attention to the movie, though;

✨ If Steve's parents decide to go on vacation, he'll do anything to convince them to stay - including purposefully getting a cold, but hey, that means he'll get to stay, and Jonathan will take care of him. That's a double win for Steve;

✨ Christmas is not Steve's favorite holiday, but that opinion changed after spending his first Christmas with Jonathan and his family because Jonathan's love for the holiday is too contagious for Steve to resist;

✨ One time, Jonathan asked Steve what he wanted for a gift. His response was, "You."

#stranger things #stonathan #jonathan byers #steve harrington #steve x jonathan #christmas

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thequietesthing · 10 months ago

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since everyone is giving their two cents about the new taylor swift album, i’ll also do the same (it’s more like ten cents cause it’s very long sorry)

first of all, this album (i’m talking about ttpd: the anthology with all 31 songs) can be truly appreciated once you hear it at least twice with the lyrics right in front of you. the reason for this, imo, is pretty simple; the first thought i had while listening to this the first time (and be mindful of the fact that my mind was huddled with sleep bc it was very early) is that it sounds like a diary, more than any other of her previous albums. which is why, i think, that the people that don’t particularly like it may never have kept a personal diary in their life. and i’m not talking about gratitude journals, i’m talking about “teenage petulance” written words, with anger, resentment, hope, love and sadness. which would very well explain the lack of “storyline” that i’ve seen people complain about, in the sense that she doesn’t create stories within her songs but only verbose imaginaries. when you write in your diary you use metaphors, analogies and periphrasis but since it’s something raw and yours you don’t need to craft a story about it because the diary it’s something you write for yourself, so you don’t need to make the effort of making something “pretty” as it’s not supposed to be read by anyone else. it often feels like an unending river flow of messy words because that it’s how writing your own feelings looks like. also the fact that she often reports pieces of dialogue she imagines hearing or that someone actually said it’s a very typical trait of diary entries.

second of all, the games of assigning which song to who can be fun for like the first two hours but then it gets very freaking boring. if you don’t understand that everything that she writes she writes about how she feels and about how other people make her feel you have not been paying attention. she is the main character; if the issue for you is whether that song is written for that person instead of another, you are giving more importance to secondary/recurring roles than to her. these are her words, her story. and i’m not saying it’s not fun ok, catching references to ex-boyfriends or other people, but you can’t, and you shouldn’t, make an entire album that she wrote about her personal intimate experiences about someone else.

to circle back to the lyrics, i think that this album may be one of her best works. they are smart on both a linguistic and metaphorical level. as someone who deeply enjoys english as a language i always have the time of my life listening to her albums and her choice of association of words, themes and rhymes.

a last point regarding the tunes. i am by far the last person that knows anything about music, you give me a pretty tune and i usually like it regardless of where is from (cue my very eclectic music tastes) so when everyone said that all the music sounded alike i was like uhmm. when i heard it a second time (guys the key it’s really in this!!!) i was like no they are different from one another. but also, and this may be a little far fetched so feel free to disagree but it’s what i perceived, is that in this album she may have put much more effort in the lyrics than in the music. not always obvs she is a musician after all, but i think that the turning point here, the thing that she wants us to pay attention to, are the lyrics (also why it’s called tortured poets department and not tortured musicians department :))

to sum everything up, i really really enjoyed this album when i listened to it the first time but i’m appreciating her skills and understanding her lyrics more the second time around. it’s an album that has to be let marinate, like a sauce, otherwise is gonna taste a bit acidic. anywho this is just my opinion, i just needed to tell it to someone and the irl people in my life are not willing to listen, so people of tumblr you are the unfortunate recipients of my two cents on ttpd :)

#personal opinion #taylor swift #the tortured poets department #the tortured poets department opinion #lyrics #songs #music #taylor swift ttpd #ttpd #the eras tour #ts11

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cielles-random-vault · 2 years ago

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overwatch music headcannons! + small reader insert!

including hanzo and genji, mc cree, reaper, kiriko,mei and lucio since they're my all time favorites

please keep in mind that these are just MY opinion and i don't know the characters' backstories so this may not be accurate , it's ok if you disagree but don't be rude about it 💀 THIS IS JUST FOR FUN OK

word count: 977 :D

pre-post note: AAA that's it now i want to create playlists for each one of them and the best part is no one can stop me

✨hanzo

he doesn't have any particuliar taste he just doesn't like very loud music

he likes japanese bossa nova and listens to it when he parctices/medidates

he probably asked lucio why he has to pay for spotify premium and asked him to get him a cracked version of it because he refuses to pay for it (he actually has a lot of money but has a love/hate relationship with americans *staring at cassidy intenifies* but deep down it's really because he doesn't know how to properly use the app without lucio's help but he doesn't want to admit it because it makes him feel old)

I JUST KNOW MY BABYGIRL SECRETELY LIKES KPOP GIRL GROUPS LIKE TWICE AND NEWJEANS (kiriko secretely added newjeans music in his playlist)

listens to shiloh dysnasty, lofigirl lives when he needs to focus on signing his family's papers, he likes tyler the creator but only flowerboy and call me if you get lost because his others albums would be too "violent" for him (don't forget he's an old man 😔 /hj)

HE OBVIOUSLY LIKES CLASSICAL MUSIC like some mozart or chopin or even beethoven

he either has too many playlists or like only his liked songs one (but he doesn't now how to use spotify so he always asks you or lucio on how to do it)

he definitely likes lamp and even went to some of their concerts

oh and he plays shamisen too, his parents gave him and his brothers lessons since it's something very dear to them as music is a very big part of the shimadas' culture

"hi there sakura! do you want to listen to music together?" and then he'd pat the seat next to his for you to sit on

✨genji

since he's (kind of) a robot i feel like he listens mostly to breakcore and jungle dnb, it depends on his mood

he likes bossa nova too but is more into japanese rap

although he's more of an extrovert than his brother, he still needs his time alone, but he'll never mind your presence

"oh? hello there little mouse" as he notices you came in his room. he always sets a bare cushion on the floor for you to sit on. "do you want to listen to music together?"

i feel like he'd like 90's/2000's rap like mf doom, tupac and ice cube because lucio made him discover some of their songs ( i want them to have a thing together aa "but he's already with mercy" CRY ABOUT IT I DONT CARE no one can stop me from writing a genji x lucio fic MWAHAHAHA THIS IS GONNA BE SO RANDOM

though basically he's more of a sewerslvt/ my head hurts type of person (a/n: please listen to my head hurts if you like breakcore their music is so good)

when he feels lonely he asks you to come in his room to listen to some of your favorite music (he secretely made you a playlist)

✨mc cree

as a proud cowboy i'm pretty sure he listens to country music (this man's old too /hj)

he probably listens to old bands like the beatles and metallica

that's it that's what he'd listen to

oh and maybe taylor swift because her music would remind him of the countryside he's born in

"hey there pretty!" (don't judge me i js feel like he would call you that don't ask me why) "come here i made you a pie!"

✨reaper

I JS KNOW HE LISTENS TO SLIPKNOT AND DEFTONES

METALLICA TOO

he doesn't specifically like your presence but he doesn't tell you to leave him alone either

"what do you want? fine you can stay but don't make too much noise"

that's it that's my hcs 🗿krkrkr that's not a lot i'm sorry

✨kiriko and mei (+ d.va bonus)

i js know my girlies listen to kpop

they have a shared playlist with very various things

kiriko's music taste is prety much kpop (the ogs, blackpink, stray kids and txt, they probably stant them)

mei is more of a classical music person

dva likes krap but she's more of of a stay stan

"hi there! have a seat! kiriko and i have made tea!"

✨lucio

I JUST KNOW THIS MAN'S MUSIC TASTE IS IMMACULATE

everybody asks him for music advice

i think he's one of the real "i listen to everything" mfs, his listening goes from classical music to brakcore but also and mainly rap

mf doom, tyler the creator fan (esp the albums before igor)

the music he makes is either really calm like accousitc guitar covers or STRAIGHT CHAOS there really is no in between and i'm here for it

BRO IS A KENDRICK LAMAR FAN if the two of them were in the same universe i'm a hundred percent sure theY would have made music together

p sure he listens to travis scot ON BLAST so loud he always get yelled at by because it disturbs his meditation

when he feels lonely he invites you on the roof to play you soft songs on his guitar

THAT'S IT :D THANK YOU FOR READING

ily if you read through the whole thing <3 /p kith kith if consented 🎀

have a good day !

-kanahari/ @chainsaw-locket-444

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chicken-delight · 1 year ago

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god it so fucked up that I can’t just record a audio post of me talking and post it here but my thoughts are too intense to have to think about it and then type it out so I’m just saying it into my voice text thingy on my phone.

people who complain about Bob Dylan‘s concerts being lame don’t get Bob Dylan. I was talking about this to one of my buddies a couple weeks ago and I was saying like something something something Bob Dylan live something something something and he was like yeah but have you seen Bob Dylan live before and I was like yeah twice and it was great. I loved it and he said oh really? and I was like yeah… I know people are haters, but Bob Dylan has never promised his fans the show that they expect to see. He’s always doing the opposite of what people expect him to do. He’s never gonna play the hits. Shows for him are like the ultimate artistic expression for. It doesn’t matter if you like it. you are the one who paid to see him right. And I understand like some artists, do feel the need to give the crowd what they want because they did pay for it and that is just on a basis by basis sort of deal. I personally don’t care what their outlook on it is. They are the artist and you are the spectator. there’s a certain power dynamic in that and the artist always wins. Great art has never been made by doing what the spectator wants to see, here, experience, etc..

yeah, maybe his voice is gone. But he’s in his fucking 80s. Like what the fuck. You’re asking too much of him. Also Rough and Rowdy Ways is one of the greatest Bob Dylan albums. The sound is great. The band he has is great. The songwriting is superb, and the voice that he has now fits perfectly with the music. He is making right now. And I think it is so fun to watch him bang on the piano and for his band to just be tight and know what they’re doing. and I love how he would come out from behind the piano after every song and pose and then go back and play another song. i saw a man comfortable with what he is doing. and thats what matters.

And now that I’m just on a roll, I feel as though people who dislike Bob Dylan have a superiority complex about it even though they think that Bob Dylan fans have a superiority complex about liking Bob Dylan. every person, at least of my generation that I’ve talk to who is into him has a very personal complicated relationship with his music. It’s not just easy listening. And yeah, Boomers just like Bob Dylan because he’s Bob Dylan sometimes and dont think about it. But I feel like anyone l who goes after a Popular artistp like this just is doing it to make themselves feel cool and different. And they said that it doesn’t make them feel: different but it does. And I understand that and I think everybody has one artist that they are like I don’t get it. I’m just on another level. Like Taylor Swift. also I don’t give a fuck. There are so many layers to this artist as there is to any artist, but especially Bob Dylan where you can’t listen to one album or one song etc. and decide you don’t like it forever and write it off. he has a different sound and he evolves just like every other artist. Leave some room for potential here like it doesn’t have to sit right with you in the moment but it’s, very juvenile to be like I don’t like his voice I don’t like the harmonica, but also like you don’t have to like him even if you do listen to all the fucking albums like it doesn’t matter and it shouldn’t matter stop thinking about it. and I know everyone was talking about whoever it was who was comparing Bruce to Bob Dylan. And I don’t even care if Bruce would think that that’s a lame opinion to think he’s better than Bob. It’s never fair to compare artists to artists, the only arena where you can do that is, if you’re joking or if it’s a lighthearted conversation. I think the world we live in right now with social media, and Paris social relationships has sort of stripped away the sacredness of the art someone makes, and then decides to put out into the world. it’s so deeply entangled with their being even if it’s a silly song or even if it’s not autobiographical. Art comes from the deepest part of your soul. You wouldn’t want to compare souls. Anyways. This took up my entire 30 minute lunch break. I have to pee.

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therecordconnection · 1 year ago

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Ranting and Raving: "Come Dancing" by The Kinks

youtube

When looking at the British Invasion of the sixties, there is something known today as “The Big Four.” That group refers to the four bands that led the musical invasion on American shores: The Beatles, The Rolling Stones, The Who, and finally, The Kinks. The Kinks were entered into that club way later than the other three. It took more time for people to realize that the band were of the same caliber and helped pave the way for a lot of music we hold dear today just the same as the others.

But the Kinks ended up having a wildly different career trajectory than those other three. Mostly because they were banned from playing in America from 1965-1969.

The exact reasons for why tend to boil down to this: When attempting to tour America in 1965, there was tension between primary songwriter/guitarist/vocalist Ray Davies and his brother, guitarist Dave Davies (who also had beef with at-the-time drummer Mick Avory, sometimes losing it and fist-fighting him on stage), they all had beef with their tour promoter, Betty Kaye, who was unable to pay them in cash (which was the agreement that was made and unable to be fulfilled due to poor ticket sales at the beginning of the tour) and when that happened, the band was pissed and decided to retaliate against her. This in turn led her to filing a formal complaint with the American Federation of Musicians (basically the organization who has the power to withhold work permits for overseas musicians in the event that, you know, they piss you off and are difficult to deal with). That complaint held weight and the band were, well, banned from playing in the states. By the time the ban was lifted in ‘69, the British Invasion was over and done with and the tastes had changed.

In a way, I think this actually ended up being a blessing in disguise for them. The other three bands they’re grouped with all ended up getting Americanized in some way due to spending extended time here and trying to appeal to us. By contrast, The Kinks were stranded and remained aggressively British, so they stayed weird and their music remains all the more fascinating to Americans because it wasn’t made with any of our sensibilities in mind. The only times the band snuck over here and scored a Top 40 hit twice during the seventies. “Lola” was the big one in 1970 (peaked at #9 on Billboard) and “Rock and Roll Fantasy” was the other one in 1978 (peaked at #30). So as far as America is concerned, the seventies weren’t the best decade for the band in terms of chart success. They would go mostly ignored.

The Beatles, The Stones, and The Who all had a great time here in the seventies... but the eighties belonged to the Kinks, who had a way more fun time during that decade than any of them. By the start of the eighties, the Beatles had been broken up for a decade (one of them would be dead by the end of 1980, one of them sits out most of the first half of the decade, one of them doesn’t know what the hell they’re doing, and one of them is Ringo) the Stones were about to go on autopilot and enter suck for a decade, and the Who were quickly suffering burn out. On the other hand, The Kinks had been enjoying critical and commercial success and enjoyed experimenting with the new wave and punk sound that had been sprouting up in Britain. It certainly helped that a lot of new wave and punk bands loved them and were covering their songs. Listening to albums like 1981’s Give the People What They Want and 1983’s State of Confusion are good examples of Ray Davies’ versatility and adaptability as a songwriter. He just seemed to understand the changing times better than the rest of the old British Invasion bands. I mean, bloody hell, you don’t call an album Give the People What They Want unless you’re damn sure you know what they want. The Kinks have five songs that have been Top 10 hits on Billboard: “You Really Got Me” (#7 in 1964) “All Day and All of the Night” (also #7 in ‘64), “Tired of Waiting For You” (#6 in 1965), “Lola,” and finally, their last and quite possibly the best song Ray Davies wrote in his long career, “Come Dancing” (#6), released in April 1983 (for America, Britain had it in October ‘82) and our subject today.

“Come Dancing” is one of those hits that defies most explanations. By all accounts, Americans at the time should’ve wanted nothing to do with it and it never should’ve been a hit here. By the time the song hit its peak in July 1983, It didn’t fit in with anything else that was on the Top 10. That is, unless there’s a part of your brain that thinks the Kinks can share a playlist with the likes of The Police, Irene Cara’s “Flashdance... What a Feeling” (from, you guessed it, the movie Flashdance), Michael Jackson, Culture Club, and Kajagoogoo, which sounds like a name I made up, but I swear to god I didn’t. Adding to the anomaly is how Ray Davies didn’t write this with an American audience in mind at all. For starters, he makes no attempt to hide his accent (although Ray is so aggressively British you’d have to be the most daft and schtewpit wanker alive not to notice). Other giveaways are how the song talks about dance halls (which is primarily a British concept. He also uses the French word “Palais” to mean “dance hall,” which only further alienates us Yankees) and the song borrows its title from a popular British dancing show, Come Dancing (it’s mostly known today through its revival, Strictly Come Dancing).

“Come Dancing” is mainly concerned with two topics: 1) It’s a song examining the changing times and memorializing the past. The dance hall of Ray’s childhood is long gone and has been replaced with several different things ever since. 2) It’s a story song about his older sister, Rene. More on her later.

If this song became a hit for any reason, it’s because Ray Davies’ ear for melody never failed him. That main melody that plays through the song is ridiculously infectious. It does what every great song wants to do: sneak into your brain and have you hum it for a long time after it’s over. Musically, it’s delightfully strange. The chorus has that British Invasion sixties sound that taps into boomer nostalgia (which would quickly wrap the eighties into a vice grip tighter than a rattlesnake) but it never fully consumes the song. The main melody has that sixties sound when played on a guitar, but it’s almost drowned out by the odd choice in keyboard sound, which sounds like something you’d hear on a calliope or a boardwalk in the summer. While being odd, it’s an immediately recognizable sound that works really well. It’s very easy to start dancing to it and, more importantly, it’s such a great melody that it never gets obnoxious or annoying to hear.

The most interesting thing about it is that it’s a melody that feels like it’s fighting to find a spot in a specific time period. Dave Davies’ guitar makes it sound sixties, the keyboard turns it distinctly into 1983, and then it travels back to the big band era of the forties and fifties when horns play it at the end of the song. It’s a melody that’s clearly nostalgic for something, but it and its creator never find exactly what it’s nostalgic for. There’s an argument to be made that the entire song is nostalgic for everything and that’s why there’s no specific choice. In that sense, the song perfectly captures that feeling of experiencing changing times. What you knew is gone forever and you’re having to come to terms with the new. The overall production, the keyboard doing the main melody, that new wave sound and Dave’s heavy guitar riffs during the halfway point of the song, and the chorus are all firmly in the new. The keyboard during the verses, the acoustic, folksy guitar heard throughout the song, and the big band horns at the end are all the faded voices of the old trying to be new again. Ray Davies is very well aware of time and the way time changes things as major themes within this song. Those themes show up as early as the first lines of the song, when he lays out the history of the local palais in just four lines:

They put a parking lot on a piece of land Where the supermarket used to stand Before that they put up a bowling alley On the site that used to be the local palais

Local palais -> bowling alley -> supermarket -> parking lot. Anybody who has lived in a small town for decades or has lived long enough to see major changes to places can rattle off history like that to you. Even if you haven’t, sometimes you can just walk into a store and you can faintly see the remnants of what used to be there, possibly something to the tune of, “This coffee shop used to be a Pizza Hut.” Ray Davies establishes that theme from a distance immediately so that he can zoom in just as fast and begin to tackle the song’s real reason for being: a story song about his older sister, Rene.

Ray Davies has six sisters, all of them older than him, but it’s Rene who hit the jackpot and got this song written about her. The backstory of “Come Dancing” is this: Ray wrote the song in honor of his sister’s love of dancing and to honor her passing away from a heart attack on the night of Ray’s thirteenth birthday while out dancing at the local palais. She was also the sister that bought Ray’s first guitar for him (you can see the kid in the music video air strumming a tennis racket, which I’ve always assumed was a nod to Ray being given a guitar). In a 2014 radio interview with NPR, Davies recounted the stories that inspired the song:

...she was told she had severe heart problems, but she loved to dance. And the doctors told her, she walked down the road, she would probably have a heart attack. So she bought me this not-very-expensive Spanish guitar and gave it to me on my birthday. And she - we played a few songs. She played a song on the piano. And I tried to play with her. And she said she was going out now. And I would watch my sister go out. It was a sunny afternoon. And she walked down the road, and my mother stood at the gate. And that was it. And the next morning, we got a call from the police. She'd been - she had died dancing at the ballroom in London in the arms of a stranger. And they came to break the news to my parents. So it was - the birthday was forgotten, but that's irrelevant.

From the last line of the first verse to the end of the song, it becomes a beautiful eulogy about the loss of Ray’s sister and the dance hall that held her happiest memories. The story that Ray tells in that NPR interview is found all throughout the song’s lyrics. Ray mostly focuses on the boyfriends and dates that his sister would go on and even how Ray could see her coming and going (“Out of my window, I could see them in the moonlight / Two silhouettes saying goodnight by the garden gate”). Ray paints a fun, upbeat, and bouncy picture of his sister as your typical fun-loving girl who loves to dance and would make her dates work for (limited) satisfaction.

Another Saturday, another date She would be ready but she'd always make them wait In the hallway, in anticipation He didn't know the night would end up in frustration He'd end up blowing all his wages for the week All for a cuddle and a peck on the cheek

The lyrics stay just as light and peppy as the song they’re attached to. Despite the fact that Ray is writing this song about a woman who passed away twenty-five years before this song existed, the only sadness to be found is the death of the palais (The day they knocked down the palais / Part of my childhood died, just died).

The final verse of the song is the most important part. We’ve established that in real life, the person this song is written about passed away twenty-five years prior. In the song, she isn’t. Ray Davies utilizes the power that comes with being a songwriter and fully rewrites her ending. This part is real: “Now I'm grown up and playing in a band / And there's a car park where the palais used to stand.” These lines aren’t:

My sister's married and she lives on an estate Her daughters go out, now it's her turn to wait She knows they get away with things she never could But if I asked her, I wonder if she would

With this final verse, “Come Dancing” becomes a song that resurrects the past and gives it new life. “Come Dancing” isn’t just a nostalgia song, it’s a resurrection song. A nostalgia song usually is too preoccupied with the yearning for days gone by, the dread that comes with knowing that the old days are gone forever and you wish like hell that they were back. “Come Dancing” isn’t that. The final refrain of the chorus has Ray singing, “Come dancing / Just like the palais on a Saturday.” The key words are “just like.” Ray knows that he can’t literally bring the palais back (or his sister, for that matter), but as a songwriter, he can resurrect the feelings and the memories of the palais on a Saturday. He can resurrect the feelings and the memories of his sister and how she would go dancing.

It’s a beautiful and loving tribute to someone dearly departed. If you believe in any variation of the phrase, “The dead are never truly gone so long as the memories remain,” then this song does what a lot of songs do when they make us think of the people closest to us: it resurrects their memory and helps us remember them and how we carry them with us.

It’s the most unexpected hit they could’ve had during the second half of their career and it remains one of their sweetest and most lovable songs. It represents the romanticism, the cleverness, and the theatricality that made the Kinks such a wonderful band and so distinct from their peers.

“Come Dancing” is the best possible tribute. It brought Ray’s sister and the old local palais back to life every time he and the Kinks played it. They come back to life every time you play it on something. If you have someone special to you who loved this song to death, they come back too whenever you play it. Hell, when Ray Davies eventually leaves this Earth, this song will also bring him back to life every time someone plays it.

Time moves, whether we want it to or not. But if we’re lucky, we’re able to capture a few magic moments and make them immortal. Nothing is ever fully dead so long as there’s someone there to fill it with love and resurrect it.

So, why not come dancing?

It's only natural.

#original post #ranting and raving #the kinks #ray davies #Youtube

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binchansbiceps · 2 years ago

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I Have Been Playing With A Superstar Chapter 2

The months had seemed to fly by and drag on at the same time. A. didn’t play with you much anymore as he said he had to work on this project for the meetings he had to travel for. But at least he did message you when he could. Mini was now super excited cause Stray kids just announced that they would be going on tour. She was trying to convince you to save and go with her and you were trying to do your best but life was never easy for that. You had always made just enough to pay rent, buy groceries, and every once in a while get something for yourself. Paying for really expensive concert tickets was sadly not in the realm of possibility. Especially with the short time frame that's been given for when the concert is.

It’s not that you didn’t want to go, cause you really did. Stray Kids was the first group you really got into. Hell you had gotten two tattoos for Stray Kids one for the first album you had ever heard and the second for your favourite song. And you hadn’t been listening to them for very long. You had actually gotten them done only three to four months in. So it was safe to say that you were a Stay.

Not overly crazy, you watched the lives and their posts on youtube, you thought about getting Bubble but the cost was a little too much. And anytime you heard about the fans stalking them and trying to get close to them by force just made you mad and disgusted. Though you do have to admit, to simping a bit yourself even reading some fanfics and maybe writing one or two as well.

It’s kinda one thing you and A. bonded over, though not just Stray kids but Ateez, NCT, Twice, Black Pink and a few others he had actually gotten you into. You were a bit surprised he liked K-pop as most people you met didn’t seem to really understand the whole you can enjoy music in other languages that you don’t understand cause you don’t speak them… thing.

So happy to say you had met someone who did, and all on your own made you very happy. Most of your K-pop friends came from Mini when she had dragged you into liking the music. For the second time as the first you had only listened to for a few weeks before losing interest and forgetting all about it.

Enjoying your day off laying in bed and listening to a random shuffle of all your music on your phone. A. sent you a message.

Hey!! - A.

Hey hows the project going?? - Y/U/N

Its going pretty well! Super excited to present it - A.

Thats good - Y/U/N So what day are you getting here do you know yet?? - Y/U/N

Yeah we just got a confirmed date for arrival - A. It’s in 2 weeks on tuesday - A.

Ohh thats soo awesome i can’t wait!! - Y/U/N When is best for you to meet up i know this coffee shop nearby or we can find one in between if your a little further away - Y/U/N

We are staying in a hotel near the city but i will have a driver so i can disappear for a few and we should all be good so close by you works well and tuesday afternoon should work for me - A.

Sounds great ill send you the address and ill meet you there!! - Y/U/N

Ok im super excited!! - A. I need to go back to work now but ill see you in a few weeks!! - A.

Okay have fun! - Y/U/N

With the new knowledge you were even now more excited and hoping to be able to meet up more than once before he would have to go home. But since you didn’t know his full schedule and how long he was staying, the one time with him was good enough.

Besides now that he was ready to meet up you could call and facetime now so that’s even more exciting.

You immediately tell Mini you knew she would want to know when and where you were meeting him. You know it was to keep you safe. She wasn’t going to come with you but she wanted to know when and where you were at all times. And you couldn’t fault her for that, you would do the same for her if the roles were reversed, and it was she who’s meeting up with some ‘rando’ she had been talking to for just over a year and had never even seen a photo of.

The day finally came, it was time to go and meet A. at the cafe. You picked a nice T-shirt and some leggings and some nice flats to go with. Adding some mascara, leaving the rest of your face blank as you never like the feel of wearing makeup, it’s too heavy and makes your face feel itchy.

You grab the mini backpack you use as a purse and make your way out the door. Leaving a little too early, as always the fear of being late is what powers you into always being about an hour early to things.

Taking the short bus ride and getting off at your stop you head to the little cafe and find a place to sit for the two of you and set your things down. Pulling out your phone you let Mini know you are now at the cafe and wait for him to get there. She told you to keep her posted and to tell her if you go anywhere else and when you get home. Agreeing to her terms you let out a nervous yet excited breath and went up to the cash to grab something to nibble on while you waited.

Playing cats&soup while nibbling every once in a while, you didn’t pay attention to the ring of the bell when the door opens or how the person who just walked in took a quick look around before walking in your direction. You didn’t see how they stopped beside the table and removed their face mask. What did catch your attention though was when they said in a very familiar voice “hello your Y/U/N right?” when you looked up you couldn’t believe who stood in front of you and all you could muster to say was “ALYFT?”

#stray kids #skz x reader #bang chan x reader #lee know x reader #changbin x reader #hyunjin x reader #han jisung x reader #felix x reader #seungmin x reader #i.n x reader

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hanaasbananas · 2 years ago

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Power to Play Chapter 4

A series of ficlets each based off a song from the McFly album Power to Play

AO3

Prev//Next

God of Rock & Roll

“Father?” Gabriel started slightly, hand skittering across his tablet screen and drawing a line over his latest design. He scowled.

“Can I ask you something?” Adrien’s voice echoed slightly in his office and Gabriel resisted the urge to pinch the bridge of his nose in irritation. He could feel the stirrings of a headache already. Nobody respected the meaning of a closed door anymore.

“What is it, Adrien,” he snapped. “Can’t you see I’m busy? Speak to Nathalie.”

Hovering in the doorway, Adrien wrung his hands together nervously, meeting Gabriels gaze and quickly looking away. “I did. Um, Nathalie told me to ask you.”

“Go on then. Spit it out already.” Gabriel had already turned his attention back to his work, barely paying attention to what Adrien said next. He’d just ask Nathalie about it later.

“I’ve been asked to be in a music video by this band and wanted to confirm with you if I could do it before I accept the offer.”

“Yes, yes,” he waved a hand dismissively without looking up. “Very well that’s fine. Now leave.”

Adrien didn’t have to be told twice, practically running out of the office, pausing only to shut the door behind him.

“Finally,” Gabriel muttered. He really needed to get a sign for his door.

Days later, Adrien was practically buzzing with energy on his way home from the music video shoot. The fact that father had let him do it at all was a miracle and Adrien had–slightly guiltily– turned his phone off just in case father changed his mind. But much to his relief, there had been no missed calls when he’d turned it back on several hours later.

Still, he didn’t hang around for the group outing afterwards, unwilling to push his luck any further.

“It was so much fun!” he exclaimed to Nino on the phone. “Like, really cool. I can’t wait til you guys get to see it. And they let me take some of the leftover paint.”

“No way seriously?!” Nino sounded impressed.

“Uh huh. You can use it for your next project; it’ll look amazi– ” Adrien trailed off as he caught sight of father waiting for him by the stairs.

“Where have you been?” Father’s voice was sharp. The grin slid off Adrien’s face.

“Hey Nino, uh..I’ll talk to you later.”

He could practically feel his friend wince through the phone. “Good luck dude.”

Putting his phone in his pocket, Adrien took the opportunity to school his expression to be more neutral. “I was…” he began slowly. “I was at a shoot. The one I told you about.”

Father frowned. “Oh.” Glancing down at his tablet he tapped the screen a few times before nodding. “Alright. This was a…friends amateur project, correct? Whatever the case, I trust that you represented the brand appropriately.”

If smearing neon glow in the dark paint all over myself and rocking out on a guitar is an appropriate representation then yes, I did. Adrien thought. Somehow, he didn’t think father would agree.

“Yes,” He lied.

“Good.” Father was already walking away, no longer interested in the conversation. “Off you go. You missed your piano practice today, I expect to hear you playing shortly.”

“Of course, father.”

“You asked for me, father?”

“Yes.” Gabriel sighed. “Come here. I want you to have a look at something.”

Curiosity flickered across Adrien’s face as he made his way across the room. He regarded Gabriel with wide, guileless green eyes until they alighted on the tablet in his hand.

“Oh cool!” Adrien exclaimed. “I didn’t realise the video came out already!”

“It did,” Gabriel said. “And I would like you to explain this to me.”

“Explain what?”

Gabriel had hardly been able to believe his eyes when Nathalie had shown him the video. He’d caught her hiding a smile as he’d watched it, but he didn’t see what was so funny. It was going to be a disaster for the brand, to see the face of Agreste Clothing–his son– cavorting around shirtless and covered in body paint for some silly band's music video. They couldn’t even pretend that it wasn’t Adrien because he had been named and tagged in the post.

It was a disaster.

“This,” Gabriel shook his tablet in Adrien’s face. “How dare you go behind my back to do this–”

“I didn’t though.” Adrien interjected. He lifted his chin stubbornly to meet Gabriels surprised gaze. “I got your permission and even told you about it afterwards, remember?”

Now that he’d mentioned it, Gabriel did have a vague memory of him asking for something, but really, was he supposed to keep track of everything Adrien did? That was a completely unrealistic expectation.

“This is not what I approved–”

Adrien shrugged. “Yes it is. I gave Nathalie all the information after you said I could do it, it’s not my fault you didn’t actually read through it.”

Gabriel turned the tablet back around and quickly skimmed through his emails from the last week. And there it was: itinerary and briefing for ‘God of Rock and Roll’ music video shoot. Huh.

“Was that all? I need to go to school,” Adrien said, sounding a little impatient.

“Yes, you’re free to go,” Gabriel said, still frazzled by the oversight. Pulling up the video again, he began to scroll through the comments, startling when he accidentally pressed play and the first lyrics blared out at him:

I’m the number one at making bad decisions..

“Oh shut up,” he grumbled, turning the tablet off and throwing it onto his chair.

He really did need to start paying better attention to things

#banana writes 🍌#ml fanfic #gabriel agreste #adrien agreste #ml crack #power to play

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colorisbyshe · 2 years ago

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Its that time again!!!!!!!!!!! Best music to come out in March PLEEEAAASE

.Sex by Alice Longyu Gao. Experimental as HELL and the experiments pay off. Indie meets drum and bass with some screaming and trance. It's a lot. I love it. One of the rare English tracks on my rec list so like... if youd on't like non-English music relish this while you can

Beat my Face by Rico Nasty. I really like the beat on the track and Rico's aggressive flow really suits its more laid back tempo.

Believing off of Babymetal's new album. I kinda miss their sillier sound but I don't hate that theyre making more serious, urgent music. I chose believing because the chorus sounds a bit like they're interpolating All The Things She Said (they arent but it still sounds like it)! IMO this is a good ~metal album for anyone scared off by how hardcore metal can be and they need something more symphonic

Eat your Young by Hozier. I don't have to describe hozier for y'all... you konw

It's hard to pick a single track off the album but Ebony Eye by Yves Tumor. If you like alt music, this entire album is worth trying out. It's conceptual clarity is a sharp contrast to the diversity of sound you'll get on the album.

Exit by So!yoon!. I was picking off of tracks that came out in March, otherwise i'd shout out Bad, but yeah... this track is dreamy and aching and fully in English despite being by a Korean artist. The vocals have a nice punch while also reverberating through your head and bones.

Fly Girl by Flo. The nostalgic sound keeps developing them and choosing to collab with Missy Elliot really elevates them even further. Sliiick production and vocals

Onew (from Shinee) released a lot of music in both Korean and Japanese. My fave Japanese track is the vibrant Inspiration that highlights how lovely his voice is and as for the Korean song... maybe Paradise?? Or Expectations. There is a WEALTH of great tracks to choose from. If you love good production, listen to this whole album, each track is seamless.

Mugen Loop by Buck Tick feels like a song that plays in a theater as credits roll and you're so emotionally wiped out by the film, you just sit there, taking it in. The echoing guitar and swirling instrumentals make you feel like you are being enveloped by clouds.

Rover by Kai. I don't know if Kai NEEDED to do a reggaeton influenced song but... it's fun. I feel a lil stockholm syndromed into loving hte song and I think some b sides are better (Sinner being the easiest pick) but I can't deny I can't stop listneing

BILLLIE'S ENTIRE ALBUM. Idk how to describe it. Just a girl group working at max power.

Notable tracks but not necessarily my faves:

Underneath My Raincoat by Studio Killers (Poppy, low key)

Fall Out Boy's album happened and I can't say I have a fave that wasn't one fo the lead singles? I need to digest it a bit more but I do really enjoy the title track and the drama of it all.

Kororon by Eve. More poppy Jrock.

Lights out by Sunmi and Be'o. Sweet, simple Kpop. Her voice is BEAUTIFUL and this is so relaxing.

Dumbest Girl Alive by 100 Gecs. Beat does go hard. I cannot lie but also I wanna shout out 757. Fuck the ska based songs on this album tho

Circle by Code Kunst. More just good, simple r&b influenced kpop

Free by Hur. Mostly english Cpop that literally shocked me because it used fuck twice in a single second?? I was like WHAT??? It's kinda generic as a pop song but like in a 2000s way.

"can you help me?" by Can't Swim. 2000s indie rock vibes a la Motion City Soundtrack

Go by Kan Sano. Jazzy japanese music.

the forbidden door by lynch. More japanese metal. It's fucking good, okay.

All Nighter bt Tiesto. Just good dance music.

Bad Intentions by Bayside. More modern (ENGLISH!! SURPRISIGN FOR ME) rock music.

NOT FROM MARCH BUT:

dramatic by mass of the fermenting dregs. band name sounds hardcore but really the song is a soothing balm. music for an indie coming of age movie (but in japanese.)

more japanese music idk why i cahnged gears so hard this month but not enough by rei yasuda. sounds like it could thrive on america radio, tbh

trigun stampede's theme song. it's aping juice wrld SO heavily it kinda makes me uncomfortable but it's good...

the new shakira song is a fucking bop i can't stop listening

sorry this was so long all i did this month was listen to music and laugh about my dead nana

#also listen to cat by b'z if only to hear how he says MEOW MEOW

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cantcompetewhereudontcompare · 7 months ago

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Larries are so out of this world absurd I cannot cope. Since before Harry's tour ended they have been pedaling that he's gonna take a long break to let Louis "shine." Some of them have even become so cuckoo that they think he's flat out retiring, forever.

This Larrie, in particular, is unhinged.

She's talking about the first time she said this weird ass thing (Harry walking away from his career to be with Louis) and how the comments called her delusional. "How are we feeling now" ... because it's been a year since his last show and he... IDK? Hasn't come back yet?

Hmmm. Last show of Live On Tour was July 14 2018. Was Harry active in July 2019? NO. He was still on a break. No news of a new album. He hadn't even been seen in a studio since 2018.

This is Harry with his producer Kid Harpoon about a month ago (June 2024) in Rome

He was also seen with his creative director Molly in Civita about 10 days ago (multiple people saw her there). His assistant Luis was seen hauling a suit over his shoulder and both of his photographers, Lloyd and Anthony were there.

I know Larries, for all their attempts at portraying themselves as knowledgeable, never actually know anything. They don't pay attention to this sort of thing because it doesn't involve Louis, so they're not interested, but Harry is working on his fourth album. This isn't even speculation, Billboard reported on it.

Harry takes 2.5 years between albums, he has done that twice already. But I sincerely doubt he's gonna release an album at the 2.5 year mark this time because the US election is in November and it's gonna drown absolutely everything. It's the reason so many artists released music at the beginning of the year. Most likely scenario he's gonna wait for the dust to settle on that, and release in the spring again, making it 3 years instead of 2.5. But he is working on that album. Rob Stringer, head of Sony, was hanging out with his producer and sister just two weeks ago at Stevie's show.

This woman then goes on to say that someone is "messing with her" implying that it's someone in the know telling her stuff. And she doesn't know if this person is seeing if she's trustworthy and won't speak or if this person is using her to speak.

Honey, no one in the know is talking to you. You're a delusional grandma with no life who has focused her entire existence around a relationship that was never real between two people who have not interacted publicly in almost a decade. No one is testing you, no one is feeding you info. Someone equally as bored and lifeless as you is literally messing with you, but just for the fun of it.

"They told me HS4 was coming and I was like, really? I didn't get the vibe." No shit. He's never released albums this close together. Why would he start now?

I just don't understand how these people who act like they pay such close attention can't look at past release dates and do some basic math. In fact, if you're supposedly experts on all things 1D and management and whatnot, how can you not know that the main thing Harry objected to in terms of 1D's schedule is that they released albums too close together. Actual literal quote from Harry "five albums in five years is pretty crazy, huh?" In the shadiest voice, when talking about something else entirely. He just felt the need to tuck that comment in.

He talked about how he didn't want to exhaust the fanbase. He saw it happening in real time with 1D, which went from big (UAN), to bigger (with TMH) to big but slightly lower than before (Midnight Memories) to a slump (Four). He saw concert tickets have to go out on Groupon, their singles barely cracking top 10, and the enthusiasm all around dropping. Because they released too much music too soon and toured too much too close together. He's not gonna make that same mistake. He LITERALLY talked about it in his Rolling Stone interview. He used the sentence "we didn't want to exhaust the fanbase."

Harry went through some massive years, and he didn't get a proper break in the minds of people during his actual break (2020/2021) because he exploded during the pandemic and his songs became huge hits. He took his usual break, disappeared, didn't perform for a long ass time, but he KNOWS he was still very present in people's minds. And then he had two huge years in 2022 and 2023. So yeah, he's gonna disappear for a little longer, but there is literally no indication that he's retiring.

In fact, during his last show, where people used parts of what he said out of context ("when the time is right" is a big one), he made sure to over and over say that he was coming back and it was just a break. Something he never did with 1D, mind you.

When the time is right was absolutely warning that he was gonna take a proper break. The man was probably exhausted. But he was seen with his producers in September 2023. Mind you, Tyler lives in Nashville and Kid lives in California. They were seen with Harry in London, blocks away from RAK Studios, which is where he recorded his last two albums. Do you think his two producers who live across the ocean, happened to travel to London at the same time and hang out near his usual studio for what reason? Fun? They both have kids and wives back home lol. Like, lady, you're full blown delusional.

Remember the pic I posted before? This one?

There's a third man in it. Who is it? This man. Nikolai Haas.

Where did that photo come from? The Harry's House photobook. Where was it taken? Italy. The man is legitimately wearing the same fucking sandals lol.

In fact, Molly was seen in Civita, remember I just said that? Well, here are Harry and Molly in Civita for Harry's House booklet

So while you're going off "vibes" I'm going off factual evidence.

"I rewatched clips of him on stage. That man was saying goodbye." Lady, you're convinced that he's been in a secret relationship for ten years with someone he doesn't even tolerate. And I will touch on that in another post right after this one. Your instinct is completely wrong in every sense of the way.

Whatever "vibe" he had (according to you) is irrelevant when the words coming out of his mouth contradicted that. But I know Larries aren't known for listening to what he says, so I shouldn't be surprised.

"Ultimately we want him to be happy" no you don't. You want him to be happy in the specific scenarios you created. If he dares go outside of them you won't support him anymore. Y'all have made that very clear. You literally repeat constantly that if he's not with Louis then he's not a good person lmao. You perpetuate this idea that he'd be a womanizer if he was actually into women. You have to believe his entire life is a lie or you don't like him.

But I guess more fool me for trying to debunk and argue with someone who says "I can feel him a little bit." Claiming to actually feel what he feels. Like, this is beyond normal levels of conspiracy theory delusion. This is the level of having you institutionalized deranged.

"I do have lots of tea." Yeah, grey earl tea. NOBODY IS TALKING TO KAREN FROM IOWA.

I don't know how to break this to y'all but I've been a part of this fandom in one way or another since 2012 and this type of person has always existed. They always have some "tea" they always "know someone" and they're always hinting at something that will happen "soon." And then they move the goalposts for a while, "something changed behind the scenes" or a new contract popped up, or someone did something that changed something else, etc. There's always an excuse as to why all the "tea" doesn't end up happening. Until eventually they realize they were lied to and just drop out of the face of the planet. That is if they weren't making it all up in the first place.

"If you take a look at Louis Tomlinson's career currently *smug smirk* where's Harry? Not in the spotlight. And while they were both touring, people were going to Harry's shows mostly, but if they had the time and in between they wanted to go to Louis' shows. They wanted to go to both."

Absolute bullshit.

"And I really feel strongly that they felt 'If Harry is not touring people will go to Louis.' His crowds have tripled, since Harry left. Ok? T R I P L E D."

No, they have not?

I mean, you guys...

Louis in Argentina had sold 25,957 tickets in 2023 "while Harry was touring. (Harry sold 123,942 tickets in the same country)."

In 2024, Louis did Argentina again and this time he chose the same stadium 1D had performed at back in 2014. 1D did two shows in that stadium and the attendance was 80,622. So each show was roughly 40,000. So already we're not at "tripled" territory, because triple 25,000 is 75,000. But alright, it's a boost isn't it?

Wrong. Turns out he couldn't even close to sell out, so they "virtually" sold out the upper stands so people would buy tickets elsewhere, then didn't even open them and made fans go to lower stands or floor. A bunch of people also got in for free. And even then the floor wasn't even close to full and neither were the lower stands. It's all on twitter and there's pictures and video of it if you want to look it up.

If he even repeated his 25,000 crowd I'd be shocked. But he definitely didn't grow this audience. It was as small as before, at best.

And this is an example of him somewhere he's loved. He also did Allianz Parque, which is a stadium as well, but he cropped the stadium to fit only a fraction of its normal attendance.

This is Allianz Parque for Harry

This is Allianz parque for Louis

Harry had three shows in Allianz Parque which had a combined attendance of 137,009. Each show roughly 45/46K. That is a third of that stadium. And Louis did not sell out, there were tickets available in all sections right up until the moment the show started. Louis had one show. You can see the empty seats in multiple videos on Twitter. Meaning, Louis' attendance was at best 15K. That is, once again, the same exact audience he had for his previous tour.

Not tripled, not double, not even grown! Same audience.

What his fans gloated about the most was a show in Mexico and people use this aerial pic to show the audience and be like "oh wow"

Those... those are seats. Every single person in that picture is sitting down (or at least has access to a reserved seat). It is indeed a lot of people, particularly for someone who can't write music (admitted by himself), writes trite lyrics, can't sing, and can't play instruments. But that's not "70,000." You have to be particularly bad at gauging crowds to believe it is.

This is a standing, crowded audience of 83,000 (Harry at Slane). Not only is the physical space already much, much bigger, but people are standing up, elbow to elbow. Not sitting down ON A CHAIR.

How is it possible for this fully GA crowd in a much bigger space to be only 13K more than a sitting down crowd in like half the space? You guys defy the laws of physics at this point. I know perspective might kick your ass, but look at the size of the stages to compare, look at how tiny Harry's looks because of how far away the picture was taken. You can see the roof of the stage in Louis' show in the picture above.

The 70,000 number came from a fan and people just ran with it, particularly multiple Spanish speaking blogs who aren't very reputable. The actual attendance was 32,000. I know there's a source for this but I didn't save it, it was an official Mexican news outlet who spoke with the organizers.

That is a lot of people! But it wasn't sold out, and once again, his attendance in 2023 wasn't far off? It was 23K.

And that is because harry being active or not has no impact on Louis' career. Harry's fans by and large do not GAF about Louis.

Harry has 63,890,885 monthly listeners on Spotify. Louis has 2,513,662.

And btw, his two most popular songs are collaborations, meaning most of those monthly listeners don't come from actually listening to him, but from listening to those two songs with two other artists. Bebe Rexha has 42,805,994 monthly listeners. Her collab with Louis is not in the top 10 of her most popular tracks, it is the most popular track for him. Steve Aoki has 13,765,900 monthly listeners, and his collab with Louis is also not in his top 10 most popular tracks. It's Louis' second most popular track.

Of course, Louis' fans (mainly Larries) believe the world is conspiring against him and Spotify is actually forging these numbers, for some reason. Even though his actual number of streams fits perfectly with this. And he gets paid from those streams, so that number gets audited and reviewed by lawyers. Spotify can't just claim whatever lol.

This is a festival (Arre in 2023) on the same ground as Louis' show with actual 70,000 attendance, but it's not seated, it's GA.

Presumably this is where they got the number.

Here you have an entire Wikipedia article about the difference. Seated capacity tends to be roughly half of standing capacity. So half of 70,000 is... 35,000! Which is what organizers said was his actual attendance (32K actually, I remember that number vividly, I wish I had saved the source, but I'm sure we can find it if we actually look for it, I just don't speak Spanish).

Anyway, no, his crowds didn't triple. They didn't even grow. He has the same captive audience as always and it's mostly just conspiracy theorists. In the US and Europe his attendance was low as ever.

#louis tomlinson #louis #harry styles #harry #one direction #1d #larry #larry stylinson

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