#source: Kesha

[overheardbyvarioustherapists]

Lilia, telling Sebek, Silver, and Malleus about his adventures: So I grabbed the beast by the throat, looked him in the eyes, and said "Beast, you have till the count of zero to put your pants on and apologize to Princess Malenor!" Lilia: And that's the story of how I was knighted by the Draconia family. Sebek, through tears: TRULY INSPIRING, LILIA-SAMA!

[phyrexianphamily]

I'm slicker than an oil spill

She said she won't but I bet she will

Yawgmoth, from The Thran to Apocalypse

[forsapphics]

KESHA

performing at the Lollapalooza Festival in Grant Park in Chicago, IL (August 1, 2024)

[candyredmusings]

Oh, you say you love me?

(That's funny)

Well, so do I.

[ciitedexcerpt]

Fell from heaven— no, it didn't hurt.

[x-for-a-y]

i like blowin' loadsamoney from mwc because it feels like the only song you could create using ke$ha's sl

[afrognamedfizzarolli]

Helluva Boss season 2 cast lists

So some casting credits have been revealed for the remainder of the season and I wanted to share for those who have yet to see. This Most Definitely Contains Spoilers

Confirmed by reliable source

Stated by unreliable source(s)

Apology Tour:

Brandon Rogers - Blitzø 

Bryce Pinkham - Stolas

Cristina “Vee” Valenzuela - Verosika Mayday

James Monroe Iglehart - Vortex

Ghostfuckers:

Brandon Rogers - Blitzø

Richard Horvitz - Moxie

Vivian Nixon - Millie   [Credited as Nixon and not Williams, same for The Full Moon. Don’t come for me]

Erica Lindbeck - Loona

Alex Brightman - Fizzarolli

James Monroe Iglehart - Ozzie | Asmodeus

Michael Cusack - Mammon 

John Waters - Rolando

Jinhee Joung - Barbie Wire

Mastermind:

Brandon Rogers - Blitzø 

Don Darryl Rivera - Cletus

Vivienne Medrano - Keenie

Jayden Libran - Collin 

Michael Romeo Ruocco - Agent One

Erica Luttrell - Agent Two

Sinsmas:

Brandon Rogers - Blitzø

Richard Horvitz - Moxie

Vivian Nixon - Millie 

Erica Lindbeck - Loona

Bryce Pinkham - Stolas

James Monroe Iglehart - Ozzie | Asmodeus , Vortex

Michael Cusack - Mammon 

Kesha Sebert - Queen Bee-lzebub

Patrick Page - Satan

Jason LaShea - Andrealphus

Barrett Wilbert Weed - Octavia

Harvey Guillén - Vassago

Notable Missing OFFICIAL credits:

Harvey Guiillén - Vassago

Edward Bosco - Striker

Don Darryl Rivera - Wally Wackford

Georgie Leahy - Stella*

Morgana Ignis - Sallie May*

Jinhee Joung - Barbie Wire

Johnathan Freeman - Cash Buckzo / Paimon

Faye Mata - Glitz & Glam*

*Specifically notable as they we’re all in the LVL Up poster. It's possible maybe Glitz & Glam and Stella will have shorts like Sallie May did?

[chaifootsteps]

I just looked up in general how much Kesha makes on appearances/performances, and yeah, it’s like, between $150,000 and $299,000 with price fluctuations depending on popularity/availability.

Speaking rates may be different, but still. Another site gave an average of between $175,000 - $306,250. This DOES seem to be mostly for performances, but I can’t imagine hiring her to write a song specifically for something would be cheap either…

Source—searched Kesha appearance rates on google and found some websites that had the info above—the first est. seems to be from a legit site that has good ratings and helps people budget for booking talent.

That's a whole lot of money that could have gone to paying SH employees a living wage instead of burning them out and hiring new ones.

[theerurishipper]

https://www.tumblr.com/jacquesthepigeon/731353272698486784/you-know-it-must-be-said-as-someone-whos-only?source=share

Of course this is said from someone who has never seen the show. God forbid folks favorite character, is THE SECOND MAIN CHARACTER AND IN THE TITLE OF THE SHOW.

God forbid abuse survivors find Adrichat’s story relatable and react negatively to people who salt on him for, checks notes, being a rich white boy? Because being rich and white protects you from abuse lol okay

Someone go tell Kesha that the horrific abuse she endured for years doesn’t count because she’s rich and white.

Someone go tell Britney Spears and Amanda Bynes that they deserve their conservatorships because they’re too volitile and emotional and need someone else to control their entire lives. Also they’re rich and white so they should be thankful for their privilege.

Also as a fandom veteran, I’m also baffled that this anon says they’ve never seen fandom go this feral over a white boy so I guess the whole Superwholock thing doesn’t exist in this person’s universe. I’m getting war flashbacks…

I really hope this doesn't come off as rude, but I just have a small request for any anons in the future: if y'all want me to comment on someone else's post, please send it in a separate ask. I just don't want to post someone else's post and start an argument or something.

That being said, I do agree. My detailed thoughts under the cut.

"Adrien stans are white people who get unhinged over a white boy," say the Marinette stans and Marinette stan observers, not realizing that they espouse disgusting abuse apologism on a daily basis and victim blame a character who is a victim of abuse for being traumatized all because he made a few decisions that weren't about Marinette and her well-being alone.

This is ridiculous on so many levels. First the assumption that all Adrien stans are white people. Second, the assumption that we must be Adrien stans because he's a white boy and we don't care about POC characters as much as we do the white ones. Which is actually quite insulting to me.

Maybe these people should actually read what Adrien stans have to say. Maybe they should actually understand why we love Adrien so much. Maybe they should understand why we get so heated over him.

Know what? I'll tell you why. It's because Adrien is despite the writers' best efforts to undermine him an interesting and likeable character. He is a canonical abuse victim, and he struggles with his self-worth and his identity, which is a relatable story to many people. He's an entertaining and interesting character. He's the deuteragonist of the damn show. People are bound to love him. There's more to him than being a white boy and it's very insulting to imply that people obsess over him because he's white or because his fans are white.

And about how Adrien stans get "unhinged" about Adrien and not about other characters... we're literally Adrien stans. Which means Adrien is our favorite character. Naturally, we're going to talk more about him. This is basic common sense. I don't understand the problem here with liking Adrien more than other characters. Are we not allowed to have faves anymore?

And you know why Adrien stans get "unhinged" over him? Because the show treats him badly! Why shouldn't we get mad that a character whom we love is being treated poorly by the writers? Why can't we get heated about that? Marinette stans get heated about their fave being victimized by the narrative all the time, so why is it a crime if Adrien stans get upset if Adrien gets the same treatment? Adrien's story in the show ended with him being reduced to an object and a prop for his girlfriend so that she could side with his abuser and start controlling him instead. Why can't we get angry at that?

Marinette stans will talk about how both Adrien and Marinette are written badly but only Marinette gets criticized and how that's racist and shit, and will ignore the fact that our criticism has nothing to do with race and everything to do with Marinette siding with Gabriel to lie to an abuse victim, and how the show frames this as correct. We criticize Marinette because she's making an awful mistake and doing bad things! This is like, the worst strawman I have ever seen. At some point, it really feels like they are being willfully ignorant.

And about how Adrien stans treat other characters, riddle me this. Who has a proper tag dedicated to bashing them on AO3? Who was the character who was salted on so much when Syren aired? Who was the character being raked over the coals when Chameleon aired? Who was the character who was salted on in Season 4 for breaking a damn fucking chimney? Who was the character whose struggles in Season 4 were overlooked by Marinette stans who criticized him for "being entitled to Ladybug?" Who was the character who was relentlessly salted on whenever he did anything that didn't completely attend to Marinette's needs? Who is the character who was labelled a "sexual harasser?" Who is the character on whom these "fans" rain down their victim blaming and abuse apologia? Who is the character who has the longest history of being salted and bashed by the Marinette stans?

And I will laugh at the audacity of Marinette stans to argue in favor of POC characters and blame Adrien stans for "obsessing over a white boy while not giving the same treatment to characters of color" while their legacy includes salting Alya for not being Marinette's perfect emotional support BFF. Who has their own salt tag apart from Adrien on AO3? Alya does. It's laughable to me that Marinette stans harp on about how Adrien stans prefer the white boy over the POC characters when they spent the better part of the last few years bashing Alya and even devolved into outright racism against her. To say nothing of how they treated Kagami after Frozer dropped.

And these people accuse Adrien stans of showing preferential treatment to white characters? Marinette stans have no leg to stand on when it comes to calling out other people's treatment of POC characters. And I'm not saying that the anon or OP of the post are racist or that they personally contributed to this. But if they are going to make sweeping statements about Adrien stans accusing all of us of going unhinged over a white boy and treating POC characters unfairly, they should maybe take a look inwards at their own community.

Marinette stans have spent years bashing every other character for the smallest perceived slight. Marinette stans created a whole new genre of Miraculous fanfiction dedicated to propping up Marinette like their personal goddess and punishing other characters for not being her devoted slaves. Marinette stans have contributed greatly to the racism in this fandom. Look at all this and tell me: who really seems unhinged here?

So yeah. Ice cold take imo. Also, obligatory disclaimer: Not all Marinette stans are like this! Most of them are nice and sweet, but there are also plenty of bad apples who have been responsible for a lot of toxicity in this fandom.

Thank you for your ask!

[fieldworm]

HEY. So I've seen some posts of people discussing what music Holt listens to. And as someone that has been curating a playlist I have a lot of thoughts. BUT. We actually DO have a canonical list of specific songs from real life.

Most notably, he loved Kesha in the MH book series. But everybody knows that I think.

I'm talking about. We get THIS list.

So like. These all have puns but here's the list of the actual songs/artist names

1. "Sexy and I Know It" by LMFAO

2. "Ghosts 'n' Stuff" by DeadMau5

3. "The Album" by Cobra Starship

4. "Fifteen" by Taylor Swift

5. "Just Dance" by Lady Gaga

6. "The Pursuit of Happiness" by Kid Cudi

7. "Moves Like Jager" by Maroon 5

8. "Dynamite" by Taio Cruz

9. "Love You Like a Love Song" by Selena Gomez

10. "Thriller" by Michael Jackson

Sources:

The Playlist (Entry "Spring Break Jams That Sizzle")

Celebrity Names + Songs

[djamilyaova]

Women’s condition in the music industry: the case of P.Diddy

Hello everyone, for my first publication I would like to tackle one of the most – if not the most – urgent aspects of the popular music industry, especially in the well-known American labels.

The ongoing case of P. Diddy (a famous produced and rapper) who was arrested on the 16th of September this year, and charged with sex trafficking, has highlighted a systemic issue that has been omnipresent in the music industry (but not only) for decades. He, allegedly abused and forced women into engaging in sexual intercourse. “Prosecutors allege he flew sex workers across state lines and forced women to participate in “Freak Offs” with male prostitutes.” “They also claim he would hold the recorded “Freak Off” footage as “collateral” for blackmail and use guns “to intimidate and threaten” those in the videos.” (https://nypost.com/2024/09/26/entertainment/no-safety-at-diddy-parties-after-a-certain-hour-ex-bad-boy-exec-claims/)

Cassie Ventura, his ex-girlfriend, has accused him of rape and moral abuse, she is one of the major witness in this case: The lawsuit says Diddy gave her “copious amounts of drugs, including ecstasy and ketamine, physically abused her, and forced her to have sex with male prostitutes, which he filmed. It also alleged that in 2018, Mr Combs forced his way into her home and raped her. (source: https://www.elle.com.au/culture/celebrity/diddy-lawsuit-explained/)

 However, these allegations date back as far as the creation of his record label in the 1990s. The judicial system has since been quite slow to act, allowing exploitative and abusive figures like Diddy to maintain their outraging dominance on artists.

 This case is not an isolated one, but is part of a much broader system of abuse and misogyny within the industry.

As we may unfortunately know, women in the music industry have long been subjected to sexual and financial exploitation. by male-dominated labels who hold complete power over their careers.

P. Diddy's case corroborates this issue. As a powerful figure in the industry, his influence was massive, if not untouchable. Female artists then have two options: silence, or speaking out and ruining their carriers.

The system allows little to no consequence for the abusers. One major example is the case of Kesha against the music producer Lukasz Sebastian Gottwald, who has never been convicted, despite the sexual and moral abuse allegations against him.

Progress?....

Movements like #MeToo have started to emerge on social medias, especially on Twitter/X. High-profile cases are received more attention due to the audiences, and the growing demand for accountability in the music industry seem to be encouraging for the womens’ struggle.

We could mention Taylor Swift who had discussed issues regarding the industry.

These tragic events show us the harsh reality behind our favorite artists, and remind us of the unequal and cruel system that dominates us all.

[headmates-for-you]

can we have a random south park character (legitimately any) creators choice with the special form?

I haven't made you a girl yet :p

Info

Name(s): Bebe

Nickname(s): Babe

Last Name(s): Stevens

Age(s): 17

Pronouns: she/her

Height: 5’5

Zodiac: capricorn

Source(s): South Park

~~~~~ ~~~~~ 01101110 01100101 01111000 01110100 ~~~~~ ~~~~~

Labels

Gender(s): cisfemale

Orientation(s): straight

TransID(s): transobsessive, transobsessivelovedisorder, transathiest, transharmful, transthreat, transabusive, transaccent, transvalleygirl

CisID(s): religious, blonde, popular, plastic surgery, kind of a slut, curly hair

~~~~~ ~~~~~ 01101110 01100101 01111000 01110100 ~~~~~ ~~~~~

Misc. Information

Paras: hybristophilia, pecattiphilia

Positive Trigger(s): shoes, shopping

Other Trigger(s): trauma triggers

Role(s): fictive, school trauma holder

Typing quirk: lowercase, says like a lot

Emoji Signoff: 👜👠

Other: favorite colors are hot pink and the green on dollar bills

~~~~~ ~~~~~ 01101110 01100101 01111000 01110100 ~~~~~ ~~~~~

Extra

Playlist

Rich Girl - Gwen Stefani, EVE

Bubblegum Bitch - MARINA

Pink Rover - Scene Queen

I Fucked Yr Mom - Sorry Mom

Literal Legend - Ayesha Erotica

Pretty Little Psycho - XigN

Blah Blah Blah - Kesha, 3OH!3

Girlfriend - Avril Lavigne

Faceclaim

Aesthetic

[traumatizedjaguar]

COLLECTIVE CONSCIOUSNESS Master-post: I want to make this explaining what knowledge God has given me over the years

not so loving and boring crap, skip:

Yeah I can see economic collapse happening. I don't want to jump the gun and be one of those "crazy people" that believe in conspiracy theories because I absolutely am not one of those people and I'm not a conspiracy theorist (nor have I ever been, they've just been fun to look at in the past). This is very realistic. But let's just say I wouldn't be surprised if an economic collapse were to happen in the US and all over. I'm open to the fact that it may never happen, but I asked God to show me and He showed me and I shouldn't live in denial... I genuinely see it coming; even before God told me anything I studied the system closely since I was at least in 6th grade. I've always been anti-authority and interested in dystopias coincidentally because of how much empathy I have for others; I always felt depressed about the world and saw the red flags in our system. Food industry poisons us, 99% of the food in the grocery store is poisoned in some way and the food pyramid IS A LIE; school is a prison that kills creativity and passion, sports is controlled and overrun by abusers, clothing industry, religion in general and catholicism enslaves people and is a lie controlled by the terrorists in power, politics and government or what the CIA has fucked up on in the past because of their lack of Love.

we're all making a choice and its our own destruction. I take full accountability for what I've been apart of but we're all flawed. God doesn't want perfection, He just wants us to cooperate and love one another. two rules: spread compassion and DO NO HARM. Is that behavior of yours or action of yours or your thoughts or intentions harmful? try to be kind instead. it aint that hard to be kind. simple. its simple. Just like Architects new album - "for those that wish to exist: abbey road" states exactly what conclusion I've come to, I wouldn't be surprised if there was a interview of the singer-song writer talking about a spiritual awakening like how Kesha did already.

Also, don't trust people like John Rich (tucker Carlson interview about his song Revelation) who is obviously hired by the government to lead you to fear and the idea that we're all heading to hell: hell doesn't exist stop thinking about it. "lord will turn away from all their cries" and about every lyric is to fuck with you. God loves you and you need to love yourself and live on the right path. Meditation is an essential to living. You need it like you need food and water. *also to add: prophets are fake, that man - forget his name too lazy rn - who prophecied trumps shooting is hired by the government no doubt; if hes preaching christianity or catholicism he is just apart of the gov*

The CIA has used psychic mediums, astral projection, and spirituality in various projects for the longest time. The government has known about the collective consciousness and who we really are for a LONG time now. Do your research, I could write whole ass essays on this, but you can figure it out yourself.

God spiritually awakened me. My personality was coincidentally set up from a young age to lead me on this path.

the govern ment is a cult. yes. religion is too. we're no better or worse than Russia, china, North Korea... all dystopias in their own way

COLLECTIVE CONSCIOUSNESS

Who are we and where do we come from? Is there purpose to our lives? Who is God?

God is the singular source of everything in creation including us. He is also called Love, Joy, Source and we can always go back into Him. God is consciousness, thought... and He created us in His image, we are consciousness and thoughts and intentions are creation and are more important than actions because of that reason; we all collectively decided to use our intentions to simulate the physical universe we live in.

The Big Bang of the physical reality in our 3D world is all imagination, intention, thought essentially.

Life is just a dream within a dream within a dream. When you die, it's like waking up from having a vivid dream last night. You become more lively, awake, real because you gain back what senses you left behind for awhile.

We live in the illusion of physicality, time, death, mortality, and duality.

We are demigods. Our true nature is the soul, a free-floating immortal consciousness that is the light made up of vibrations which we are all gods of our own making with our own individual personalities. We are immortal, can't feel pain as it's an illusion under our control, omnipotent, omnibenevolent, omniscient. That's what a "higher self" is when evidential psychic mediums refer to that. We are the light and pure eternal consciousness, we are light-beings. Dying is safe and death itself is safe.

Time is an illusion, it doesn't truly exist. You could go back to this lifetime as you now again if you wanted to and restart it (but no god does that as there is nothing to be gained especially if abuse occurred you'd rather not obviously). You can slow things down, speed things up, or just do something and have it happen like with the snap of a finger; with a single intention you could make something happen immediately.

Duality and death are illusions. Grief is a temporary thing as they never really died. The human side of us delved too far gone into resentment and envy, jealousy, anger, hatred, fear, disconnection, lack of empathies, despair. Holding onto anger doesn't bring peace; you come from oneness as Love is connection so you have to pick between revenge or being pro-recovery because you cannot have both, you pick between growth or the cycle of abuse because you cannot have both. This is basic science psychology, we learn this in therapy even. What God taught me is that hexing or acting on bad intentions or bad actions toward another (even if its "deserved" or at an abuser) you are depleting and killing Mother Earths vibrations which effect how She functions, it traumatizes more than your target and hurts you in return because you reap what you sow and everybody gets a life review. Studies show that protestors that focus on revenge instead of compassion for their group end up hurting their side much more than helping which shows you cannot be duel in this. Pick peace, joy, happiness and compassion and more rights for your vulnerable community OR you can pick destruction on both sides and less human rights.

It is a never-ending cycle of reawakening ourselves every lifetime and learning how to bring forth our godliness while in a human vessel, learning how to love in a low vibrational realm, and we're here because we're groomed to become gods. We bring back knowledge and experience from the physical. We want to love in a different way because we have physical body parts to do things with. In heaven souls hug by absorbing their consciousness into another and becoming one. You can also make "physical" things in your own way and stories, you can do essentially anything you want because you are a god (of many). Especially in certain dimensions or realms you can socialize with other souls who want what you want. Oneness and connection is what Love is.

You can go back to any lifetime, any "new" one, any reality, any dimension or God/Source anytime you want. It's like a sandbox, open world gameplay we're all in. Life is like a play, a movie, a video game... where you choose your planet, your character, sometimes attributes you want to be born with like making a sim or rolling the dice on it, you level up by vibrating to higher dimensions and each dimension you unlock new abilities and superpowers such as bending energy, using the earths energy and material in new ways, consistent euphoria and joy, no need for sleep but enough energy, developing space craft thats sleek and fast, traversing the universe through space and time, and growing and learning in your journey as a god!

5th dimension is where heaven begins. (4th being time). Suffering and death are transcended, you lose all of the flaws that came with being a 3rd dimensional human like I said you unlock new levels then new abilities; you can see better and don't have a need for glasses, you would have your 5 senses plus many more and your senses differently. You can co-create with other gods because thats what we're wired for: co-creators, wanting to love and to be loved, free-will, peace and joy, creativity, education and knowledge, and play!

You can use the earths energy and materials to build and create differently in the 5th dimensional earth, it's like unlocking whole new levels or unlocking achievements in a video game. Every dimension is "physical" in its own way, a 5th dimensional creature would look like a ghost to us and could walk through walls and see through something solid to see what's inside.

We limit ourselves as humble gods do and come down here for challenges and the journey back to Source. So as long as you stay aligned with your True Self (the god side of you) then you will be able to accomplish all these things in life. Love = virtues = who we are.

Humans only see a small percentage of the color spectrum because we're limiting our godlike abilities down here for fun but back Home we can see the full spectrum of color again. You can only see ahead of you and in your peripheral vision while in a physical human vessel but back Home you can see 360 degrees at once and for a thousand miles, clear vision. Because you're just free-floating immortal consciousness, nothing is restraining you anymore. Obviously your senses go from 5 to 50.

"I must've forgot I'm a Demi-god. I always feel so blue, but im a Demi god" - Architects.

We create and build our character through free will and various lifetimes in the physical reality and on many planets, but we don't have to go to the physical 3D world on earth if we don't want to we can always stay in heaven or go anywhere else. We can link up with other souls and keep them as family in heaven or incarnate with them in stories of your own making; you can make stories in some of the highest realms of heaven or on earth or anywhere with no tragedy or cruelty or duality and because you're so at One with everyone it isn't hard to find many souls who just want the same thing as you.

You can build a whole script in higher dimensions (if you wanted to but you don't have to and life in the 3D is NOT scripted at all) choose to put the veil over your eyes and forget it and play out the story with other souls who consent to joining in on your love story. Going to the 3rd dimension on earth is like joining the marines, you're here for a purpose and it's to "fight" (human terms of duality) for Love to win; our purpose is to serve the world. We are here to serve each other, God doesn't need anything from us, He is Source and perfect and perfection doesn't NEED anything, let alone worship. WE need each other down here; virtues are what it's all about. The essence of our soul is our moral compass...

Tap into it and you will begin to feel the energy literally flowing around you, your relationships and social interactions become easy, gliding and at one with each other and you feel more peace. You will be able to be on the right path with the right people and passions, etc.

You are still your own individual god on your own journey just like millions of other gods and you can speak to the source God who created us anytime you want. Somebody recommended Suzanne Giesemann to me for meditation and she's got some good ones and this one is a real game changer.

"there’s magic in our bones, a north star in our soul that remembers our way home. there’s magic in our bones." - Body by Sleeping At Last

because of the simulated physical world we *NOT separated* but distanced ourselves from God (Love) and from each other by going into these vessels in 3D, which caused suffering to break out. If everyone on earth had a NDE we all would find world peace.

"All my worries were a waste of time, made the world so blurry I was going blind." - Caleb Shomo

The universe is made up of music and is built perfectly such as the fibonacci sequence seen everywhere. Every dimension vibrates at its own frequency. Dimensions are all in front of you, stacked on top of each other, essentially in and around you at all times. I believe there are 12 dimensions about but I will check with God or my higher self to see what they say.

We are omnipotent. If you believe you are limited or whatever you choose to believe about yourself you will make it that way. Believe you can and you will as human, you can do anything as a human that the soul can do - just believe like a child believing in a fantasy and you will make it or create it. We can do anything, anytime if you just believe.

Omniscience. In the afterlife there is shared knowledge among all souls with God meaning we're omniscient. instant communication because there is no physical vessel nor a mouth piece anymore. So when you have a thought, it's instantly shared and another souls response is shared instantly back. intentions are instant knowledge too. there is no privacy because love is connection and thats what the collective consciousness is. interconnected, interlaced energy forever.

You get back what you put out... you reap what you sow... as above so below. It refers to the layered structure of the universe, that immaterial laws rule matter from above. There are laws of correspondence and interconnectedness, everything is always in correspondence. The realization between the macrocosm of the universe (above) and the microcosm of the individual (below). We are the universe. You are a god. And everything in the universe is made from merely just a thought, an intention to create, and everything you see is consciousness. We live in a simulation of sorts. Physicality is an illusion like I've stated in the first paragraphs. It's all imagination; we live in a dream within a dream. Separation is an illusion, we live in an interconnected energy grid or field that connects all things. Love is the only answer and the only creation.

WITCHCRAFT:Never hex anybody ever

When you are hexing someone you are affecting the entire energy grid that connects all things and everyone. It sends out shock waves of negative vibrations. It doesn't matter if you're hexing a child rapist or someone who just swore you off one day, you are negatively impacting yourself, the abuser, lowering the vibrations of the earth, and everyone in the energy grid is affected.

When we are murdering the earth, more storms erupt, and we are killing a part of our consciousness.

Lateral damage is not just with protestors but also for hexing or any revenge will cause lateral damage.

"Don't practice what you don't want to become."

Is there a hell?

Short answer:

No.

Longer answer is this:

We get life reviews with God back Home where we have to relive this lifetime through everyones else's eyes whom we interacted with here.

Every time you hurt someone intentionally, unintentionally or lacking self-awareness about it or made someone feel joy you will relive it from their POV, their emotions, their eyes, their consciousness. You literally become them. It's a self-punishment if you lived a life being a selfish mean person. If you get revenge on someone you will also have to relive the pain you caused them because revenge is always wrong as He told me. If you hurt someones feeling in a minor way you relive it as them and if hurt them in a significant way you relive it.

Nobody deserves punishment, let alone abuse.

Being able to see things from a higher self POV helps me be more empathetic and learn that I want what's best for my abusers and for myself.

You are a god and in control of your reality. The world is a strange and confusing place to live in and I can see why atheism is so appealing to people I mean I was an atheist for so many years growing up. Most of my teens I was one.

Videos I found to be cool and get you in the mood:

Timelapse of the entire universe

Zoom out from earth by nelsking26 has a cooler song

also mental health related things about thoughts vs event severity

[mamawasatesttube]

song meme

tagged by @deadchannelradio ♥♥ ty bestie

shuffle your on repeat playlist and list the first 10 songs, then tag 10 people!

"strawberry sunscreen" by lostboycrow. i like songs that sound like summer what can i say :D

Hey little darling, run like the weekend I get lost and found in your arms Rooftop view, we met on a Wednesday Now which do you prefer? To be alone, to be in love or to just be worth it? I think you're worth it

2. "stubborn love" by the lumineers. its a classic man!!!

It's better to feel pain, than nothing at all The opposite of love's indifference

3. "across the stars"/love theme from attack of the clones. john williams. starred wars. you get it.

[instrumental/no lyrics]

4. "no place in heaven" by mika!!!!! ough!!! im not immune to songs abt religious trauma. :')

I'm down on my knees, I'm begging you, please There's no place in Heaven for someone like me Won't you open the door and try me once more? 'Cause there's no place in Heaven for someone like me

5. "beep beep" by little mix. this one is on here bc of tim car fic byeee

I blew my engine, I think I popped the stick Too busy dreaming, of jumping on your— To get me turning good, you need to check under the hood babe

6. "enterprising young men" by michael giacchino. star trek baybee!!!

[instrumental/no lyrics]

7. "you are loved" by defiance, ohio. this is a superboy (2011) song. source: dude trust me

And to this magic, we hold on I just don't want to feel its loss until it's gone It was in an eerie glow, I finally left you lonely, left the TV on If I have one regret, it's letting this whole nihilistic shit charade live on You know it scares the hell out of me when my friends think they have nobody to lean on And the radio plays a familiar song

8. "blackheart" by two steps from hell. this is on my spacefic writing playlist. i love two steps from hell

[instrumental/no lyrics]

9. "gold trans am" by kesha. this is ALSO on here because of tim car fic hgjkdshgkjhdjk

C'mon, climb into my golden cockpit! Love you 'til you're seein' stars and stripes! Burnin' rubber on the southern highway! Gonna take you for a freedom ride!

10. "why can't i" by liz phair. kon is the reason i started listening to liz phair but i shouldve been here sooner tbh!!!

Why can't I breathe whenever I think about you? Why can't I speak whenever I talk about you?

oh god now i have to think of ten people ummmm!!!

@misspickman @milfkon @loisinherlane @mysterycitrus @clarkkent-irons @lemontongues @ectonurites @jayzelnut @radioactive-earthshine and @lemonlimestar but also if anyone wants to do this feel free to say i tagged you!! :D

[terrainofheartfelt]

Gossip Girl Appreciation Week | Day 6: AU

The Grossly Indulgent Pop Music AU I will never write:

Inspired by one of the only Jonerys fics I like. 

Not quite a fic, but not not a fic, here’s an unhinged idea that grabbed hold and wouldn’t let me go. The music is a loose jumping off point of inspiration, in that all the characters have one or two artist equivalents. I use their music as the characters’ work in this universe. So it’s like an AU of pop musicians’ lives, but not really, since I don’t know their biographies, just their music. It’s fanfic, you know how it is.

Enclosed beneath the cut you shall find: dairfair, negatively painted jenny/damien & chair, some positive jenate, and a inkling at my newest ot3 vanessa/aaron/serena. And lots of opaque music references.

image sources: (x)(x)(x)(x)(x)(x)(x)(x)(x)

Blair and Serena come up in a lab-grown pop girl group in their teens (sample track here), but break off for their own solo acts after a few years. They have a friend breakup after that. Diss tracks are written. (Inspo: Honey & Bad Blood) the final (supposedly) proverbial nail in the coffin of their friendship is when Blair marries record label exec Chuck Bass.

(Needless to say, Chuck is a piece of shit. Living off family money and power, using his title to back young women artists into a corner. Blair thinks she conquered the beast by putting a ring on it but, well, you know.) (While Jenny Humphrey is coming up she’s one of the artists Chuck harasses. She refuses to sign with his label and tells him to fuck off.)

The rumors as to why their girl group break up run wild, and they mutate with each tabloid run, growing more and more ridiculous, but, like many rumors, they did spring from a small seed of truth. 

Blair was ambitious, and always used the act as an opportunity to set herself up for a solo career. Serena was her best friend, but whereas Blair had to work hard at everything that came with this job, it was like Serena didn’t have to try at all. She was the darling of the interviews, of the fans. The favorite on the covers of magazines and music videos. Serena was getting solo offers since their debut, but turned them down, until she didn’t. 

Their group toured with a team of dancers, also all carefully selected by the label. Nate Archibald was one of the fan favorites, and the label quickly paired him and Blair together for publicity. Blair was always just a little more invested than Nate was. He wasn’t even sure if this career, this lifestyle was what he wanted, but Blair was more than sure, was constantly working to get ahead. But the label kept them together, until they figured they could pair Nate with Serena instead. (And Nate didn’t fight it, because he’d always carried a torch for Serena anyway).

It wasn’t the first fight between the friends, nor the last, but it was the big frisson that they couldn’t come back from. The group held on for another album, but it was clear that they couldn’t go on. Blair and Serena signed solo contracts, and Blair got close with Chuck Bass, and that was the final straw for Serena. 

Nate tried to stay friends with both of them through it, but he was also coming to the conclusion that he didn’t want to keep up this lifestyle. He quit performing to go to school, and he found his niche teaching dance to kids—not at a university level, not with the intention to make future professionals, but just to young people looking for something to love. It suits him, and he becomes a reality check for his two high profile best friends. Or he tries to be, but their lives keep pulling them away from New York, so he sees them less and less.

(The other two members of the group move on to other adjacent things. Kati founds her own fashion label—available in Targets everywhere!—and Iz becomes a judge on one of those America’s Got It Factor Talent Shows).

Post girlgroup, Serena runs a Kesha-like life, pop hits made for club dancing. Her character is much more glittering and reckless than Serena might prefer to be, but she’s in the game so long that it sort of – becomes her from time to time.

Serena works tirelessly, keeps trying to break out of her brand of the out of control party girl, but her label, the one she was brought up on, founded by her maternal grandfather, wants her to keep making what sells. Her brother Eric tries to fight her corner, but he’s only a junior employee. After a handful of solo albums and years of endless touring, she burns out. Eric gives her a place to be and rest, and she tries to figure out what the hell she’s going to do. She wants to make more music, but of what?

Blair is taylor-esque, clinging to her brand of The Good Girl from her teen career into adulthood. The reputation and her general effervescence add sparkle to the Bass brand, clean it up a little. It’s a symbiotic business relationship, until it isn’t. 

Chuck progressively tries to exercise more control over the music she puts out, to the point that Blair just…doesn’t. Her last album under the Bass label is the one she released with tracks that allude to their relationship, her victory lap for landing the billionaire bachelor whale, as it were (Style, Wildest Dreams, Wonderland, I Know Places). She’s more clever than some give her credit. For example, the tongue-in-cheek “Blank Space” belies an artistic self-awareness. Which is why, even though they aren’t in the same genres, Jenny Humphrey respects her. 

Speaking of Jenny: the Humphreys!

Rufus Humphrey, frontrunner of the early 90s outfit Lincoln Hawk, enjoyed a good run when his kids were little, then a less lucrative run as a solo artist, before he finally settled into producing. He runs a small, proud independent label with his old bandmate, and they pride themselves on supporting talent that the bigger corporate labels pass over. Both his kids, Dan and Jenny, make music with him. 

They grew up playing piano, then graduated to guitar, then spiraled on from there. Dan joins his first band when he’s sixteen, playing keys for his best friend’s big sister’s band. Ruby Abrams and her bandmates affectionately call him an honorary lesbian, and after gigging with them for about a year, Dan comes out as bi. (his three sisters: Jenny, Vanessa, and Ruby, are already out)

His best friend Vanessa is also a musician. She tries to go the classical route, wanting to usurp her parents’ and her sister’s expectations, but ultimately finds her happy in the indie folk niche that Rufus curates. (Think Lucy Daucus & Maya Hawke) Vanessa’s favorite instrument is bass, but she can find her way around a keyboard or guitar. 

Jenny is the real prodigy, though. She has her guitars and piano and even a mandolin, but she’s restless at sticking to just one sound, so she experiments with them all. Fulfilling, absolutely, but it’s a long time before she puts out a full length record. 

Dan and Jenny’s parents break up while the kids are in college. With Rufus touring as much as he was when they were young, Alison did the heavy lifting raising them, and now that they’re grown she kind of – has a Mom Drop. She moves back home to the Bay Area, and Dan ends up following her to California, needing to get out of New York and get some distance from his dad. 

Jenny stays in New York, taking classes, making music. She starts dating a much older artist—he’s not on her dad’s label (which is part of the appeal) —but he has a complimentary sound. After the mess that was her model gf Agnes, Jenny is hoping for something steadier, but that’s not what it becomes. Being with Damien Dalgaard, darling of the Guy with Guitar genre, ends up being more of a mindfuck. (John Mayer. Damien’s basically John Mayer.)

Rufus tries to put his foot down (even though Jenny’s an adult) and Vanessa tries to help, but it’s one of those things where the toxic relationship just has to run its course, even if it puts Jenny into major spotlight for the first time. It’s rough on her, but she makes it through and out of the relationship. And, at least she comes out of it with enough material to graduate from EPs and make for her first full length album: Badlands.

Jenny starts out this au Halsey-like, but evolves her sound back to her rock folk indie origins, a sound like Julien Baker. 

Meanwhile, Dan tries his luck as a musician on the West Coast, immersing himself in the scene there. He joins the roster of another band, and has enough skill to make income as a session musician to cover the difference, which leads him to another band. He still tries writing, but he’s so busy making other people’s music come alive that he doesn’t get far. 

At one concert or another he bumps into Serena van der Woodsen. She’s fun, and smart, and stupid hot, and more miraculously, she is into him. They date for a while, but her life in the spotlight as a partying popstar gets more and more chaotic, and Dan can’t keep up, and he’s not really sure he wants to. The break up amicably, but it still stings enough to generate some songs, ones he doesn’t have time to record. 

He keeps dating around. Serena sets him up with one of her friends, an actor, Carter Baizen, but he works so much too that it doesn’t go anywhere at the time. And then, there’s Georgina,

At the beginning, Georgina the heiress from Bel-Air just seems like another in a line of innocuous bad decisions Dan’s made since moving to LA. She’s crazy, but she’s hot, and fun, and it’s a good time until it fizzles out. 

Then, months later, when Dan’s offered a spot in a backup band for someone, Georgina shows up at his door, pregnant. 

The Milo plot unfolds, Dan steps away from his music, works only on what will pay bills and keep life stable for the baby. Georgina flakes, and flakes, until she doesn’t, until she decides to tell Dan the truth about Milo’s paternity and take him with her, all the way back to her parent’s mansion in Connecticut. 

After everything, his parents, Serena, Georgina, everything going on with Jenny, Dan just kind of…breaks. He deflates, struggles, holes up in his crummy apartment on the eastside of Los Angeles until Vanessa bullies him into coming back to New York. 

Being around each other again helps the Humphrey siblings reset. Jenny is already promoting Badlands, and Dan becomes her roadie, proudly cheering her on from the sidelines, even while the contents of her lyrics are absolutely gutting. 

He keeps trying and failing to write, until both V and Jen tell him that he’s trying too hard to “make it into something.” Jenny just tells him to write and see what comes out, and however it sounds, it sounds. 

 So he does. It’s not quite the folk his mother raised them on, or the 90s rock of their dad, or the punk that Dan’s been a support player in all these years. It’s softer than that, but more jagged too. But he plays a demo for Jenny and Vanessa and keeps on going. 

Jenny is a big believer in using songwriting as some sort of “exorcist.” Spit out all the bad shit, pour it into a song, put it into a vessel that doesn’t hurt you anymore. Dan’s style is a little bit different from his sister’s. She’s braver than he is – is okay to take her emotion and throw it out into her singing, but Dan thinks he might not be that tough. 

For example, the stuff about Milo, Dan can’t even say it directly. He writes about it sure, but it comes out a mess, until he’s not sure if he’s talking about himself, or Milo, or even Georgina. He can’t even bring himself to mention either of them by name, just names a song after an approximation. Georgia. He also writes his first of many storytelling songs: You Missed My Heart.

He gets enough positivity from the demo for a record deal, and the leading single, Motion Sickness, does better than Dan thought it would. He says it has to be because there’s more residual interest in one of Serena van der Woodsen’s exes than he thought. Jenny and Vanessa share a look, because he really is that good though. 

And after years of work behind the curtain, Dan Humphrey is getting vested interest in his own songs, and what’s more, he’s written something worth singing. Stranger in the Alps launches an entirely new phase of his career, and, as it turns out, his personal life. 

Blair doesn’t travel in the circles of the mid-level artist, but at a festival, purely by chance, she ends up in Dan Humphrey’s car. 

It’s not Dan’s first festival gig, but this is definitely the biggest, and the best spot he’s ever gotten in a lineup. The true sign that he’s on the up and up, though, is that he’s provided transportation. 

After sound check before his gig, he’s herded back to his car, to go back to his hotel before he goes on later tonight.

But then this girl gets in with him. 

Blair had had it with her handler (her husband’s goon), and paparazzi were starting to catch the scent—as far as the public knew, she still had the perfect fairytale dream marriage—so she co-opted this nobody indie guy’s ride as her getaway car. 

Dan’s bewildered, and irritated, but also kind of charmed. It’s a nice break in the routine, accidentally kidnapping a princess of pop. 

He invites her to see his set, which she scoffs at, but she googles him as soon as she’s back in her hotel room. And then, she pulls strings so she can watch his set from backstage. (He covers “I’m on Fire,” and she absolutely does not think that it’s hot). 

They have a drink in the green room after, and don’t stop talking until a festival staff person kicks them out because the venue’s shutting down for the night. 

AND SO IT BEGINS. 

She arranges for him to see her headlining set, and then after, she asks him what he thought, and he tells her. Like, actually tells her. She’s a good artist, with talent, but she keeps dumbing it down, and why? 

He essentially says she’s better than this, and she tells him to fuck off, and tells him that just because not every single one of my songs is about angsting alone on the bedroom floor doesn’t make me shallow, Humphrey. (and that’s his Moment.)

She’d been after compliments, some vague idea that he’d be blown away by how good she is, and she’d get a positive review for once. Which is so stupid, why should she even care what a nobody like Dan Humphrey thinks?

But he is not a nobody, not anymore.

She looks him up after the festival. His star is definitely rising. A child of nepotism, his father was in a popular band in the late 80s and early 90s, and so Dan and his little sister grew up close to the business. Humphrey’s been in a couple bands since he was sixteen (started young like her), but after those broke up, and a couple lost years that google can’t account for, he released a solo album and just like that, people are paying attention, beyond just the indie bubble. 

Blair recognizes his sister, Jenny Humphrey, and even has one of her albums saved in her library. Not something Blair would make, but it’s decent. 

She digs a little more, trying to figure out those lost years, but comes up empty. She does find, however, that Humphrey famously dated Serena a few years back, Google is rife with paparazzi photos of them in LA. And he accused her of making shallow music? Serena’s solo work is nothing but her belting about parties and drugs and sex to heavy beats. Club music. Music to have parties, drugs, and sex, too. 

Finding out his history with Serena is enough for Blair to write off Dan Humphrey as a hack, an aberration. A way to pass the time at a festival gig and distract herself from her own life. 

But, Blair finds Dan Humphrey is becoming increasingly unavoidable. He’s doing one talk show appearance while she’s at another studio a few floors up. He’s moved back to New York, he tells her, just until he goes on tour again. He invites her to a show, at some dive in Brooklyn she’s never heard of. For that, she nearly doesn’t even go. 

But then, she does. 

For security reasons, she sneaks in the back, aided by her assistant Epperly, and watches from the closet that counts as a backstage. It’s an acoustic set, and Dan plays arrangements of his solo album (that she absolutely did NOT listen to), plus some covers. In fact, he covers one of her songs. “Blank Space,” mashed up with “Stand by Me.” He introduces it by saying, “I really love the melodies in this song, I think it’s just really good melody writing.” And it feels like…an apology. 

They keep meeting up, but now, it’s on purpose, not accidental. They’re both in New York for the time being anyways, Dan is getting some rest before the European leg of his album tour, and Blair is supposed to be working on a new album before her own, but she’s got…nothing. Less than nothing. And Chuck knows that, which means it’s harder and harder to have him around. 

Besides, there’s no rule that she can’t have friends. Honestly, with how her career is, she doesn’t really have any. There’s Epperly, and Dorota, maybe Nate. She’s married, but she’s not sure she would call Chuck her friend. 

She and Dan though, they have a real connection. And they can be just friends. 

Since she has absolutely no new songs to record, she leaves for Europe a couple weeks early, she tells Chuck it’s to visit her parents in Paris and get inspired, but then, at the last minute, she changes her itinerary, and goes to Dublin instead, where Dan’s first gig is. 

Blair’s been letting herself and this friendship live in plausible deniability, but as she’s learned more about Dan, about the kind of person and artist that he is, she knows that isn’t really his thing, and when she appears at his show in Dublin, he refuses to let it go, and Blair, worn thin by…literally everything else, can’t keep up the denial anymore, and tells him to bring her back to his hotel. 

It’s a mistake, it’s such a mistake. Blair’s life is already precarious enough as it is. Chuck’s label owns her contracts, her catalog, and basically her. She’s been over and over it, and can’t see a way out. She wanted to be on top, and that was the price. 

But, Dan. 

Being with him feels like waking up after spending her entire adult life asleep. She’s excited about music again, about making something. She writes, then hides it all away, because she can’t record songs about being in love with someone else on her husband’s dime. 

She has her tour, and Dan has his, but they meet on every overlapping date. Sometimes she’s so tired after a concert all she has energy to do is sleep in his arms, but even that stolen time feels sacred. 

When their tour legs end, Dan tentatively asks if it’s the end, but she really doesn’t want it to be. 

He’s back in New York City at first, so that’s easier, and harder, because Chuck is there too. Thankfully, Blair’s sales were high enough that she’s in his good graces, and when she slips away it’s easy enough to say she’s working on something new. She practically sees cartoon dollar signs flash in Chuck’s eyes when she does. How she ever thought that this could be her happily ever after, she’ll never know. 

She and Dan talk about that, about living in stories and wanting fairytales but being smacked down by real life. She tells him that she doesn’t feel like she belongs to herself anymore, how she doesn’t want to write anymore if it means that Chuck will profit off it, but if she walks away, all those things she believed, promised, sung, was all of it for nothing? 

She wrote love songs about Chuck, for Chuck. Her life’s work is tangled up in him, and she’s not sure she wants to pull away from all of that, much less if she even could. 

Dan tells her about Milo, about loss, about the shadow his father cast and how hiding in it was safe so he didn’t try to break out of it, but now he’s out. He talks about loving his parents but resenting them for not staying in love, and resents himself for falling out of love in the past. 

“What did you do about it?” she asks him. 

He waggles his eyebrows at her, and reaches behind him to grab his guitar. 

It’s unfair, she knows it’s unfair. Blair comes to rely on Dan too much, to center her, to hold her, to love her even when it’s not his place. But she keeps going to him, and he’s always there, arms open. 

He’s writing about her. She knows before he even tells her. She can sense it sometimes, when he’s looking at her, and she just knows he has lyrics running in his head. 

But it’s unfair. He’s bicoastal, going to and from LA for gigs and appearances. When he’s gone, Blair does her own, always beginning and ending with paparazzi shots of her on Chuck’s arm, smiling like she’s still in love with him. Her heart belongs to someone else now, but she’s afraid she’s in too deep to break away. 

In the meantime, Dan, Jenny, and Vanessa come back to their roots: each other, and decide to do a project together, write an EP (boygenius. It’s boygenius). They have a fair mix of songs, and all of Dan’s lyrics are fed by his relationship to BLair, that he’s told no one about, but it bleeds out of everything he writes. They’re approaching an impasse, he can feel it, but selfishly, he wants to avoid it as long as possible, to keep her as long as possible. 

In addition to his EP with Jenny and Vanessa, Dan has a deal for a next record, and a handful of songs to put on it already. When he’s in LA, he’s working on his own music, and when he’s in New York, he’s either working with Jen and Vanessa, or he’s with Blair. 

But it can’t last. Blair is feeling the pressure from Bass Records, and if she were to get caught in an affair, or separate from Chuck, Chuck would hold her catalog hostage. Her entire life’s work wouldn’t be hers anymore. And maybe Dan’s right when he says that she can’t stay with her husband, but she’s right when she says she can’t leave him either. 

She can’t even record new music for the label either, because everything new she’s written is covered in Dan. She even wrote a song about that. She is covered in him. 

But Dan has his own wounds, and they make him push, and push, and self sabotage, and after one gruesome, draining fight, Blair calls it off. 

In the meantime, Jenny and Vanessa are doing work of their own, on their music and on themselves. 

Vanessa plays her solos up and down the east coast, through the Midwest, and back in New York. Through Rufus, she meets Aaron Rose, a jack-of-all-trades of sorts. Like Rufus, he was a musician first, but mostly works now as a producer. They hit it off, and after working on a thing or two, they start dating, but only casually. After several years and multiple musical acts, Aaron’s star as a producer is rising, and he’s working with bigger and bigger names. 

Jenny is still healing from all her garbage (Agnes, Damien, etc.), and the music helps, and the project with Dan and Vanessa does too—it’s an excuse to reconnect with each other, and she becomes close to two of her favorite people again. It helps. As does the therapy, and all the other things she does. 

One such thing, recommended by her therapist and her parents, is to do creative things that are outside of her purview as a musician. She’s always sort of been into fashion, so she gets into sewing, into designing her own looks. And when that’s not active enough, she puts in time at the dance studio in Brooklyn where her mom used to teach, where she took classes once upon a time. 

She isn’t interested in lessons, or classes with other people, but the owners still know her, and love Alison, so they’ll give her solo studio time when she asks for it, and one afternoon, one of their new staff walks into the wrong studio. 

Jenny kind of bites his head off, but he kind of likes that. He says his name is Nate, he’s the new hire to take over the beginner classes. And — he’s hot, obviously, but Jenny is on permanent hiatus in that department. Not that that stops her from looking. 

But after that first meeting, Nate is just always around, and Jenny doesn’t really want to deal with all the shit that having him around kicks up within her, but she likes hanging out with him, so she tells him – firmly – that she only wants to be friends, and he respects that. What a thing, to have a guy respect her boundaries. 

She keeps putting it all in her music, Turn Out the Lights doesn’t make the same splash as Badlands, apparently people care less the more distance she puts between herself and Damien, but Jen decides she’s okay with that. 

Reeling from another heartbreak that Dan can’t really talk about, he puts it into his music, in the EP with Jen and V and in his new album. His sophomore solo album, Punisher, comes out to a great reception. Well, great within the small circle of people who actually know who he is. 

The gigs that began with his debut keep rolling in, late night shows, radio appearances, festivals, and now mixed in with those are engagements for his act with Jen and Vanessa. To his surprise, people are interested in that music because of him. He doesn’t know how to feel about that. If you ask him, Jenny and Vanessa are way better at what they do than he is. 

Dan’s public profile grows bigger and bigger, but Blair can’t be happy for him, because it makes him increasingly unavoidable. She refuses to listen to the new music he releases, she’s afraid it’s too cruel towards her, or worse, it’s too kind. 

But, just like their accidental first meeting, she stumbles across a single he put out after the new album. Typical Humphrey. A goddamn overachiever, kept on writing even after the album was done. She didn’t mean to see it, but she was scrolling through All Songs Considered, and there he was, talking about Audrey Hepburn, of all things. 

There’s this line in the movie Sabrina, where she says “I have learned to be in the world and of the world, and not just stand aside and watch.” And that’s really what this song’s about, about falling in love with a person because they’ve taught you how to live, how to appreciate everything the world has to offer. And there’s – there’s a tremendous amount of joy in that, but there’s also fear, because gaining that now means that it’s possible to lose it too. So – I guess this is sort of trying to reconcile those ideas within a song. 

Blair listens to “Sidelines,” and it makes her so angry that she scribbles off a song idea of her own, because he still doesn’t get it. He meant her while she was in the middle of running away, so why won’t he just let her run?

She worries fleetingly about getting caught, because Audrey is her thing, and Dan knows that, but Audrey is a ubiquitous enough icon that no one but she would ever make the connection. He’s good at that, Dan is, of coding a message to her that only she could understand. It’s the same skill that makes him such a good writer. 

Blair writes songs because she can’t help it, but she won’t record them. A new album would mean adding to Chuck’s empire, and the thought of Chuck owning these songs too, the only things of Dan she’s allowed herself to keep…she can’t stomach the thought of it. 

She’s stayed with him to protect her work, but now her work is dead on arrival because of him, and that’s really what drives her decision to divorce Chuck. 

She has to do it carefully, of course. She sets up a place of her own to go to in New York, moves in all the things that mean the most to her. Puts her notebooks in a safety deposit box—just to be sure. And, finally, she reaches out to her mother, to get a recommendation for a divorce attorney familiar with entertainment law. 

On a first impression, Cyrus Rose doesn’t look like much beyond a short, ebullient, overly cheery middle-aged man, but Blair quickly learns that when he’s practicing law, he turns into a bulldog. He fights for her and for her work so fiercely that for a little while, Blair lets herself believe that it will all come out her way. 

But there’s all the media coverage, and it paints her out as a bitter, gold-digging, ungrateful woman, villainizing a man who doesn’t deserve it. It pisses her off to no end, but Cyrus tells her to hold her silence, and she trusts him, so she does.

In the end, Cyrus is able to get her out of her marriage and most of her contract with Bass Records. She’s not destitute, she still has her family money, and a comfortable settlement, but Cyrus is ultimately unable to save her music. Bass will still own her masters, and the residuals from those masters. It’s that that breaks her heart the most—more than how quickly Chuck turned the media cycle against her, more than how many people followed his lead, more than the evidence Cyrus discovered of his multiple affairs, of his mismanagement of the company—but that her work cannot belong to her, that hurts the most. 

But, bulldog that he is, Cyrus digs out a loophole. Since going solo, Blair has been the prime writer of all her songs, which gives her the legal right to rerecord her masters. So while she can’t stop Chuck from doing whatever he wants with her old work, anything she makes now can be entirely within her control. 

She just has to find someone willing to work with her. And who she trusts enough to work with. 

Worn out, Blair retreats from the public eye, it’s lonely, but thankfully, not too lonely. 

The divorce process set Blair to looking back at lots of her life, at things and people she wishes she had handled differently. After she privately filed her petition, she reached out to Serena, and, miraculously, Serena answered. 

Before anything else is fixed, Blair and Serena’s friendship is fixed. They reconnect, because everything they’ve been through, together and apart, has made them want to focus on what matters, and what matters is each other. 

They talk all the shit through, Blair’s marriage, Serena’s struggles, their respective creative blocks. They start appearing in public together, and the tabloids gobble that shit UP.

Serena is working on a comeback record of her own, her first since burning out with her grandfather’s label. It’s zany, and bright, but doesn’t shy away from the heartache she’s been through. It’s so incredibly her, that Blair can’t help but love it. She loves it, no matter that the liner notes give credit to a Dan Humphrey on a few tracks

Free from Bass Records, Blair wants to work on a new album, but she’s unsure of where to begin. Serena offers to introduce her to this producer she’s been dating (out of the public eye for a change), Aaron Rose. 

Blair doesn’t quite know what to make of Aaron, of his music, of his open relationship with her newly restored best friend, but she looks up his previous acts and thinks…maybe working with him could be the change her sound needs. 

Dan is moving in—if not the same—adjacent circles to her. Enough so that she can’t get him out of her head, can’t get over wanting him. She spills the whole thing to Serena, who she knew was also Dan’s ex, but didn’t know that they were still friends. Serena tells her to stay optimistic, Blair says Serena just thinks that because she’s okay sharing a boyfriend. 

Her engagements have been sparse, she’s not wanted many, and not many have wanted her, but Austin City Limits is still on her calendar. In the promotional materials, they highlight her on one stage, and Dan’s band with Jenny and Vanessa on another. 

She doesn’t intend to seek him out, but fate conspires against her, and they end up thrown into the same green room. Again. 

Dan doesn’t want to want her anymore. His career has forward movement and even if the music he makes is about her, the people who like it don’t know that, nor do they care. They care that it’s good. His career is good, he’s been dating Netflix Original darling Carter Baizen for months now, happily and uncomplicatedly. (Serena put them in touch, then one dm led to another, and it’s nice). Not that Carter doesn’t have his own damage—no one in LA is without damage, but they can forget about their damage with each other. It’s not love, but it’s not not love. 

Dan doesn’t want to want her anymore, But, oh, he does. 

They nearly miss their calls—his set, her soundcheck—while talking (well, talking, fighting, kissing, then talking some more). But they fulfill their contracts, and just like it started three years ago, they end up backstage after their shows, drinking, and talking, and talking until a harrowed stage manager is begging them to leave. 

Dan sets a limit, makes himself go back to Jen and Vanessa, instead of going home with her, but he says he’s going straight to New York after this, and asks if she’ll be around. 

Blair says yes. 

After the divorce, Blair sold off the real estate she’d kept from her marriage. It was all too haunted, too high up, too far from reality. While looking for a new place, Epperly showed her a listing for a remodeled carriage house in the West Village; Blair would have bought it sight unseen if anyone but Epperly had been there. 

Back in New York, Dan invites her to a secret acoustic show he’s playing near NYU. She goes, of course, and this time, when she asks him to come home with her, he says yes. 

It takes time. For them to trust each other, and reconnect. But they do, and Blair feels like her life is finally making sense. 

She and Dan take one day, one step at a time, in secret, for both their sakes, and meanwhile, she, Epperly, Cyrus, and Aaron negotiate a new contract with Rose Records.

Her best-friendship, record deal, and love life all fall into place, and then Blair is writing like never before.

Aaron is….unconventional, and doesn’t let her push him around, which she finds infuriating, not for least of which is the direction he wants to take this album. She fights it at first, but if she really does want to make a departure from the pop princess songs she was generating, maybe following down his path is not the worst idea. And if she hates it, then she can just walk. 

It’s still pop, but it’s bigger, less bubbly and more….glittering. It’s….darker isn’t exactly the right word, but like she’s not trying to be the Good Girl anymore. It’s just crafting a record that’s hers, one song at a time. 

She offers Dan the option to co-write, more than once, but he turns her down. Not because he doesn’t care, but because this is the first time the music she’s making entirely belongs to her, and he doesn’t want to get in the way of that. 

“Church and state,” he says one late night in her cozy house on Cornelia Street. 

“And which one’s this?” 

“Church,” he answers immediately before kissing her. “Obviously.”

Speaking of church and state, and despite their expectations, they’re able to keep them out of the public eye. Blair’s friends know, and Dan’s family knows, but no one else does. By some miracle, they keep out of the tabloids. Blair keeps working on her album, Dan keeps working with his sister and best friend. They go out into the world and make music and go home to each other at the end of the night. 

Blair and Aaron Rose make a surprisingly good time. They finish the album fast, and nine months after Blair’s divorce from Chuck and Bass Records, reputation drops. 

She has a whole slew of promotions to do for the release, but that midnight, she and Dan open a bottle of wine and listen to the whole thing start to finish. (“Church and State, honey, I’ll listen when it’s done,” he’d said). He’s a fan. 

She and Aaron were both intent on it not being a “divorce record,” but it is about her, exploring who she is as a person and an artist after her carefully constructed life fell apart, and about the love and truth she found in the wreckage. It's not a divorce record; she never point blank references Chuck, or their marriage, but the argument could be made that there’s a rebuke against him in every track. Even in the love songs she wrote about Dan, her writing of him is an antithesis of who Chuck was as a partner. The most pointed tracks are even able to claim plausible deniability. There are some people on the internet, though, who criticize the single “Look What You Made Me Do,” as a phrase habitually used by abusers, to which Blair says (in private, of course): “Yeah, that was the whole fucking point.”

The album doesn’t out perform her Bass releases immediately, but no one denies that the Queen B is back, she charms on late night shows, radio spots, and a months-long tour kicks off with high sales. There’s another legal fight about her having to pay for the right to perform her own songs on the tour, and as infuriating as that is, Blair is restored at having herself as an artist back. 

Of course, to the public, the addressee in many of the songs is a mystery. Who is “Gorgeous” about? Or “Dress”? Or “Call It What You Want”? Many a pop culture think-piece is written on the topic, but no one guesses right. The most popular theory though, since they appear in public so often nowadays, is that Blair is dating Serena. It turns out to be a pretty good cover for keeping their real relationships private, so they play it up. 

(sidebar: in the effort to hold of the Divorce Record allegations, Aaron had her tweak the bridge in Gorgeous, the original lines she demo’ed for him were: you make me so happy it turns back to sad / there’s nothing I hate more than what I can’t have / guess I’ll just stumble on back to my man / unless you want to take me home)

(It’s actually a testament to the loyalty and restraint of the people around them, because Blair and Dan are shit at being subtle while they’re together. )

Speaking of the people around them, it’s a bit hilarious how their lives all intertwine and overlap. There’s Dan’s sister, who’s hated Blair’s ex-husband for years, and who’s now decidedly not dating Blair’s ex-boyfriend. (“Just friends,” she and Nate insist to anyone who even comes close to asking, but Blair thinks they doth protest too much). And there’s Blair's best friend who was her former nemesis and Dan’s ex but is now dating Blair’s colleague and producer. Speaking of her colleague and producer, Aaron—who just so happens to be her lawyer’s son—he’s also in a poly-relationship with Dan’s best friend and bandmate, Vanessa Abrams. Vanessa who, on more than one occasion, Blair has caught giving Serena the eye, and vice versa.

They are all kind of a mess, but Blair finds she loves it that way. Her supposedly pristine life had been fake anyway. She much prefers this. 

She and Dan keep their relationship a secret through her stadium tour and into awards season, when they decide to finally come out of the shadows. 

“I’ve never really come out before,” Dan jokes, “everybody just already kinda knew.”

They pick the American Music Awards as the event. Blair gives him one last out in the limo ride over, but he doesn’t want to take it. He’s not ignorant of the public attention and pressure she lives with, but he loves her more than he’s afraid of that. 

He gets out of the car first on his side, then comes around to open her door and help her out onto the red carpet. She kisses him as soon as she’s on her feet, limo door still open, cameras flashing in front of them. 

The internet loses its collective mind. Intrigue suddenly sprouts up around this unassuming sad boi indie artist. Streams of Punisher and Strangers in the Alps hit all time highs. Dan’s been represented by his dad this whole time, but now Rufus jokes, “I think I can’t afford you.”

To ask him if his life has changed is stupid, of course it has, but his focus doesn’t. Dan’s attention is always only on the music. On the music, and on Blair. 

Every year, Vanessa orchestrates a benefit show at one of their old favorite clubs in Brooklyn. It’s usually just Vanessa, Jenny, and Dan, but once she’s earned the trust of Dan’s sisters, Blair appears too. People go feral for a bootleg when they hear through the grapevine that she covered “A Case of You,” with Dan on the dulcimer. 

For two people who love playing music, and love playing music together, they don’t do it in public very often. It becomes something that they save for just each other, and only occasionally will they perform together in public. Dan plays on Blair’s NPR TIny Desk once, and once for WFUV, they do a cover of “Dust to Dust.” it’s OBSCENE. sex in the studio amirite

The dark corners of the internet (fangirls) start looking a little too closely at their lyrics, and it’s only a matter of time before a fan tweet theorizes that Blair Waldorf had an affair with sad boi indie guy while she was married.

Chuck jumps on the rumor, plays it up in an attempt to smack Blair down after the success of her latest record. He calls her a cheater, a gold-digger, all the accusations he floated during the divorce and more. 

In response, Blair releases a single. She wrote it while she and Dan were first together all those years ago, and kept it for her. At the time, she never planned on letting it see the light of day, she wasn’t even sure she would share it with Dan. But where she is now, she feels happy and safe in sharing this piece of her soul. 

When she drops “ivy,” it's a confirmation of the rumors, but unapologetic. Comedians applaud her gall on late night shows. She was accused of having an affair, and she said, yeah I fucked him, and I wrote this ballad about it. 

It isn’t pristine, or the most graceful thing to admit, but Blair is happy, and she won’t pretend to be sorry for being happy. She releases another album (Loneliest Time), then another (Lover), as does Dan (the more rockabilly Sleepwalkers). And three years after her divorce, they marry in a private ceremony with only their nearest and dearest in attendance. They keep the marriage quiet for six months after the fact. And, in the meantime, Blair sits down with Aaron to strategize re-recording her masters. 

She starts with a single from her last record under the Bass umbrella. She’d written “This Love” about her and Chuck’s on-again, off-again relationship before he finally gave in and married her. On touring, she’d grown increasingly tired of it, she’d hated it for a while there. But her life and heart have come full circle, and now she can sing it with a new perspective. 

When “This Love (B’s Version)” drops, she posts a set of photos on instagram: 

The cover of the new single, which is a close up of her face, eyes closed, lips red, another set of lips kissing her cheek

The original photo used for the cover, zoomed out to see Dan kissing Blair’s cheek.

Another photo of Blair and Dan in their home at the West Village, forehead to forehead, facing each other. 

A candid shot of Blair in the studio, wiping her eyes after tearing up while recording vocals. 

Another candid of Blair and Aaron hugging once they wrapped. 

Blair writes the caption of the post herself, which reads:

It’s funny how the meanings of songs can change as you change. When I first recorded “This Love,” I hadn’t even met the love of my life yet. I thought my big, magical, cyclical love story was done. Then, when I learned it wasn’t that magical at all, I couldn’t bring myself to sing the song anymore, its meaning had become tainted, hurtful. But then, after enough time, and with the right person, something amazing happened. I found a new meaning in it, deeper, happier, and it was like my life had finally caught up to what I had written all those years ago. These hands had to let it go free, but “This Love” has finally come back to me, and now I share it with you. xoxo, B

And CURTAIN

PS: this is how they announce Blair’s pregnancy when it happens

[lipglossanon]

I just imagine the stepdads has a big age gap with reader, and reader sometimes goes 'bombastic side eye', 'WHAT'S 4+4? ATEEEEE' and basically just unconsciously quoting some TikTok slangs. And Leon being the old man he is, just stares confusely at her like what???? 😂😂😂

🌙 anon

Hi 🌙 anon!! 👋

Oh my god, I’m old 😭 😭 I know the side eye but lost on the 4+4 🫣 🫣

But to be fair I’m hardly on TikTok lmao. Tumblr and FB are my primary sources of social media and I’m hardly ever on either 🤣

So yes, Leon would be like of 🤨🤨 is this one of those TikTok things?

No I got one better lmao he’d be like “Oh it’s one of those things off that Kesha app 😏” —thinking he’s so slick lmao

And now it’s you’re turn to look like 🤨 “what?”

“Y’know Kesha? Wake up in the morning feelin like P Diddy..” he trails off with a shake of his head, “nevermind.”

“Oh my god, no! You thought it was the song!” 🤣 🤣

He will never live it down lmao