#threads / andi soto

[atrickrtreat]

@bloodykneestm wanted andi

"Buggyboo," Andi started, a frown etched on her features as she tended to their wounds again. "You did a real number on yourself this time baby and you gotta be more careful! I know this is a thing but one of these days you're gonna do something really deep to yourself and I'm not going to be around to patch you up. Then what? You just gonna go and leave me when I moved all the way out here t'be with you?"

[theknifeinyou]

@divinetenebris asked: ❝ you can’t keep getting your feathers all ruffled when anyone else gives me attention. ❞ from Charlie to Andi

Andi stared at him, her jaw clenching before she decided to take another beat and sip her soda. "I could say the same thing to you since you get all moody when someone talks to me. I'm just supposed to be okay when some rando comes up and starts touching you and flirting with you? Fine. Then you can stop being all broody and turning into a turtle when someone does it to me."

[theknifeinyou]

She also loved the idea of moving somewhere that had spirits who longed for friends or family. Ones they could talk to and have company which she was sure that she could do no matter what. She was great company. Cris would be just as great company, she could feel it in her bones. They'd easily navigate things together.

"Well sometimes you can find a place pretty cheap if it's haunted," she pointed out, letting her hips move to the music, continuing to ignore everyone else around them. "We'd find the money, just have an apartment and then the house, I could work some more hours at the house and budget and save up. I have a plan for everything."

Since meeting her, Cristobal had often thought about what it would mean for two people like them to be together, to have a future together. Would they be able to do something fruitful with their gifts? Would it get stronger when they were together? At the very least, he was happy to have someone who wouldn't laugh at him for sharing his childhood experiences, just as he would never laugh at her. He would believe every word.

"I do not mind either way, if I'm honest." Cris confessed with an easy smile, his hands on her hips. "Two homes is very ambitious of you, where do you propose we get this money?" He asked with a curiously raised eyebrow and a still playful smile. He would be happy to accommodate her however he could.

[atrickrtreat]

@justpretxnd

"So," Andi started, swaying back and forth in her spot before continuing. "I'm sorry, bout the whole stealing your shirt thing at the lake party - I was just trying to get you to have some fun and I didn't know it was going to make you so upset - but just so you know, you're not a troll in case you think you're not cute or anything."

[theknifeinyou]

@exmortiis asked: “I’ve become one with the leaf pile.” ( from sissy to andi)

Andi was watching Sissy the entire time, the big pile of leaves in front of the haunted house she worked at was now much flatter but she found it endearing in a weird way. Watching the other female fall back into the leaves made her giggle, walking over and peering down at her. "That so? If you're one with the pile, does that mean I need your permission to join ya?"

[atrickrtreat]

@tornblackedgcs asked: "wipe that cute, smug look off your face." for andi

"What're you going to do about it if I don't?" Andi challenged, folding her arms over her chest. "How about you make me, hmm? Cause I don't see any good reason why I should."

[atrickrtreat]

With every little bump that the truck went over, Andi was taking a bit more of him into her mouth until that pothole and forced him all the way to the back of her throat and she found herself gagging. Quick to pull back enough to keep herself at a steady pace, she felt the truck come to stop and she maneuvered more to allow herself to be more comfortable. With more control over her actions and the way he pressed his hand against her head, she started bobbing her head faster, moaning around him and squirming in her spot as her own excitement started building between her thighs.

west wasn't certain he could keep driving for much longer. there wasn't anything sexy about ending up wrapped around a tree trunk, surrounded by twisted metal. the front tire popped into a pothole; a sharp breath was sucked into his chest and, in a few minutes, he pulled into a layby and parked up. there was still an element of threat, the windows half rolled down, other vehicles rushing past and beeping their horns towards the reckless driver that had almost caused them to crash. west didn't care. it was the start of their bonnie and clyde transition, the first step towards a love marred by danger and delinquency. he couldn't think of anything better. "andi... shit." he groaned, stroking her hair as andi lowered into the footwell, pressing his palm to the crown of her head, silently begging for more.

[theknifeinyou]

@cfthesoul cont from here

"Mmm, most of the time there's some truth to rumors," Andi said before humming, arms crossing over her chest. "It's your chance to set the record straight."

[thesinglesjukebox]

JAY ELECTRONICA FT. JAY-Z & TRAVIS SCOTT - THE BLINDING

[5.67]

Jay Kay from Jamiroquai reportedly "busy"...

Andy Hutchins: People who have writing credits on "The Blinding": Jay Electronica, Jay-Z, PartyNextDoor, Travis Scott, Swizz Beatz, Hit-Boy, AraabMuzik. Of those, the last three have production credits. Really unsure why a meeting of the minds such as this -- or the greater one responsible for A Written Testimony -- produced a song most notable for a steam hiss and a 50-year-old rapper sounding much younger and more urgent than his 43-year-old contemporary! But Jay Elec's pose throughout his debut album is nigh repose: He treads a lot of the same ground he always did, and raps as the same infinitely self-assured kufi-wearer he's always been, only so much time has passed since he first commanded the stage that he now sounds like a throwback to his own talk of the Anunnaki, and stuff like "Don't he know I stay up for Fallon late nights?" sounds like a pathetic excuse even when it's followed breaths later by honesty about his fears of failing to meet his own hype. It's Jay Electronica; he is what he was and will be. More interesting is his elder's electric performance, the lion in winter wanting to show he can still hunt, but doing so via cameos that make him affirmatively a supporting actor. I suppose no amount of talent in the group can prevent the group project from sounding rushed when it was, even if the rush came at the end of 13 years, but the inertness of beats like "The Blinding" is most of what makes what could have been an unforgettable classic a fine album, but one that will still be forgotten. [5]

Leonel Manzanares de la Rosa: There's always been this aura of mystery, of "hermit saint coming down from the clouds" in Jay Elec's persona. We always thought that, once his long-awaited full length comes out, the Earth would shatter. We weren't right, but in the face of impending doom, his prophecy comes out just as holy, although it does lose a lot of power by hiding behind Jay-Z, the High Priest of Black Neoliberalism. [7]

Alfred Soto: Jay Electronica's raps aren't up to his beats, but with near-peak Jay-Z and hanging-in-there Travis Scott offering crucial support "The Blinding" realizes its ambitions. As for that beat, the hydraulic press hiss complements the unexpected clarity of a performer who can remark, "When I look inside the mirror/all I see are flaws." [7]

Edward Okulicz: If this came out in 2006, it would probably have sounded incredibly arresting and fresh. In 2020, it feels like overly buzzy, clumpy, cluttered beats have been done. Worse, they're getting in the way of some sharp Jay-Z bars. If you can tune the buzz out, which is easier on parts of the verses, and focus on the interjayplay, this is short, sharp and bracing. But there's too much going on that it occasionally hurts to hear. [6]

Jacob Sujin Kuppermann: One of the more cluttered sub-three-minute tracks I've heard in a while -- by the time you get Jay Electronica's riveting second verse, you've already received Swizz Beats doing his schtick, Travis Scott crooning, and a half-baked set of traded bars between the two Jays lined up around the word "sir." It's a Jay Electronica song that's great when it's a Jay Electronica song, but it's just tiring the rest of the time. [5]

Jackie Powell: "The Blinding" is a song of multiple chapters. The introduction, the exchanges between Electronica and Hova, Travis Scott's hook, the 25-second outro which includes an expansion on a piano rhythm that enters the track earlier, but is underneath it all at around a minute and thirty in. I'll break it down chapter by chapter. Chapter 1: The abrasive and unsettling inception. The complexity of the production, especially in the boisterous and unimpressive kickoff (sorry Fantano), is the result of too many cooks in the kitchen. I usually drool for any bassline or bass loop, but these sounds overwhelm rather than excite. Chapter 2: Jay Electronica and Jay-Z have a chemistry that is pure and undeniable. It's powerful in verse one (overshadowed by the bass) but then in verse two, there's a softness and a vulnerability. But in both verses, they enunciate. What a novel concept? There's nostalgia in the clarity of the flow. Chapter 3: Travis Scott's hook doesn't add anything that I don't receive in the verses. It feels overproduced and uninspired. The extra echo tacked on to Scott's final word. "Sun" sounds like "Suuuuuuhhhhnnnnn." Lastly, Chapter 4: the New Orleanian piano finally takes center stage for ten seconds to conclude. It's gorgeous but underdeveloped and I would have rather had it as a lede, even if it's a worthy kicker. The issue I have with "The Blinding", though, is how its brilliance is overshadowed by how perplexing its moments of mediocrity are. The writing is substantive, a bit religious (by the way, this loses a point because of an anti-Semitic reference made on another cut on the album) and introspective. Jay Electronica's inner critic speaks to him at the end of the second verse. But then a smooth hi-hat introduced at 1:39 can't shine. It doesn't have enough time to do so. Is the title ironic, maybe? Are these super producers, Swizz and Hit-Boy, a bit blind to the concept that less is more? Yep. [5]

Oliver Maier: Totally aimless, simultaneously overworked and underthought. Blown-out noise rap beats are no longer provocative enough to be inherently exciting, and the two Jays seem to be constantly building up to a point that never arrives. As a B-plot, Travis Scott provides what might be his feeblest feature to date, which is a real achievement. [3]

Ryo Miyauchi: The first verse almost hands you that Watch the Throne sequel some die-hards on KanyeToThe still clamor for, except Jay Elec stands as Hov's better foil. The beat is crunchy boom-bap in the style of that faux-brostep breakdown of "Paris" courtesy of the same architect, and the two Jays trade bars about third-eye conspiracies while Travis Scott sings a heavily Auto-Tuned hymn. They somehow run out of steam come the second, though, with Hov peacing out early, but not before dropping a Kate Bush pun. [5]

Jonathan Bradley: Next August will see the ten-year anniversary of Watch the Throne, and Jay-Z's presence on Jay Electronica's eternally deferred debut draws a thread connecting these two albums: one an imperial show of force that now marks a time and a relationship lost to history, the other a coronation that happened because it had to, even though it seemed like its moment had itself been lost to history. On "The Blinding," Jay and Jay lack the easy interplay built by friendship and interpersonal warmth that Kanye and Jay displayed on Throne, but their connection is real, productive, and mutually beneficial. Hov exhibits the good side of his aging self's predilection for meticulous and fussy couplets, using the epistrophe of "I named my son Sir, so you gotta call my son sir/He already knighted" to call back to his one-time imaginings of fatherhood on Throne's "New Day." Couplets like "The gift that keeps giving like babushka/Kush crushed up in the studio; rolling Kate Bush up" are a reminder of how wide-ranging and inventive he can be. But wide-ranging and inventive are qualities Jay Electronica has long been able to claim for himself; Hov's role here -- which, in a show of humility, is uncredited! -- is to bestow his decades-long pedigree and affirm that Electronica still has the lyrical heft to warrant his presence. And the headline attraction does hold his own. Jay Electronica's style combines dense traditionalist lyricism with earthy New Orleans imagery and -- most resonantly -- murmurs of political conspiracy and invocations of Abrahamic and Afrocentric syncretism. The last of these qualities gives his work an air of mysticism that intimates intellect and is somewhat bullshit, but is effective in suggesting that his words might obscure psychedelic depths. So, yes, Jay Electronica is a "stowed-away captive a long way home from Zion," "the return of the lost-and-found tribe of Shabazz," "the return of the Mahdi," but his best lyric winks at his circuitous path to the present day: "Extra, extra!; it's Mr. Headlines/Who signed every contract and missed the deadlines." Incorrigible. [8]

[Read, comment and vote on The Singles Jukebox]

[latestnews2018-blog]

There Were Zero Things Better This Week Than 20-Year-Old Ronald Acuña's Majestic Homers

New Post has been published on https://latestnews2018.com/there-were-zero-things-better-this-week-than-20-year-old-ronald-acunas-majestic-homers/

There Were Zero Things Better This Week Than 20-Year-Old Ronald Acuña's Majestic Homers

Welcome to Good Stuff, HuffPost’s weekly recommendation series devoted to the least bad things on and off the internet.  

To try to enjoy baseball today is to face a constant barrage of reminders ― from baseball’s brass, from baseball’s press, from baseball fans and people who very much want you to know that they are not baseball fans ― that there is something existentially wrong with America’s pastime. It is boring and dated and not worth watching. But every now and then, someone like Ronald Acuña comes along to remind you that baseball is, in fact, good.

Acuña, a 20-year-old Atlanta Braves rookie, has been one of the most exciting young players in baseball this year. But his true breakthrough came only this week, when Acuña opened each of Atlanta’s first three games against the Miami Marlins with home runs. Two of them came Monday, when Acuña opened both games of a doubleheader with home runs. Then he woke up Tuesday and decided to do it again.

They were majestic shots, all of them, each leaving the yard faster, higher and harder than the one before it, and it was a record-breaking streak: The Venezuelan is the youngest player to hit leadoff bombs in three straight games, the youngest to hit homers in five straight games since 1908, the youngest this and the youngest that in all sorts of categories now. Tuesday night, he added another one, a three-run shot that sealed another Braves win.

He’s the new face of the franchise in Atlanta, but, along with players like Washington’s Juan Soto, he’s also one of the new, fresh faces of baseball as a whole. And he plays the game with the sort of electric exuberance sports should elicit from all of us, even if we aren’t all blessed with the talent that allows us to express that joy through towering home runs, diving catches and stolen bases.

Baseball being baseball, that meant someone was going to take exception to his skill or his sheer funness or something. On Wednesday night, Marlins pitcher José Ureña decided there was no longer any point in trying to get Acuña out (a feat the Marlins had mostly failed to accomplish all week) and instead launched a 97 mile-per-hour fastball at the kid’s elbow. It was a cowardly play that drove Acuña from the game and could have ended his (and Atlanta’s) season, and Ureña was roundly criticized for the pitch. Still, his decision was also baseball’s most easily fixable problem illustrated. This game has, for whatever reason, a deep-rooted tendency for someone in or adjacent to it ― a pitcher, a columnist, even the commissioner ― to spend their time trying to convince everyone that the thing they like is actually bad.

Acuña, at least, won’t stand for it. On Thursday, he texted Atlanta’s manager to say he was ready to play, because even when baseball tries its hardest to be bad, people like Ronald Acuña are here to remind us that it’s not. ― Travis Waldron

“On the Road… In Trump Country”

Why are Americans so polarized? What really happened in the 2016 election? I’m leaving my liberal bubble to get some answers. pic.twitter.com/OClhEqRseC

— Jesse Brenneman (@Jesse_Brenneman) August 8, 2018

There was nothing better than radio producer Jesse Brenneman — formerly of WNYC — tweeting a video series about reaching across political and socioeconomic lines, “On the Road… In Trump Country.”

It’s a hilarious series of tweets in which Brenneman pokes fun at all the reporters who parachuted into “Trump Country” after the president was elected. There are a lot of garbage news reports that treat any locale outside of a metropolitan city as a peculiarity to be investigated for a few days and then left behind. Brenneman does exactly that, mostly without leaving his car, and the results are amazing. Read the entire thread. ― Andy Campbell

The First Movie In 25 Years To Feature An All-Asian Cast

This one may be obvious, but it has to be said: “Crazy Rich Asians” is a goddamn delight. This movie has it all: Really hot people! Stunning locales! Delicious-looking food porn! Red-carpet-worthy costumes! Extravagance that would be nauseating in real life but is super fun on screen! A biting joke about JFK airport! Awkwafina!

Also, it’s the first movie in 25 years (since “The Joy Luck Club”) that features an all-Asian cast and puts an Asian-American story at its center. So, seriously, go fill those theaters. ― Emma Gray

“Drowning” by A Boogie Wit Da Hoodie, Orchestral Version

🔥🔥🔥🔥 RT @soscrub_: A Boogie performing Drowning w/ a live orchestra 😳 pic.twitter.com/mxD17oAK3l

— Rory (@thisisrory) August 15, 2018

Bruh, this is majestic as fuck. The original song — “Drowning” by A Boogie Wit Da Hoodie — is amazing in its own right, but hearing it slowed down, without the Auto-Tune, without Kodak Black and with an accompanying orchestra??? Biiiiiiiitch. I wanna shout. I wanna nod my head. I wanna crump. I wanna get active.

There’s something cathartic about hearing a trap beat glide over the graceful medley of cellos, pianos and violins. The song feels fleshed out, as if the more classical instruments have lifted it to be all it can be, all it was meant to be.

And to hear A Boogie rap “Bust down, bust down, bust down, bust down, bust down, bitch I’m drownin’” while that violin whines in the back??? This rendition of the song deserves a Grammy, OK? ― Julia Craven

A Bubble Man

I love New York so much. pic.twitter.com/Qb4TSnknpR

— Alexander Kaufman (@AlexCKaufman) August 15, 2018

Union Square is an egalitarian island in a sea of opulence, corporate chains and pied-à-terres owned by ultrarich foreigners and trust-fund schmucks who think Brooklyn is “too far.” The 6½-acre park, plaza and subway hub of Lower Manhattan serves as the venue for an affordable farmers market four days a week. On the other days, it’s a draw for street performers. Which brings me to the Bubble Man.

I don’t know the Bubble Man’s name, but he’s been a fixture in Union Square for over a decade. He shows up, usually on the west side of the park, with buckets of soapy water and a wand made of two broom-length sticks. Then he just produces bubbles endlessly while kids squeal and chase after them, trying to pop the shimmering little orbs before they float down and burst on the concrete.

When I left work Tuesday, I was exhausted. For some unclear reason, I woke up with my insecurities and feelings of inadequacy on full blast. To boot, my checking account suffered a stinging blow that morning when a handful of different travel and life expenses unexpectedly hit all at once. All I wanted was to go home to my apartment in Queens and curl up until I mustered the appetite to eat leftovers.

As I walked through the park to catch the N train home, the glint of bubbles caught my eye. I noticed a crowd gathered, so I walked over before descending into the subway. The kids were ecstatic, exhaling a chorus of “whoas,” “wows,” and “awesomes” as they scurried around in pursuit of bubbles. Parents and onlookers from all different backgrounds watched, phones out, capturing videos and photos. It was such a raw, uplifting moment, and a wonderful reminder that this city’s real wealth is in its public spaces.  ― Alexander Kaufman

The Great Mayonnaise Debate

Last weekend, Sandy Hingston published a piece in Philadelphia magazine titled “How Millennials Killed Mayonnaise,” a 2,300-word diatribe apparently inspired by a few people not eating her potato salad at Fourth of July barbecues anymore.

The slightly tongue-in-cheek piece offered no real evidence that millennials had actually killed America’s most popular condiment (at least as of 2014), save for her wicked young daughter, a women’s and gender studies major who “naturally” “loathes mayonnaise” (by comparison, Jake, the “practical” and “good son,” loves Sandy’s macaroni salad, thank you very much).

And so it was that Hingston set off a predictably fierce and inarguably trivial internet debate about (A) if mayonnaise is good and (B) whether millennials killed it. The entire situation was wholly idiotic. It lasted way too long, and I loved every second of it. The episode reminded me of a simpler time on the internet, when my days and nights weren’t filled with thoughts of Nazis, incels, Russian bots and Roger Stone. And so I say: Bring back the asinine internet debates of yesteryear! I’ll watch people debate literally anything dumb. Ketchup? Sure. Avocados? Fine, whatever. You want to debate laundry detergent. I’ll debate laundry detergent. Please, I need this. I need this so bad. Help me. Please. And for the record, mayonnaise is bad. ― Maxwell Strachan

Pop’s New Pansexual Anthem

British-Japanese pop princess Rina Sawayama released her new single, “Cherry,” this week, a bubbly pop bop in which she gushes over a new crush who is… dun dun dun… a girl!

“Down the subway, you looked my way / With your girl gaze, with your girl gaze / That was the day everything changed / Now it’s something else.”

Sawayama, who identifies as pansexual, explores the electric experience of desiring a woman and letting the feeling fully flood the body ― even though she’s dating a dude. The song uproots the “girl meets boy” pop music standard, navigating Sawayama’s unfixed sexual preferences with nuance and playful levity. In “Cherry,” Sawayama confronts the contradictions that accompany fluid sexuality: can she authentically identify as queer while being in a heterosexual relationship? (Yes.) The question probes far deeper than Katy Perry’s “I Kissed a Girl.”

Like the 2017 album “RINA,” “Cherry” invokes sounds popularized in the late ’90s and early 2000s pop by femme-forward artists like Willa Ford and Danity Kane. Sawayama, however, sharpens their sugary recipes by granting the genre a gravitas long denied to it. As a result, her jams feel both nostalgic and cutting edge, combining the sweetness of Mandy Moore’s “Candy” with the visionary mastery of Janelle Monae.

Along with possessing me to dance with a force best described as supernatural, Sawayama’s music illuminates potential for a future in which mainstream music can encapsulate experiences as niche and complex as any other “highbrow” art form. As Sawayama told Broadly: “I think it’s possible to queer the world with pop music.” ― Priscilla Frank

This Book Has Everything: Spore-Infected Zombies, A Mediocre Photo Blog, Critique Of Capitalism

Amazon

Spore-infected zombies, a mediocre New York photography blog, critiques of capitalism, a residential shopping mall and a spot of doomed romance: Ling Ma’s debut novel, Severance, has everything I want in a work of fiction.

Severance follows Candace Chen, an aimless twentysomething who has an uninspiring office job in New York, overseeing the production of Bibles. She has vague artistic aspirations and a dreamy writer boyfriend of five years. As the book begins, her boyfriend decides to leave New York for the cheaper and more artistically inspiring pastures of, well, anywhere else. Meanwhile, a fungal infection has erupted in China, and it soon spreads throughout the world. There’s no treatment; the infection kills those it affects, but often after a long spell of zombie-like existence.

Candace, left behind by her boyfriend and alone in the world (her parents, who immigrated from China when she was a young girl, are dead), stays in New York City as it empties of living residents, documenting its decay on her blog. Finally, she flees the city with a small band of survivors who make their way to a shelter owned by the group’s de facto leader.

Interwoven are flashbacks exploring Candace’s childhood, her immigrant experience, her family and her early years in New York, piecing together a novel that’s zombie apocalypse meets immigrant narrative meets office satire.

This book is hauntingly beautiful, it’s thrillingly plotted and it offered me a bit of escapism, the comforting thought that American civilization could be brought to an end by something I’ve completely forgotten to worry about since November 2016: a massive pandemic. ― Claire Fallon

‘Spotlight,’ Which Deserves A Spot In The Pantheon Of Classic Journalism Movies

This week’s shocking grand jury report detailing sexual abuse by hundreds of Catholic priests in Pennsylvania credited the Boston Globe Spotlight team’s 2002 investigation, which first exposed the institutional cover-up of serial sexual abuse involving Boston priests. The reporters’ work was later dramatized in the brilliant movie “Spotlight” — which, luckily, is available on Netflix. Nearly three years after its release, I can confidently say that it’s just as good as (and maybe even better than) “All the President’s Men,” and it deserves a spot in the pantheon of classic journalism movies.

While it miraculously won the Oscar for best picture in 2015, it also should have won awards for its meticulous craft, from its seamless editing to subtle camera work. The technical elements in understated movies rarely get the recognition that they deserve, precisely because they are so understated (i.e. no explosions and car chases). Journalism is not an inherently cinematic profession: It’s mostly people staring at computers, talking on the phone, reading through documents, etc. But “Spotlight” manages to make these mundane, procedural tasks look riveting. Case in point: One of its most suspenseful scenes involves an Excel spreadsheet. An Excel spreadsheet! ― Marina Fang

Aretha, Remembered

As we remember the one and only Aretha Franklin, so many iconic performances come to mind. “Divas Live.” Obama’s inauguration. That Carole King tribute at the 2015 Kennedy Center Honors. But one TV appearance of hers needs to be watched again and again, if only to stare at Cissy Houston providing backup vocals in the background.

That’s right: In 2014, Aretha sang a cover of Adele’s “Rolling in the Deep,” blended with a rendition of “Ain’t No Mountain High Enough” on “The Late Show With David Letterman,” and Cissy, an accomplished performer herself, appeared to forget all the words as one of the backup singers. It’s so entertaining and funny, and it will bring you some joy as we face the sad loss of the Queen of Soul. ― Leigh Blickley

Glenn Close In “The Wife”

Graeme Hunter Pictures, Sunnybank Cottages

If you want to see an actor at work — really at work — look for the moments without any dialogue. For the most gifted performers, that’s when the magic happens. Nicole Kidman at the opera house in “Birth.” Jodie Foster darting through Buffalo Bill’s house in “The Silence of the Lambs.” And, now, Glenn Close standing idly by her husband (Jonathan Pryce) as fans extol his fraudulent career in “The Wife,” a Meg Wolitzer adaptation opening this weekend.

In one of the best performances of her career, Close plays the spouse of a novelist who’s just been feted with the Nobel Prize — for the books she ghostwrote. Over the course of 100 minutes, she finds it increasingly tough to quiet the resentment that’s finally bubbling up inside of her. The movie springs to life not in the couple’s verbal tiffs but in the subtle character work Close does when the camera is stationed on her face, telegraphing the conflict she’s long masked. It’s an actress at her finest. ― Matthew Jacobs

A Nice Memory

Read last week’s Good Stuff.

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[theknifeinyou]

Andi had a sense from a young age that she was meant to be part of the supernatural world. She never knew where she would fit in but she knew that she would. "Attachments can happen without using the board to. You know that necklace I always wear when I tag along? It's protection against that from happening." She would have to get one for him too if they were going to do this, wondering if she knew where that woman's number was, if she was even still around to begin with. "We will absolutely ask it to do that, can you give me a day? I want to make sure I have everything settled and get something for you. Just in case. I don't want anything happening to you."

“Had not considered the idea of needing a way to protect us from the spirits, but I do appreciate the thought of that occult shop owner,” Johnny admitted, because he would really rather not leave that place with anything attached to them. Because whatever was there would probably want a ride out of there. And while he wasn’t thrilled that he would have to help use it, that was also the only real way they had to communicate. “And we’re definitely going to ask whatever is there to leave my filming equipment alone in the future because I kind of need that check to clear.”

[atrickrtreat]

@knifepcrty wanted andi

"I need to get out of this town, I'm itching under my skin to travel and go somewhere that's actually haunted - like an asylum or prison or something." ANdi shrugged her shoulders. "I'm not asking you to come with me, but if you want to, I won't say no. Either way, I'm leaving town in a couple of days."

[theknifeinyou]

@exmortiis asked: ❝ you’re mine. only mine. ❞ + [ TAKE ] for one muse to passionately kiss the other, fueled by jealousy. ( brahms @ andi)

While she loved her job, sometimes she hated it because weirdos who didn't know how to understand the word no would show up and make her life hell. They were harmless though until tonight when one of them decided to follow her back to the Braham's house. He snuck up and tried to continue to get her to go with him on a date and she finally had to scream at him that she had a boyfriend followed by threatening to call the cops if he didn't get off her man's property.

He left after the cops were mentioned.

Though when she walked into the house, slightly annoyed that she even had to deal with that situation, she ran right into the chest of Braham's before she closed the door and looked up at him. She didn't have time to say anything before he spoke and then kissed her. Braham's was a jealous little thing, she knew this, even when he had no reason to be. She didn't want anyone else but him. Nipping his lip playfully as she pulled away, her hands went flat against his chest and she grinned up at him. "You don't got anything to worry about Brahmsy, you know I'm all yours baby. If he comes back, we'll get rid of him."

[atrickrtreat]

@heroexxs gets andi soto (for chase or kevin)

"No, the place I work at is actually haunted, but it's not the kind that paranormal people come to, you know? It's not documented. I wanted to come here because this place is actually documented and I was lucky enough to talk the owners into letting us spend the night. C'mon, don't tell me that it's not a little sexy to be doing this. Thought you liked danger, not going to pussy out on me now are you baby?"

[theknifeinyou]

Memphis was someone that Andi was pulled to, wanted to be around and to show them what love was. Whether that was platonic or romantic, she just knew that she was put in his path for a reason. She was about to respond to them when Memphis started kissing her again and she couldn't. Just giggling softly as his lips went lower, mostly out of surprise before she tilted her head to the side a bit more. "Y'can bite me if you want."

Memphis's face was light, and for a moment it was as if there was nothing else in the world. It was as if they were the only two and they enjoyed this. Their heart shuttered, feeling so warm and full as Andi nuzzled into their side. His breath hitched as she called him honeybee, and he smiled a sweet smile, as her nose brushed against his, and their eyes connected again. she was safe. that was their place, somehow the two of them, just felt safe for him. Memphis pressed their brow to her head, and smiled. "You've always just seen me." Memphis leaned into her and pressed his lips to hers again, placing a gentle kiss there, biting her lower lip, then kissing making his way down her jaw, making his way to the side of her neck. No hesitations right now, just this moment.

[theknifeinyou]

@exmortiis asked: 👕 to offer my muse your jacket on a chilly day ( brahms @ andi )

The house got cold around the fall after the temps started dropping down and while Andi loved the fall, she hated how cold it got in here. She was reminding herself to get some wood for the fireplace if she was going to keep staying here (which she had been for a while now, finding comfort in sharing the place with Brahams), She could hear him come up behind her now, even when he tried to be quiet and when the jacket was held out in front of her, she turned her head looking at him and giving a little smile. "Always trying to take care of me huh? Aren't you going to get cold?"