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ghost-proofbaby · 1 year ago

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SO SCARLET (IT WAS MAROON)

CHAPTER FOUR: CASTLES CRUMBLING

AND HERE I SIT ALONE, BEHIND WALLS OF REGRET. FALLING DOWN LIKE PROMISES I NEVER KEPT.

☆ pairings: rockstar!eddie munson x fem!reader

☆ warnings: no use of y/n, strong language, angst, mentions of RUMORS of workplace sex scandal, minors dni

☆ WC: 5.4K+

☆ A/N: if you would like to listen to the song that eddie is recording at the end - it is an actual, real life song. :-) it is called "blood sport" by sleep token (one of my favorite bands i get to see live next week!!), and i highly recommend listening to it during your reading. especially the latter half of this chapter.

thank you to my love @hellfire--cult for the divider!

masterlist

“Alright, so – anyone care to fill me in on what the Hell that was?”

Matt stands like a disapproving father figure as the band lines up opposite of him just outside the building. Eddie had hoped nothing would be mentioned until they were in the car, but the driver was clearly running a few minutes late.

Three of the boys glance at each other, worried expressions immediately giving up the hoax even as Eddie only shrugs and says, “What do you mean?”

“Cut the shit, Munson,” Matt had never appeared so livid, so undone by irritation. His usual patience with Eddie is nonexistent, “What’s going on between you and that girl? Is she a past groupie?”

The insinuation gets a scoff out of Gareth. Jeff side-eyes him in warning, but Eddie couldn’t care less, “No, she’s not a past groupie. This was the first time I’d ever-”

“Don’t lie to me,” Matt points an accusatory finger at Eddie, narrowing his eyes, “I am your manager. If you have any unsavory connections with that girl, I need to know so I can decide if we need someone else to organize the event. We are not having another repeat of the Lewinsky scandal.”

“I knew it! I fucking knew you called it that, too!” Gareth cheers, but he’s quieted by one look from their furious manager.

The Lewinsky scandal had been their code-word for when the tabloids had become convinced that Eddie was fucking an assistant at the label. A girl had even come forward and claimed to have had sexual relations with Eddie, and he had taken heat for it for a full month before the buzzing novelty worn off.

Eddie had only spoken three words to the girl. No, thank you when she’d offered him a mug of coffee during a late night at the studio. He wishes now he’d been less polite.

And he also finds himself wishing that’s all this was. He wishes you were just another scandal, another terrible rumor spread around. If all the accusations between you two were false, if all the hatred was based on misconstrued circumstances, it would be so much easier. He can talk himself out of that. He can confess to those sins and get off with no more than the order of one hail mary from Matt.

But you? The reality of all that had happened, both all those years ago and just thirty minutes ago? He can’t find the words. They choke him up, unwilling to leave the cavern of his chest and enter the world, just like all the songs gathering dust as demos.

“It’s not going to be another Lewinsky scandal,” Eddie scowls, feet shuffling against the concrete below him. Can’t be another Lewinsky scandal if she wants nothing to do with me anymore, “Maybe she just doesn’t like me. I am allegedly a very polarizing public figu-”

The car pulls up, and Matt is quick to grab Eddie’s shoulder before glaring at the boys, “Get in, I’m not finished with our polarizing public figure yet.”

Grant and Gareth only let out low whistles, following instruction without lingering as they clamber into the back row of seats in the SUV. Jeff takes his time, though, going as far to pause beside Eddie and place a hand on his back.

“Just tell him the truth, Eds.”

It’s the final nail in his coffin. Eddie is cursing Jeff’s retreating figure as he climbs into the vehicle and shuts the door, leaving him alone with Matt.

“Explain,” Matt demands, “Now.”

Eddie’s eyes focus on a gaping crack in the sidewalk, jagged and uneven, right down the center.

He has two options. He could continue to lie, insist he knows nothing about you until Matt just gets bored of not being offered the truth. Or he could admit it all, reveal the muse behind the art he had been fiercely protecting over these last few months. Every line, every chord, every broken note that had left his lungs during those witching hours in the studio.

On one hand, it’ll rip away the opportunity that has been offered to him on a silver platter – the opportunity for closure. Selfish, bloody closure that neither of you had gotten, it seemed. But on the other hand, it might grant him some sympathy. Matt, the label, the producers – they had all grown tired of the dance Eddie led them in every time they’d inquire about the music. But if Matt knew-

It’s a dead end trail of thought. He knows he won’t admit to the worst of his atrocities he’s committed. No scandal, no late night ending with him in handcuffs, no fraudulent headline is going to compare to what he did to you. What you did to him.

It’s a little too late for damage control, anyways.

“I went to high school with her,” the lie works well enough, easing some of Matt’s frustration, “I was just shocked to see her. All of us were shocked to see her. No big deal.”

Eddie knows the people around him have come to learn that they must pick and choose the battles they engage in with him. And he can see that decision flash across Matt’s face as he decides that this is not a battle necessary to the war.

“Alright. But if you’re lying to me-“

“I’m not lying.”

“If you are, that’ll be one of my last straws, Munson.”

It won’t be. Eddie knows it won’t be. Everyone, every single goddamn person in this world it seems, is capable of giving Eddie Munson unlimited chances — except you. You, it seemed, were the only person who had come to their senses.

You always were smarter than people gave you credit for.

—

“Run the track again.”

They’d spent a few hours in the studio already. It was an odd hour for them to be haunting the space, more used to visiting in the dead of night rather than the middle of a weekday, but it was down to the wire now. Vocals needed to be recorded, instrumentals fine-tuned, tracks properly mastered. Eddie could no longer hide in the night when it came to recording the haunting melodies stained with the blood of his past — no matter how wrong it felt to see a sliver of sunlight breaking through one of the windows, just through the top of the blackout curtains.

“I really think that was the one, man-“ the producer starts, probably just tired after repeatedly running in circles with Eddie’s perfectionism.

He doesn’t care. He’s paying them, they can stand to let him re-record as many times as necessary to satisfy Eddie, “Run it again.”

The silence only continues to buzz in Eddie’s headphones. He’s ready to cuss out the producer as he angrily shoves them down, off his ears and hanging loosely around his neck, the wire a leash as he whips to face the one-way glass wall. The lights are off at the main board, guaranteeing that they can see Eddie but Eddie can’t see them.

Until suddenly, the light comes back on, and the reason for the absence of the repeated track Eddie had requested becomes obvious.

Gareth.

He stands at the center of it all, a few paces from the seated producer with a deep scowl on his face.

“What the fuck?” Eddie says, mouth just close enough to the mic for them to catch his overflowing annoyance, “I said-“

“We heard what you said, Eddie,” Gareth interrupts, his voice just loud enough to be faintly heard even as the headphones curl around the nape of Eddie’s neck, “But I need to talk to you.”

It’s the strictest tone that Gareth has used on their lead singer in an unfathomably measure of time. Probably because it’s the most words he’s said to Eddie in a very long time, as well.

Eddie finally removes the headphones, hanging them carelessly on the mic stand and moving towards the door — surprisingly, without putting up a resistance.

The control room is warmer than the fairly large area that served as a ‘booth’. Smaller, as well. Cramped with a low couch and one too many chairs available to trip over, the control board spanses the entire wall that holds the oversized window into the recording room. A plethora of small lights twinkle like stars, and numerous switches that Eddie had come to know better than the back of his hand alternate positions to guarantee the clearest sound. Only Gareth and the producer occupy the room, the rest of the band having taken off around the fifth time Eddie had requested a redo of his vocal tracking.

“This better be good,” Eddie complains, furrowing his brows, agitated at the interruption.

But Gareth shows no remorse, “We need to talk.”

“Yeah, you said that already.”

“We need to talk,” Gareth repeats, eyes flickering to the poor soul still seated at the controls, “Alone.”

Eddie hardly has to open his mouth, the man jumping out of his seat the moment the lead singer flicks his wrist to signal for him to leave.

Whatever Gareth was about to say had to be important, and it’s that thought rather than the difference in temperatures that has sweat building on Eddie’s brows.

Is he about to quit the band? Is he about to tell me he’s had enough? Maybe he’s done with my bullshit — I would be.

“Speak, Emerson,” Eddie flatly insists, grabbing a small water bottle out of one of the mini fridges in the room before he throws himself onto the worn leather of the couch, “And make it quick. We’re on a time limit, you kno-“

“We’ve gotta talk about her, man.”

Her as in you.

For a moment, Gareth sounds like a friend again. He’s dropped all the persistent perturbation he’s taken to defending himself with when it comes to Eddie, his voice pleading as he stands before the distant man. All the rueful power plays that had developed over the last year vanish. It’s just Eddie and Gareth, bandmates who started out in the latter’s garage in some small Indiana town. Not Eddie Munson, infamous rockstar with a chip on his shoulder. Not Gareth Emerson, passionate drummer overshadowed by the ego of his lead singer. Just Eddie and Gareth.

“We all know you didn’t tell Matt the truth.”

“I did tell him the truth-“

“Not the whole truth, then. There’s no way he’d let it slide if he knew that she was your ex-girlfriend.”

The defiance vacates Eddie’s body quickly. He doesn’t even attempt to prowl his mind for a quick quip in response. All he does at the words is drop his shoulders, the defeat creeping up on him as he deflates.

Ex-girlfriend. The title feels so pitiful to truly describe what you were to him.

But to be fair, even when he had been in your good graces, girlfriend had also never felt significant enough.

“Did-“ Gareth starts after a beat of silence, noting the way Eddie couldn’t quite hide his wounds on the topic, “What did you guys talk about? When you went after her, what did she say?”

“Nothing important.”

Eddie turns into a shell, a zombie as he stares straight ahead and tries to compartmentalize. That always worked; with meetings, with arguments, with lectures. Even before the fame, it worked.

It doesn’t work quite as quickly when it comes to you. His brain, it seems, is incapable of uncrossing all the wires you twist within his brain.

“You two were alone for, what, ten minutes? And you’re telling me she didn’t say anything important?”

“What the fuck is there to say?” Eddie laughs soullessly, “Oh, hey, stranger! Remember me? The guy you up and left without a word?”

“Yes!” Gareth shouts unexpectedly, “Yes, that’s exactly what you should have done! She left. Not just you, but all of us. We never even really knew why. And now- what? Are we just supposed to pretend we don’t know her?”

Eddie knew why. She’d never had to say it, and that was the issue. He always thought about all the answers he swore he craved, and always let every question he claimed to have haunt him during the waking hours. But when the day turned to night, when he was left to nothing but his own devices in a dark and empty apartment during the witching hours, he knew. The question of why had been answered since the first phone call cut short with you during that goddamn tour.

The songs knew, too. He supposes it had been an arrogant assumption to believe the band had read into his lyrics and put the pieces together.

“That’s exactly what we’re going to do,” Eddie nearly whispers, throat tightening and fighting him on the words. It’s the opposite of what he wants and needs — but it’s what you want and what you need. And so he plays the messenger, even as it kills him, “We are going to completely disregard my past with her. We are going to treat this entire situation as professionally as possible. I’m talking the full nine yards: you will not mention the fact that we know her, you will not question her about anything from the past, and you will not, under any circumstances, ask her why.”

His own set of rules he’d privately set for himself in his own mind during the car ride over.

Gareth squints his eyes in disbelief, “You’ve got to be fucking kidding me. Are you serious?”

“Deathly so.”

“This isn’t just about your past with her,” the boy nearly passes, starts to reach up to tug on his hair before he thinks better of it, “This is about the way she left all of us. Not just you. She was a friend to all of us. She was the one who taught me how to tape my drums when I’d bust a hole in them, she was the one who helped us design our first merch, she was the only person any of us would let be in the room during practices. And not just the band stuff, either,” Eddie watches tears form in Gareth’s eyes, “She was the only one who had the patience to help me with my fucking math homework back in school, man. She was the one who nearly curb stomped Jason Carver the week he sent Grant home with a black eye. She was the first person Jeff called when his parents broke news of their divorce, for fucks sake. Not me, not you, not any of us — her,” Gareth’s breaths come out as pants as he stops his pacing and stands before Eddie. The tears continue to lace his bottom lash line as he heaved silently at the end of his rant, his pained expression completely unexpected to Eddie.

This is the part Eddie chooses to forget. He’ll let himself swim in the memory of you late at night, he’ll indulge in vices that always amplify his pain rather than succeeding in his attempt to numb it, he’ll stare down the mirror each morning and curse the reflection he finds with all the blame in the world he is capable of holding in the palms of his hands. But in all the ruptures of his own old scars, he fails to consider that he is not the only one burdened with loss.

They all lost you. When Eddie lost you, so did the band. You’d become a ghost to more than just your abandoned lover — you’d become a tired haunt to boys you’d known, boys you’d befriended and burrowed your way into the lives of, just as well.

“She was our friend,” Gareth chokes out, fists curling at his sides, “Jesus Christ, I- I get it. She was everything to you. Whatever. But she meant a lot to the rest of us, too. Whatever happened wasn’t just some isolated event — you two didn’t just hurt each other. You set off whatever bomb erased her from our lives, but it left the rest of us with some damage, too. Don’t forget that.”

This is the part where Eddie should apologize. This is the part where, once upon a blissful time, he would have said his repentance.

He doesn’t.

“I don’t care how hurt anyone is,” he lowly responds, eyes unable to meet Gareth’s any longer, “I’ve told you the rules, we’re going to follow them. End of discussion.”

Gareth throws back his head, and Eddie winces at his scoff, “She’s not your fucking property, Eddie! She isn’t solely yours to keep or whatever the fuck you think you’re doing!”

Eddie can’t even deny the action of keeping you. All the demos, all the songs laid to the grave because he couldn’t stomach the thought of releasing them for others to experience.

But that’s not what this was. This, the cataclysm that was sending Gareth to finally release all this pent up frustration, was him following your rules. You’d made your wishes for this project very clear, and he needed to at least try to respect them. They all did.

So he takes on the role of the bad guy. He lets them paint him as the villain if it means no red will stain your ledger.

“Oh, I think she’s made it very clear that she isn’t mine,” the mask slips on far too easily for Eddie. Cool demeanor, compartmentalizing. Not you, but his emotions towards his friends, if he could even still call them that. His bandmates that he had once seen as brothers. “Doesn’t change what I said. Don’t push it, Emerson, or there’ll be Hell to pay.”

“What are you going to do? Disappear on us?” Eddie finally looks back up to meet Gareth’s fiery gaze as he spits out hateful words, “Hate to break it to you, but you already left this band behind two years ago. And if you ask me, you should start leaving the vanishing act to her. At least she doesn’t make us pay for her mistakes.”

Eddie is by no means done with the conversation, more than willing to continue fighting with Gareth, but the other boy clearly feels differently. He leaves his words hanging in the air as he spins away, storming out of the door, the air in the studio now several degrees hotter now with the irate fuel of the fight.

It was all a blood sport. All of it. It didn’t matter if Eddie was fighting with the band, the management, with you. It was all bloody and fruitless, and it all left him the same awful type of hollow in the end.

He stares blankly at the wall as he makes a silent decision.

By the time the producer has timidly returned to the room, Eddie has already set up his laptop to connect to the studio's system, prepped so that any recording would automatically copy into his personal hard drive. A way for him to listen and ruminate in the privacy of his own apartment.

The sheet music torn from his notebook already lays at the table besides the entrance to the booth.

“Do you… want to run the track again?” the man, the stranger, asks. He clearly heard the fight. Eddie and Gareth hadn’t been exactly quiet in their screaming match. At least, Gareth hadn’t been.

Is it really a screaming match if only one side fights back?

“I want to lay a new track,” Eddie’s voice is deadpan as he clicks a few buttons, finalizing everything. He only needs the man to click record, “A raw piano and vocal demo. We can add the rest of the band later.”

“I-“

One look from Eddie, hardly passed over his shoulder with a glimmer of unbridled determination, and the man quiets as he takes his seat.

Eddie storms into the booth without another word, fist curled around the page of lyrics and terribly hand-drawn music clefts.

She isn’t yours to keep.

Eddie was aware of that. Painfully, painfully aware. But it had never been about his claim to you.

Gareth was right. Eddie never wanted to own you. Keeping you, however, had been something he should have taken more care with.

The chill of the small room to record in does little to lessen the flames eating Eddie up as he bypasses the assembly of various instruments all crowded in the space. Gareth’s drum set, Jeff’s guitar, Grant’s bass — he storms right past them, eyes locked on the grand piano in the fair corner. It took up the most space, far too large to have been forced to be contained within this compact room.

Eddie drags the mic from where it had been stationed previously with him, quickly and recklessly resetting it at the piano.

Once he’s seated on the bench, crumpled pages thrown up onto the music desk of the piano and headphones snug over his ears again, the producer finally clicks on his mic to speak.

“Hey, uh… Does this demo have a name by chance? Or do you just want to label it as an unknown for now?”

It certainly does have a name.

“Blood Sport,” Eddie spits out. “Just name the file Blood Sport.”

The hum that would indicate to Eddie when those on the other side of that glass window were speaking clicks off, and he takes it as his cue.

He’d written the song a while before. There were some gaps in the lyrics, some notes he’d played with on his personal piano scribbled over and never replaced. He’d never played it in its entirety before.

It starts slow. His fingers hold the ivory keys delicately, arranging for the first opening notes as if he were slotting his knuckles against your own for the first time over again.

She isn’t yours to solely keep.

Were you ever his to keep, ever?

Even the ivory keys of the Steinway are more solid than you ever were. You were nothing more than water, than blood, destined to slip between Eddie’s fingers. He never stood a chance in having you, in holding you, in keeping you.

Not just now, but before all the blood shed, as well. He should have recognized Cassandra’s curse the first day he looked into your eyes. He should have known the twist in his stomach was only Fate sinking its claws into the two of you.

A tale fit for a Shakespearean stage — a tragedy always meant to be.

“I want to roll the numbers, I want to feel my stars align again.”

Eddie’s voice is soft to match the steady beat of piano notes that emit from the crooked curl of his hand against the keys. A soft thump, a gentle lull. And instead of losing himself in the music, he finds himself wrapped up in one of the many memories he’d chosen to lock away for the last two years.

Something was off.

Eddie’s stomach had twisted with anxiety of something being wrong for weeks. You stopped answering his calls, his texts, every form of connection with him. But as he stood in front of the door to your shared apartment, the bile rose even higher in his throat.

He smelt the decay of what he had done before his key had even entered the lock.

“Would you invite me again? Won’t you pay for your arrogance? Won’t you show me your weakness?”

You were never his to keep.

His voice nearly cracks as he approaches the first chorus, not finding the strength behind the vocals he’d always envisioned for the song.

The click of the door opening echoed through the apartment. It felt empty the moment he’d crossed the threshold – you could have just been tucked away in the bedroom, or even in the bathroom, but he knew.

You hadn’t been returning his phone calls. You hadn’t been returning his texts. He knew something had happened, something had changed. Irreversible damage had been done, and he would now have to face the mess he’d created to return home to.

“I made loving you a blood sport.”

He repeats the line until it rings in his head, over and over. Until he swears the words could crack his bones, and the stars that will show in the night sky will do nothing but mock him for the self-inflicted pain.

At first, he convinced himself you just weren’t home. You’d gone to the store or to see friends. You’d be home soon enough and then, the two of you could scream at each other all you wanted. You were angry with him, rightfully so, but he’d rather you yell and scrap with him than the alternative. He didn’t care. Because he was here, back in the flesh and willing to take any and all cruel words you had sharpened for him. The two of you would fight, yes, but at least that meant there was still something there worth fighting for.

After the first three hours, he realized with a sinking stomach that the alternative might just be his reality.

“I want to be forgiven.”

He recalls the look on your face when you’d first seen him today. The fall of your act, the discarding of grace and composure.

The look that told him that he can want all he’s capable of. He can want, he can crave, he can yearn, he can tear himself apart bit by bit with his feeble yet shattering cravings — it won’t change a thing.

You were never his to keep.

After the clock struck the fifth hour of his return, he started his calling.

Over and over and over, he was met with your voicemail. Endless messages spoken and sent alike. Every single one trying to be gentle as they inquired where you were. Letting you know he was back. Going as far as to ask you if the two of you could talk.

He wanted to fight. He wanted to fight, because it meant you still saw something worthy within him.

But even more than Eddie wanted a fight, he wanted you to come home. He wanted you to be there, to welcome him into your safety and remind him he was human again. It was selfish – he was so goddamn selfish – but he needed to feel your skin against his and remind him that he was still a person beneath it all. Beneath the demand, beneath the unwarranted adoration from strangers, beneath all the fractures the sudden traction had left him with – he was still a breathing, living person. He was still your person.

Eddie’s fingers begin to slam against the keys with increasing urgency as his chest heaves out with every syllable. Repeating, and repeating, and repeating the chorus as if it changes a single thing. He loses himself in it all; in the music ringing in his ears and the memories now drowning him as he confesses all his sins to the microphone.

You never came home.

There was no fight, and after the hours reached double digits right along with his ignored phone calls, he had to accept the truth.

You weren’t just at a friend’s, or the store. You were gone. Truly, truly gone.

The drawers once filled with your belongings were vacant. The smell of your perfume was nothing more than a whisper across the pillows. Eddie scoured the entire apartment for signs of you, turning every single piece of furniture over looking for clues. He never thought to check the counter until he’d already ruined the space, terrorizing it in a frenzy before his eyes landed on the letter and the key.

He had approached them both hesitantly. All his denial drained from his body, like the blood pumping through his veins, as his fingers pinched that silver key so gingerly.

A past he can never return to. A home he will never hold the key to again.

The joints of his fingers ache and his lungs begin to burn for all that he lost — all that they all lost — because of him. His own foolishness, his own downfall. He did this.

The aftermath is blurry.

He read the first few words of your letter before promptly crumbling it with his tortured fist, knowing exactly what it said without needing to fully swallow all the words just yet.

He never fully read the letter. He skimmed it, a week later, but not that night.

Then came the flashes of the pain. The way he’d swung his fists at air and menial objects alike. A vase holding wilted carnations met its demise on the kitchen floor, a hole in the wall appeared that he later had to patch up, one of the coffee tables ended up across the living room with a leg splintered half off.

He never dropped the key.

Even as he dropped to his knees in the center of the broken glass, bleeding shins to match his bruising knuckles, he still held that small piece of silver fiercely. He pressed it so tightly, dug it so deeply into his palm that it later left a scar. And not even the way he had grabbed at the broken glass surrounding him had the capability to mar it away as he let it slice his skin, crying out, hopeless and devastated.

You were gone. He had lost you, and he had been arrogant enough to never even notice it.

“You say it doesn’t matter.”

The headphones had long since slipped off his head, and he makes no move to adjust them. He hadn’t even noticed that his body had begun to fall forward and curl into the piano until he’s weakly choking out the final lyric that he hadn’t even written down onto the page.

He hadn’t noticed the tears falling, either.

What were meant to be gasps for air as his fingers fly across the keys in a haunting melody are only sobs. Cries of pain as he no longer can see mere inches ahead of him, a scar of the center of his palm stinging as if brand new, his heart and head pounding in sync. He isn’t even sure if the producer he’s forgotten the name of is still recording. He lets the sobs slip out as he continues to play.

He can’t quite end the song yet. The moment he does, he’s terrified of the version of him that he will have to face once more. All those surface blemishes from the beginning of the end had run deeper beneath his skin. He was nothing more than rubble and fractures now, splintered every which way until he had become unrecognizable. When he looked in the mirror, all he could see was a creature of destruction.

“You set off whatever bomb erased her from our lives, but it left the rest of us with some damage, too. Don’t forget that,” Gareth’s voice echoes in the silence beginning to gather between the notes.

Another wrecked sob leaves Eddie as he finally finishes off the melody, playing entirely unaffected up until that point. Reality crashes down. His body shakes, shoulders hunched as his forehead connects against the freezing wood of the piano and he pinches his eyes shut tightly enough to be left in total blackness.

He couldn’t play another note if his life depended upon it.

The memory fades with the final note before his head rattles with a new image. The smile, the grimace, you had offered him before you two parted ways today. An effort at professionalism that Eddie had seen right through.

Pain. That’s what had twitched in the corners of your mouth. The same pain, if not worse, as the one that now radiated through every atom of Eddie’s broken figure on the piano bench.

He can’t fix it. Not your pain, not Gareth’s pain, not his own pain. The time for damage control, for sincere apologies and any reconciliation has passed. Just like watered-down blood through his fingertips.

Eddie hopes that the producer has had half the mind to stop the recording when he stands and slams the drumset behind him into the wall. Destructive, just as he had been the night he returned to an empty apartment. Just as he had been when he’d been the one to rot and wither away all that you two had once held between you.

They can replace the drum set. Surely, he has a person for that.

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#ghost's writing #eddie munson #maroon #eddie munson x reader #eddie munson angst #rockstar eddie munson #eddie munson x you #eddie munson fic #finally long enough tag lists to separate lol #voila! corroded coffin is sleep token! wahoo!#i recommend everyone listen to the discography of that band #just sayin #(dial tone is the only non sleep token song that is canon here)#i just can't let go of the death grip i have on that song when it comes to this fic #it was either gonna be catch your breath sleep token or bad omens #and sleep token captures the yearning #Spotify

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spookygibberish · 4 months ago

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Made a faintly insane list of of every animated movie I have good enough memories of to feel confident ranking, although some of them I would probably move around if I saw them more recently....

#Apparently “It's Such a Beautiful Day” is my favorite American Animated Movie which is not something i REALIZED before I made this...#movies i haven't seen since i was a little kid aren't on here which excludes a lot of Disney Classics. I have seen more animovies than this #i made up the word animovies to fit that sentence in that tag #also i watched all of the nge reboot movies but it was several years ago and I genuinely do not remember anything that happened in them #i remember not liking them compared to the tone of the series or original movie or thinking they contributed much #despite ostensibly fleshing out the world more #the lower you go on this list the more deranged it looks #i am not actually a big Pixar stan or anything. i do feel like this list makes LUCA being my highest ranked Pixar movie make sense tho..#like. contextualizes that choice by laying bare my Proclivities #i have not watched as much complete and utter dogshit slop as Emily #i DID make her watch Igor (2008) tho it was like... not actually terrible but i went in with my expectations on the ground #i made this list when we were watching strange world and strange world didn't end up on this list on account of me not actually paying #enough attention on account of the deep thought i was putting into this instead #texting #off topic #I have not been having an easy time doing creative things so you get movie and book opinions #i feel vaguely apologetic for some of the choices in this. but not really. It's ranked 100% by how much i enjoyed it there is no pretense o #objectivity

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fedzkun · 1 year ago

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Fedz, I am horrified by your tags. Summaries are fun and easy? I have delayed fic posting by several days because summaries are awful to write. While I have never taken longer than five minutes to find a fic title. What is your secret? Whose soul did you steal for that power?

You take FIVE MINUTES to find a fic title?! You can just pick a specific limited number of words to encompass the entirety (tone, theme, brand) of your fic within 300 seconds, the tenth of the amount of time it takes for me to wake up in the morning?! THE TITLE, which might be acronymized one day and what your readers will refer to when they talk about it in their little servers and blogs and tiktoks? Do you have any idea how much I fret over accidentally making my titles have an accidentally rude acronym? Or how sometimes my first titles are too bland, easily recreated and duplicated? You pick them in five minutes and they're iconic as is??

Summaries are fun because I literally just spit on the keyboard and the summary box is filled for me. Better than A.I. (Not that I'd ever use it). If only I could do the same for the main body of my fics.

#my real secret is that I do the summaries first because it gets me excited to write the main #it's like a project proposal to myself #i also list the tags in advance to nail the tone #i do have working titles but i don't settle on one 'til the end #after crying #gentry comrade #ask box fedz

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space-writes · 3 months ago

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proud of tag

tagged by @memento-morri-writes, thank you! I’m still really proud of the opening line of claws, honestly: I think it’s maybe the best opening I’ve ever managed.

Rules: Post a snippet you've written that you're pleased with/proud of, and tag some friends!

[ID - a red and black decorative divider]

The first time Vivien breaks into Magus Mortem’s office, he still has tits.

[ID - a red and black decorative divider]

no-pressure tagging @eccaiia @noblebs @olliexwrites and @revenancy

claws taglist: @belovedviolence @foxboyclit @coven-archives @noblebs @mjjune

@revenantlore @sarandipitywrites @k--havok @asterhaze @verba-writing

@indecentpause @bootstrapparadoxed @olliexwrites @cowboybrunch (ask to be +/-)

#writeblr #tag games #proud of tag #snippets #original writing #wip: claws #c: vivien webb #pretty sure everyone on the tag list has seen this line already but it still fucks so #like it just for me immediately captures the tone and style of the book #and it tells you exactly who vivien is up front in a lot of ways

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batsplat · 6 months ago

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wait, is there a dovi/jorge feud???? i didn't know this!! also thank you so much for all you do for this community ❤️

not the only ask I've gotten about this and... look, rather than doing a proper write up that would take forever, I'm just gonna give my top ten fun... facts? bits of trivia. tidbits related to the two of them. quite long tidbits, on second glance. the highlight reel, if you will

(1) that time andrea dovizioso made 14 year old jorge lorenzo cry

the two of them already raced each other before the start of their grand prix careers, competing for the first time in 2001 in the cev when dovi was around 15 and jorge around 14. in riveras tobia's biography, here's jorge talking about their first fight:

I led the way at the start and Dovizioso and I escaped. It was our first head-to-head encounter, the first time we raced each other. My dad had heard that Dovi was a really clever rider and he warned me before the race. But just like in 1998 at Jerez, with Olive, I acted like a dummy and pushed for the whole race. I kept looking behind me to see the bastard still there! It was impossible to shake him off, he was watching me the whole race until the last lap. Three comers from the end I could hear his engine getting closer and I saw his shadow to my left, but he didn't come past. I thought to myself "This guy is going to try something in a second!" I decided I had to on a tighter line and close the door. Sure enough, Dovi went wider through that comer and then dived up the inside. I didn't close the door in time and tried to get in his slipstream, desperately hoping I could get him the next corner, but I ran wide and he won. I came back in tears, I didn't even want to go to the podium, I felt so cheated. I'd been on the limit for the whole race and I felt like I deserved the win more than he did.

so that's a nice and positive start! there's something charming about how even fifteen year old dovi was an absolute menace on last laps

also about that race:

'Jorge beat Dovi in Braga but in the previous race at Most, what a tantrum!' recalls Juanito, laughing. 'He didn't even want to go to the podium, he was crying like a baby! I can still see Dani (Antatriain) talking to him, trying to convince him. In the end he went but he didn't want to look at anybody.'

(2) the photo finish

in 2004, they were rivals in 125cc - a year in which dovi claimed the title and jorge was p4 in the standings. in the very first grand prix ever at the lusail circuit (pretty eventful weekend, you have to say), jorge and dovi crossed the line at the exact same moment

(3) dovi's top three favourite career win

dovi and jorge progressed through the categories at the exact same rate, and after their 125cc rivalry they continued fighting in 250cc. they were title rivals in both 2006 and 2007, with jorge's aprilia winning out both times against dovi's underpowered honda. (the general pattern was that dovi clawed back a bunch of points from jorge in the wet - jorge, with perhaps the exception of a few years in the premier class until around 2013, has never been much of a wet weather racers, while it's always been one of dovi's strongest traits.) for dovi's 300th career start in 2019, he was asked what his top three wins were - and one of his picks was from way back when in 2007

I'd recommend the race! which... well, I did in the race rec post - and I can only reiterate that these two kids do not acknowledge each other, not good vibes at all

(4) jorge's thoughts on young dovi from 2008

Jorge has a lot of respect for Andrea Dovizioso and feels that his two 250cc world titles have even more prestige because he had to beat the Italian to win them. 'You wouldn't label Dovizioso as fast, particularly, but he's much faster than he looks. He doesn't set many pole positions but he is always up front in a race, fighting to win. He is very intelligent and you can't trust him an inch on the last lap. He has been faithful to Honda, he has great belief in them. His negative side is that he tends to play the victim too much. He'll say that if his bike had a better engine or if it was a bit faster he would win. He's even said that if he was on the same bike as me he'd give me a hiding. I think he looks for excuses too often sometimes, but as a rider and a person I don't have a bad word to say about him.'

some dovi traits read as very familiar, from how he's a better racer than qualifier to the intelligence to the last lap prowess. as for jorge saying dovi plays victim too much? well

also this:

ER: Don't you think that Dovizioso wanted to be World Champion too in 2006 and 2007? Don't you think he gave everything to achieve it? JL: He will think he gave his maximum but he will be lying to himself because nobody does that. Nobody gets close to their maximum, not even me. He will think that he didn't win because he was riding a Honda. There are very few sportsmen who will say, I deserve what happened to me and there are no excuses. I didn't know how to do any better and I've done things wrong.' That is the only way to be the best, the only way. People who make excuses don't get to the top. I know riders who haven't made it for just that reason.

plus ça change

(5) jorge's thoughts on young dovi from 2018

when they were doing their thing as ducati teammates (bickering), here is one of the things jorge said about dovi:

dovi's been trying to undermine jorge's morale his WHOLE career... even when they were but teenagers... love it when you can really tell someone's been sitting on something for over a decade

(6) "also lorenzo is not my friend"

both of them moved up to motogp in 2008, jorge with factory yamaha and dovi with satellite honda. dovi had a very strong rookie season and finished in p5, only sixteen points behind jorge in p4 (who after a promising first few races had spent a lot of time that season crashing). after that, their fortunes diverged. dovi did not have a particularly happy time in the factory honda team and needed to do some shrewd negotiating to be retained by them for 2011 in that three-man squad, while jorge of course won the championship in 2010

here's a deep cut from 2011, a season where much of the excitement and drama was caused by marco simoncelli alone. jorge had exchanged tense words with sic in estoril, one race before simoncelli was responsible for a crash where dani broke his collarbone. the crash and sic's subsequent penalty meant that the three-way fight between jorge, dovi and valentino became one for the podium, with dovi and valentino eventually grabbing the two remaining spots behind casey. but during the race, jorge had executed a... questionable manoeuvre on dovi, one that did have some similarities to the sic/dani incident. given jorge's strong previous comments on racing standards, unsurprisingly the journalists pounced on this incident in the post-race presser and ask the podium sitters about it. here is the clip:

in this clip, dovi essentially says it was a dangerous move from jorge, but he wasn't sure what jorge's intent had been and he needs to watch the footage again. valentino (who had been the most outspokenly critical of sic of the three of them earlier in the presser) takes the opportunity presented to him to have a bit of a potshot at jorge. he says that dovi doesn't have the best relationship with sic but jorge had done something pretty similar in the race... at which point dovi goes "also lorenzo is not my friend"

which, you know. not exactly a major incident, but I find it very charming dovi felt the need to clarify that, actually, he doesn't like either of them. valentino also adds that by jorge's own standards, surely he too should have gotten a penalty. not exactly a meeting of jorge's biggest fans hm

(7) mapping eight-gate

well I can't leave it out, can I

so in 2017 jorge switches from yamaha to ducati and does not have a great time of it. a lot of weekends, he's just too slow, other times he shoots to the front of a race at the start (typically not great news for the rest of the field in his yamaha days) and then chews up his tyres before gradually dropping like a stone back through the field. at some point that year it became a bit of a running gag - especially when you saw he was the only big name to be picking a soft tyre and just went... buddy we ALL know how this is gonna end....

while this was happening, his teammate dovi was for the first time in his premier class career in championship contention. an extremely close title fight throughout the year with five protagonists until pretty late in the season, it eventually went to a title decider in valencia between dovi and marc. you know, the kind of year where every point counts. the race where marc put a bit of daylight between himself and dovi was phillip island, with marc winning a great dogfight out front while dovi had a bit of a horror show of a weekend. this meant that a lot would have to go right for dovi to have a chance of still winning the title... and sepang was already a match point race for marc

ducati had not won a championship since their 2007 title, courtesy of one casey stoner. after that year, their bike became steadily less competitive every season, reaching a nadir around the 2011-13-ish period. so by the time 2017 rolled around, they wanted this so so badly - even if they wouldn't have expected dovi to lead the charge. dovi had only narrowly beaten out iannone in the 'who's going to be fired for our shiny new lorenzo hire' contest of 2016, and really it was supposed to be jorge who was carrying ducati's dreams on his shoulders. but, never mind, they were throwing everything behind dovi now... no stone left unturned

which brings us, of course, to the subject of team orders. this discourse really took off at the penultimate race of the season at sepang, but was already brewing before that - and in phillip island, satellite ducati rider redding had been told early in the race to let dovi past

here from marc at sepang:

dovi had been in great form all weekend at sepang - and with his wet weather prowess being what it was, really there shouldn't have been any need for team orders at all. but he got a sluggish start, and the race unfolded from there... until eventually jorge was in first, dovi was in second and marc in fourth. in those positions, marc would have clinched the title there

and then, jorge got a message on his dashboard. suggested mapping: mapping 8. pit boards and dashboards and all sorts of boards will feature various codes during races, most of them completely innocuous - but of course they are a healthy source of all sorts of conspiracies. the timing of this one was certainly... notable, and speculation immediately started about how it might be a way of telling jorge that he should swap positions with dovi

jorge didn't end up letting dovi pass - it is questionable whether he really would have done so with what would have been his first ducati win on the line. in the end, he made a mistake that let dovi through so that dovi claimed the win anyway, keeping himself in mathematical contention in valencia. and jorge did say afterwards he was keeping dovi's title hopes in mind, kind of

jorge also said he hadn't gotten any message indicating team orders, and of course nobody at ducati confirmed that mapping eight did have anything to do with team orders

for what it's worth, this is what dovi said about their relationship at this stage:

lovely! let's see what the vibes are like a few months later

anyway, onto valencia. this race was pretty boring despite being a title decider, but the jorge/dovi bits were just unequivocally the weekend's most enjoyable aspect and rather nicely spiced up the whole thing. dovi's chances were always slim going in, given he'd have to win the race and marc would have to barely get any points at all... but still, you never know, right? marc could always crash (narrator: he did almost crash). jorge plays coy early in the weekend about the whole 'helping dovi out thing', and basically just started putting in place...? ... very specific conditions...? under which he'd help:

so during the actual race, dovi got stuck behind jorge in p5, with marc ahead of both of them. valencia is traditionally not a fantastic track to overtake at... so even if dovi had been faster, it's not like he'd have an easy time clearing jorge and cracking on. but they were beginning to drift further away from dani in p3 as ducati watched on, increasingly unamused by what was happening - and the tv cameras were of course kind enough to repeatedly show the ducati box looking deeply unamused. again, they went for the good old mapping eight message, which, hey, that could mean anything! they sure did keep showing it to jorge though, almost like he wasn't paying attention to it

eventually, they abandon all subtlety and go for a pit board message that does just straight-up tell jorge to swap positions. jorge kept ignoring the messages, lap after lap, and he never ended up letting dovi past. eventually they both crashed and marc claimed the title with a p3 finish, so it wouldn't have mattered anyway, but... still. the feeling was that this might things rather awkward inside of ducati

publicly, ducati was extremely keen to smooth over the whole controversy, saying they totally weren't mad at jorge blatantly ignoring team orders. jorge had, after all, explained to them (and the media, repeatedly) that he had totally been intending to help dovi by dragging him closer to dani

Giving his take on events, Lorenzo acknowledged that he ignored Ducati’s instruction because he felt Dovizioso’s chances would be boosted by having him directly ahead. “Even looking at this [dashboard] suggestion, I keep pushing until the end, because I knew it was the best thing for me, for Ducati and for Dovi,” said Lorenzo. “I helped him to improve his pace by one or two tenths, to be as close as possible to the first group. My intention was, and it was the case, that we arrive at the first group. If he had the option to win, I would have gone wide and let him pass. But unfortunately it was not like that. Maybe in some corners Dovi was close and I slow down a little bit his pace, but in general terms, having my wheel in front of him made him improve slightly his pace. I helped him stayed closer to the front group. “I knew Dovi was struggling, I knew his pace during all the weekend, and I knew he was making the best pace of the weekend just in the race. It was [because of the] help from my wheel. I’m happy because I was not wrong. If I was wrong and slowing him, I would be very sorry. But it’s not like that, my feeling was true.”

which, you know. is it really that easy to tell how much faster you are than someone who's sitting on your rear tyre? who's to say. dovi did certainly seem rather keen to get past

anyhow, of course there were plenty of fun dramatics post-race:

'our rider ignored team suggestions not team orders' is a great line, fairs. there's plenty more of this from ducati, some excellent spin doctoring - and dovi was extremely magnanimous about what had happened:

the whole thing was pretty undignified from all non-dovi parties, but it was also very funny so who's to say if it was bad or not

(8) runner-up-gate

let's check in on them in 2018, the second and ultimately last year in which they were teammates. remember that 'undermining morale' quote from above? those are from early 2018, after dovi says he wouldn't be surprised to see jorge elsewhere the following season. so, once jorge has complained that dovi had been trying to put him down his entire career, comes this:

so that's something. jorge, dovi and dani have a three-in-one crash in jerez, after which some fingers are pointed but it all remains fairly civil, and a bit later dovi says that jorge's approach doesn't work at ducati:

by the summer break, jorge's results had gotten better, but it was already too late to save the relationship with ducati and they parted ways. anyway, here's dovi and jorge having another go at it:

And while a rough patch for Dovizioso coupled with breakthrough back-to-back wins for Lorenzo in Mugello and Barcelona have now left the pair just three points apart in the standings, Dovizioso refused to back down from his claim when speaking to Spanish sports daily Marca ahead of the upcoming Brno race. “He’s won two races,” Dovizioso said. “Winning two races does not solve the problem of a year and a half. Lorenzo was not signed to win two races. Therefore I do not change my mind.” When the comments were put to Lorenzo, the three-time champion offered an ardent retort, stating that Dovizioso's rhetoric was proof of the claim he'd made back in April. “I'm a bit fed up with this situation, mainly because when I had trouble and he was winning, I was down there applauding,” Lorenzo told Spanish broadcaster Movistar. “What I said in Argentina - and the comments caused a big surprise - you can see that I was right. “He tried to undermine me, or downplay what I achieve or just attack me. As you can see, I wasn't lying. He's still doing it and now he says my method is not good, according to him.” Lorenzo intimated that Dovizioso was in no position to criticise him, as the Italian could do no better than runner-up to Marc Marquez in a 'perfect' 2017 season. He said: “I think my method has not worked too bad in my career. I've won three MotoGP titles and have 46 wins.” “In my second year in Ducati I'm usually faster than him, but maybe I should look at his method closer if in his best season, with everything going perfectly, he was second. Otherwise he's fourth or seventh usually. I'd tell him to leave me to go my way and to focus on his own and everything will be better, because when you have an angry Lorenzo it's usually worse for you.”

fair to say that by this point the pretence at civility has mostly been dropped. I'm rather fond of the "lorenzo was not signed to win two races" line, though "when you have an angry lorenzo it's usually worse for you" is also really strong stuff. dovi tries to restore a little bit of peace:

Responding in turn to Lorenzo's tirade, Dovizioso sought to play down the conflict. “Jorge has his ideas and I think they are based on particular things. I don't think like him, but it's not a problem,” he told Movistar. “Everybody creates their own ideas based on what they see and how they live. “I don't think he has everything clear in his head about what's happened, but we continue the relationship that we started last year with respect, there's no particular problem. If he thinks this way, that's his problem."

so basically the classic 'idk what he's on about but it's not my problem' approach to attempting to defuse feuds

(9) twitter-gate

there's a few more on-track battles where it's nicely obvious how badly they want to beat each other, with jorge beating marc just ahead of dovi in austria and then dovi beating jorge in brno. jorge's season is increasingly derailed by injuries, which sets the stage for their next big spat:

The row was sparked by Dovizioso's comments to Sky Italia after qualifying at Sepang on Saturday, as he was asked what he thought of Lorenzo having to pull out of the Malaysian GP weekend with injury. "I don't know the details, I don't want to get into this, it's a bit of a strange situation," said Dovizioso."It happens often in Ducati or to certain riders, but I don't understand the details and I don't want to get into it and give my opinion." When it was put to him he was offering 'cryptic words', he added: "I leave things there, it's not my problem."

pretty vague, yeah. but anyway, I'm sure jorge had a proportionate response to this

Dovizioso's comments prompted a series of irate posts from Lorenzo on Twitter, with his first reaction being "Thank you very much @AndreaDovizioso! You are a real gentleman!". In his next post, he went on to call Dovizioso "an exemplary teammate", adding: "You applaud him under the podium when he wins and then... (That's right, he does not give his opinion, it's not his problem)." After that, Lorenzo labelled Dovizioso "envious" and described him as "a world champion... in 125cc."

the podium thing really bothered him, don't you think. their ducati in-fighting follows that general pattern where dovi says something... a little shady, a little ambiguous, where his intentions aren't entirely obvious... at which point jorge goes all in at fighting back and has a go at dovi - often not as much for what dovi is actually saying, but what jorge thinks dovi is implying. which is based on his understanding of dovi, the image of dovi he's built up in his head over the years, so that he is... predisposed to think ill of the intentions of the 'intelligent' dovi who always knows exactly what he's saying

again, dovi tried to downplay the argument, while simultaneously not exhibiting much patience for jorge's stance:

After the Malaysian GP, Dovizioso was asked about Lorenzo's responses to his comments, and the Italian accused his teammate of reading too much into headlines. He said: “Why should I talk to Lorenzo? I do not waste time on these things. He makes the usual mistake of giving too much importance to what is written, even without the context. "I have not pointed my finger at anyone and I have no problem with Jorge."

if I were ducati, I probably would've let the whole thing blow over given jorge was off soon anyway. but they decided the whole thing was so bad they had to organise a peace summit

Asked about the situation, Ducati sporting director Paolo Ciabatti admitted to Motorsport.com that the Bologna marque has already planned to sit its two riders on Tuesday in Milan to make it clear what its priorities are. Ciabatti said: “It is clear that the interests of Ducati come before personal problems between riders. On Tuesday we will be together in Milan, for the EICMA [motorcycle show] and we have in mind to spend half an hour to sit and talk to Jorge and Andrea. "We want to avoid similar things to what happened last weekend. "I understand that these kinds of situations can happen. Sometimes riders get nervous during a Grand Prix weekend and on a rainy day, with tricky conditions, sometimes they say things they shouldn’t have said."

god knows how that turned out

(10) wow, you guys aren't gonna let this go, huh

late 2020 and jorge's career is already over, while dovi's looks like it will be... paused, at the very least. which is always a good time to check in with riders on how they feel about their rivals - if they're still being nasty you know that shit was personal. from december:

some quality petty material here. "I can't understand his somewhat peculiar mind" vs "he was envious of me since 250cc, but I wanted to give our relationship a chance". note too jorge talking again about how generous he had been in the face of dovi's 2017 successes, and how he feels like this was not reciprocated at all. jorge's complaints don't stop there:

merry christmas!

not the only rider jorge has beefed with post-retirement, but compare and contrast with how he really hasn't been doing any of that with some of his biggest career rivals. valentino, marc, dani - sure, he still talks about the controversies he's had with them pretty regularly (to put it lightly), and he's hardly free of complaints... but mostly it's a distinctly nostalgic tone he's adopting with these guys. admittedly, it helps that none of those three have gone out of their way to say anything particularly inflammatory about jorge. still, the absolute lack of any sort of rapprochement with dovi of all people is pretty funny

bonus: that time when jorge skittled all of marc's rivals

you know how in catalunya 2019, jorge took out like? all of marc's major rivals in that era including himself in one go? with half a decade of hindsight, this was kind of hilarious, and it did also feature jorge having to eat a hell of a lot of humble pie and go to the three other blokes to apologise. anyway I have a lovingly assembled set of screenshots of all three of them emoting in their boxes after the incident, all suffering some form of an existential crisis. here is dovi contemplating the bleak realities of our brief lives on this planet:

truly one of the world's least enthusiastic waves

bonus 2: another one for old time's sake

already posted this elsewhere, but this from late 2023 made me laugh

"jorge came to ducati and thought he was going to beat everything, but in the end he didn't" uh huh

#also thank you!! that's really nice #valentino is absolutely SHAMELESS in that clip i'm crying... saw some low hanging fruit and took a chainsaw to the entire tree #laughs a bit TOO much at that dovi line. a little restraint I beg #andrea dovizioso #brr brr #//#ad4 #morale tag #batsplat responds #very lazy post sorry but i just wanted to do something fast... i do think they're more interesting than just a list of drama #real lack of mutual respect... how little they get each other... also jorge's side of that 250cc rivalry is sooooo...#currently still cooking up that jorge/valentino post which means i'm obviously revisiting my jorge primary sources #and the way valentino and dovi get described in particular is... hm how to describe this... this isn't just a sports thing but -#- especially in sports and especially at juniors level you come across a lot of people who act like they're constantly on camera #jorge at that age has extreme sports film syndrome. his entire team also has sports film syndrome. the author has sports film syndrome #they're constantly trying to write character arcs for him. 'like a superhero after his darkest hour' that kinda thing #and that also means other riders sometimes get this treatment where you're a bit? this doesn't feel... completely in touch with reality #dovi's The First Rival who's there to help jorge grow... it's quite tricky to explain because you can't point to anything SPECIFIC #it's just tones and vibes really lmao #anyway my point is I do have Takes on this dynamic but for now. here is just a random assortment of stuff with a lil bit of context #I do love it when you have a kind of primary text for these riders. they're all COMPLETELY different #all with quite funny editorial choices that sometimes tell you as much about the blokes as the actual text itself #fwiw the jorge one was the one where i had the most moments of 'hm i'm not sure it happened quite like that but continue'

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sforzesco · 1 year ago

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DECIMATION ROW

Decimation: Myth, Discipline, and Death in the Roman Republic, Michael J. Taylor / Spartacus: War of the Damned, Decimation

#anyway. so. tune in next month when i do a talk on why it's so easy to Other code crassus (queer coding or other wise)#(this is a joke im not going to do a talk. if i did i'd spend an hour getting into All Of That with kore and caesar in the starz show)#so. SO! wow. wuehghgh. heurhghh #been thinking on this one a lot. like. babygirl what is WRONG with you #narratively or otherwise #like i know what's wrong with you but my god #i was listening to 2pm's Cafe the whole time i was making this and the tone dissonance was very funny #related and unrelated:#i deleted a whole novel of tags talking about how fucking wild the kore-caesar-crassus stuff was #but if you leave starz off your lists of republicaniana media bc you think its cringe #you're a coward and i hate you specifically #comparatives tag #marcus licinius crassus #blood cw

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the-takosader · 1 month ago

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While we're in the prep phase for the Crusader...

...let's go through the Ideas Archive, explore the stuff that's shelved, canned or otherwise not happening right now. This'll be the new pinned post, so I'll use this as a place to put everything I'm currently working on, and what I might do at some point.

Current:

The Crusader, a mix of Burns Double Six, PRS CE24 and Rickenbacker 4001, combined with influences from Hamer, Gibson and Fender. Note: this build is currently in the wood prep phase (stripping pieces of mahogany and sapele door for use in the guitar body and neck) as of 21/11/2024, and will likely take a year at my current progression rate.

Shelved:

Fender Marauder Build (yes, I still want to do this. The Crusader evolved from this, so it's still on the cards)

Casino Humbucker Mod

G6122 Country Gentleman '62 Style

Crest Replica (NEW!)

Telecaster Bass VI (kit body, custom neck)

Lennon Les Paul Jr. Replica (kitbash)

Höfner Violin Bass from scratch

Canned:

Lerxst 355 Replica

Acoustic Rickenbacker 360/12C63

Telecaster-Shaped Red Special (TSRS)

Plausible:

A non-specific doubleneck.

Resonator acoustic (kit build)

Completed:

Fretless Stratocaster

Cherry XII/Tele-Shaped Rickenbacker (TSR)

So, let's review top to bottom.

The Crusader:

I don't need to explain this much, I've already made a long-ass post about this. As said above, it's a mix of a Burns Double Six, PRS CE24 and Rickenbacker 4001 combined with influences from Hamer, Gibson and Fender.

The design is set in stone, aside from the exaggeration of the upper horn. You'd understand if there was a picture around here of the Burns. In the meantime, I'll get on with describing the others.

Fender Marauder Build:

Not the wackiest idea here, not by a long shot. As previously described, the Marauder is the culmination of Fender's offset guitars, featuring the switching of a Jaguar, the lead-rhythm circuit of a Jazzmaster, parts of the trem system of a Mustang, modified to fit with the pickguard and general aesthetics of a Jag. It even gave the Starcaster, the only semi-hollow by my reckoning that Fender still produces, it's headstock, something Fender afficionados call the "running shoe", at least, that's what my aunt calls it. Considering the contour gets filled in by paint, it's not hard to see her point.

The issue with doing this one is that barely anyone does Marauder vibrato plates. And to do this from scratch? Yeah, I need to find someone who would do the specific metal pieces I'd need, that being the Jag-style metal plate for the lead-rhythm circuit, the switch plate for the pickup switches, the extra long control plate, and that Marauder vibrato plate.

Yeah, if I ever find somewhere that does metal parts out of aluminium or something, I'm gonna get them to do the metal parts of this. Next item on the list!

Casino Humbucker Mod:

This one should be self-explanatory - take an Epiphone Casino, stick some P90-sized humbuckers in there. The only caveat is that they have to be hidden and mounted via dogear P90 covers, which isn't too much of an ask; this guy in Manchester does custom pickups, even hand-winds them. Certainly sounds appealing, may go for those. Next one!

G6122 Country Gentleman:

Yeah, uh... this one's shelved with good reason.

For context, the G6122, more commonly known as the Country Gentleman, is one of Gretsch's most famous guitar models, up there with the Duo-Jet, the Tennessean (now Tennessee Rose) and the one that Malcolm Young gutted and modded for his purposes as the rhythm guitarist of AC/DC. Gretsch list it as the "Jet" but I have no clue if that's a different model to the Duo-Jet or it's a variation, or whatever.

My aim with this would be to make as accurate a recreation of the Country Gent as I could with the documentation and information present on the internet. That means making it with 3-ply maple veneer top, back and sides, utilisng the thumbnail inlays on an ebony fingerboard, slotted for 24.6" (24.75" if you measure from the middle of the nut), with the same style of tuner, the little plaque on the headstock, the vinyl/leather pad on the back of the body covering a backplate access hatch, and all around trying to recreate this mad thing.

The only downside is the cost, because I'd need to source TV Jones Filter'Trons (not hard), maple veneer (harder), Grover Imperials or lookalikes (very hard!), and figure out how to make a veneer press, and how to shape the slightly arched top and back in a 3-ply veneer, not to mention the Bigsby, all the spare parts, the flip-up foam mutes that Jimmie Webster came up with (and also patented).

In short, the entire project is shelved. For the foreseeable future, until I can source all this stuff myself. Onto the next one!

Crest Replica:

This is a new one, inspired by an admittedly newfound appreciation for the Gibson Crest.

...oh right, I should explain what that is.

The Gibson Crest, as a name, refers to 2 different models, respectively produced around the late 1950s to early 1960s and between 1969 and 1972, with a one-off model of the latter style produced in 1983 for that year's Winter NAMM show. Said model is in the possession of guitar collector and YouTuber Trogly, who runs the eponymous Trogly's Guitar Show on YouTube. At first, I thought he was a bit of a knob, or at least a bit naïve, but as it turns out, his show's a good way to pass the time, and satiates the GAS (gear acquisition syndrome) that guitarists seem to get pretty damn often (as far as I know).

The former is estimated to have been produced a total of no more than six times, each custom orders put in by Gibson salesman-clinician and budding guitarist, Andy Nelson. Due to the nature of being entirely custom orders, no one knows the exact specs as they would obviously vary between examples as each guitarist would want something unique.

The body shape is assumed to be reminiscent of a similar model that Gibson were producing around this time: the L-5CT, that being a jazz archtop around the thickness of a Gibson Byrdland, but with a Venetian cutaway, a singular humbucker, a toggle switch next to the cutaway on "deluxe" models (models with 2 pickups as stock) and a trapeze tailpiece paired with a "floating" or freely moveable bridge.

One example of the original Crest, however, had a thinline single-cutaway body with a Florentine cutaway, as opposed to the Venetian cutaway of the L-5CT. It featured a carved spruce top, maple back and sides, with a 7-ply bound top, and a 3-ply bound back, as well as a pickguard made not of plastic, but of alternating dark and light plies of maple.

Now, that's interesting, because (and this is a personal side tangent because this guitar is so very unknown because of Google's overuse of SEO and keywords) the only other guitar Gibson produced with a wooden pickguard that I can think of is the Gibson The Les Paul, produced between 1976 and 1980, and that was only because the way Norlin-era Gison constructed these things, everything was either wooden or metal, with plastic being used as little and as sparingly as possible. The switch tip was rosewood, the binding for the body was rosewood, the veneer on the headstock was rosewood as opposed to holly, the knobs were rosewood, the pickup rings were rosewood. About the only thing I can find that wasn't wooden or metal is the inlays, which are actual abalone, and the binding for the headstock, which appears to be plastic, though this might not be the case.

Point is, the guitar was designed with one main principle in mind: "Can it be rosewood? Yes? Make it rosewood." That's why they now go for around £35k and rarely ever sell.

But anyway back to the Nelson Crest. Yes, that's what I'm calling it, it's better than calling it Crest 1 or Crest Custom. The example I'm drawing from here had bound f-holes, was stained cherry red like most of the ES models around the time, and had an HS pickup layout, with the usual number of volume and tone controls, and a toggle switch in the usual mounting place for an ES model guitar, that being near the treble-side f-hole.

According to the source I'm getting all this from (an article on the Gruhn's Guitars website), it also had a Switchmaster tone switch and was wired for stereo output. The floating bridge, as it was an archtop, was mounted on a rosewood "foot" which was inlaid with mother-of-pearl decorations. The bridge itself, meanwhile, was your bog standard late '50s, early '60s Gibson ABR-1 without retaining wire for the saddles, while the tailpiece has the diamond ornamentation seen on a Casino/ES-330 while also incorporating a shield and coat-of-arms motif.

This motif is continued on the absolutely gigantic headstock, which had individual Grover Imperial tuners, and an inlay featuring a coat of arms with three Moorish crescents on the shield. The fretboard is given the top-level treatment of the era, as is to be expected of a custom build, with 3-ply binding all-around, and Super 400 inlays up to the 17th fret, unsurprising for an archtop. The truss rod cover, meanwhile, is a sort of merger between the typical shape for a Gibson, and the art deco movement which was starting up in the early '60s, with it being a trapezoid interpretation of the standard Gibson bell shape.

This is one of the few images I can find of the original style of Crest, in all its resplendent late 1950s glory:

As you can see, it's basically everything I mentioned above, down to the cherry red stain.

So, that's the Nelson Crest, in all of its custom and stupidly insane glory. It'd be an interesting challenge to replicate that thing, but that's not the one I want to replicate, not by a long shot.

The Crest that I do want to replicate, however, is more reminiscent of a short-neck ES-330 or, to be more conforming to normality here, the Epiphone Casino. This has its own subsets, referred to as Crest Gold or Crest Silver, for the style of the hardware, those being either gold or "brushed silver". Assuming I was mad enough to build this, I would have to either source vintage-accurate parts or get someone to make them custom.

As you can probably guess, neither sound appealing! However, ignoring that, let's get down to business. What is the Gibson Crest, in this latter format?

The Gibson Crest, in the 1969-72 styling, is a double-cutaway ES-style guitar, as you can probably guess. Now, a double-cut ES-style isn't surprising, both CMI and Norlin loved making those. The surprise comes from the features, starting with the short neck, with the join at the 15th fret. Now, normally, that's weird for an ES-style, they all have long necks, with a meeting with the body at the 19th fret. Why does this one have such a short neck?

Well, it's because it's a hollow-bodied guitar, like the ES-330 or Casino. Then again, that is no excuse, considering the ES-330 and Casino both had long necks at this time, even if the Casino returned to the short neck, dragging the 330 along with it whether it liked it or not (kinda miffed about that, I like upper fret access, taking it away on an electric guitar like the Casino is just annoying).

But anyway, the Crest has this short neck, and that's where the similarities to most ES models end. The toggle switch is placed where the first iteration of the 347 would place the coil-split switch, that being the lower horn, and that's about it for known similarities, with the other features being more reminiscent of the original Nelson Crest rather than an ES-330 or similar guitar from Gibson/Norlin.

Let's start with the pickups, which are mini-humbuckers, most certainly an interesting choice; apparently, the reason they chose P90s as the pickups for the 330 and Casino is because it was a "budget" model, and not because they were fucking cowards. That last bit's not important, though, so we can come back to it at a different time.

As with the Nelson Crest, the Crest Gold and Silver have a floating bridge akin to an archtop, though I cannot for the life of me remember if they're an ABR-1 like the original, or a pre-compensated bridge. It doesn't much matter either way, because the fact of the matter is that this guitar has some nice details to it. A 7-ply bound top, with a 3-ply bound back separated by a decorative strip, and a large heel cap which has a strap button screwed into it.

The electronics are the interesting thing. As noted above, the toggle switch was placed in the location where an ES-347's coil-split switch went, which may even be where they got the idea for that, but as is also noted above, the thing has 2 mini-humbuckers with individual volume and tone controls, and treble-side adjustment screws that go through the pickguard.

None of this is nearly as impactful as what the thing was made of, though, because I have been keeping that bit entirely shtum for surprise factor. Y'see, the Crest was made almost exclusively out of Brazilian rosewood veneer, which, for a time, was entirely phased out of Gibson as a wood option, before even becoming a protected wood by the Washington Convention. Trade in it is restricted, even now, and that means it is incredibly hard to get hold of it, even in veneer form.

Does this mean I am shit out of luck? Well, if I wanted to recreate the thing using the exact same wood, yes. If, however, I wanted to recreate the guitar with just any species in the family Dalbergia, rather than specifically Dalbergia nigra (note: that's the scientific name for Brazilian rosewood), I am not, in fact, shit out of luck, as most other species of rosewood (any wood in the family Dalbergia) is not restricted, and has not been under restriction for almost 5 years.

Here's a photo from Gary's Classic Guitars in case you were having difficulty visualising this thing:

I'll be including images like these for projects that are either replicas, or I feel need the image in some way or another.

So, the rosewood veneer isn't a problem. Why is it still a shelved project, then? Well, the fact of the matter is that we live in a capitalist society. Things cost money, both for the item itself and the labour required to produce it. In short, wood is expensive, and I don't have the money yet. You may notice that "too expensive" is a running theme, even in cases where half of the expense is the guitar itself.

To avoid getting depressing, let's move on (finally)!

Tele Bass VI:

So, you may be wondering, "why's this one shelved?"

The thing is, it wasn't intentionally shelved. It's just that I can't really do anything with it without finishing the Crusader first. I need fret wire, wood for the neck, a nut, and a truss rod. Not that many things, but it's also what I need for the Crusader, and in the case of that, I at least have the wood for the neck, and a nut, but that still leaves me without a truss rod and fret wire (which I also need for my acoustic because it's got fret sprout, but that's neither here nor there).

I was intending a maple neck for it, anyway, and I need maple for the fretboard of the Crusader. Maybe I'll be able to sort that at some point. Moving on!

Lennon Les Paul Jr.:

This one's hard to call "shelved" seeing as I've done jack shit with it for 3 months at this point. Do I want to do more with it? Yes, absolutely. It's just finding the werewithall to actually go do more with it. Part of it's been the stress of organising my college stuff, but part of it's also been laziness and just not being able to decide if I want to do it or not.

I'm sure you don't want me to bore you with this one, and you saw a photo of a replica on the previous pinned post, so I'll move on.

Höfner 500/1 Violin Bass Replica:

This one is very much a doozy, but it's at least sensible.

Höfner's been going for over 100 years, that's an accepted fact, something that makes sense to everyone. Their "peak" of iconicity, however, came in the form of Sir James Paul McCartney, who has used Höfner's basses since 1961. Now, since then, they've done plenty of reissues of his (two) different basses, the 1961 with its close pickups, and the 1963 with the wide, separated pickups.

So which one would I go for? That is a good question, because it's really not what I should be asking. What I should be asking in its stead is "do I want to learn Actual Violin Lutherie to make this thing", because the whole "Violin Bass" is not just a selling point, it actually is constructed like a violin. It's a chambered hollow body, like the Country Gent, but it's the size of a violin, with the construction to match, including the use of flame maple (or, to use its more apt name, fiddleback maple) for the back and sides. The top, meanwhile, is solid carved spruce.

Don't believe me about the body size? Look at this sub-model Hofner do, based on the one you can see in Get Back:

As you can see, the body is tiny in comparison to the length of the neck, especially when you compare it to an actual violin:

Look at the proportions on this, then look at the 500/1. Doesn't the neck seem so ridiculously long now? Anyway, that's gonna take some going at, and thus it's shelved for when I feel confident enough to actually do it, or at least to take a partial stab at it.

Now then, we've seen the ideas that I might get round to but aren't being done now for one reason or another. Let's look at the ones that won't be done at all, for one reason or another.

Lerxst 355 Replica:

To the average reader, that name's going to look like gibberish. To be honest, I don't blame you, the way it's pronounced feels like you're speaking gibberish as well. "Lurks-st". It sounds better if you try and put on a Canadian accent. Not full tilt Canadian, with all the "eh"-ing and being super polite, just a hint of Toronto.

Anyway, what's Lerxst? Or, more accurately, who is Lerxst? Lerxst is the nickname of Aleksandar Živojinović, a man known professionally as Alex Lifeson. He was the guitarist for Rush for as long as Rush had existed, until their semi-functional retirement after the death of their drummer Neil Peart. The remaining two members, that being Alex and the bassist Geddy, have performed together since, including at the Taylor Hawkins tribute concert and at the 25th anniversary concert for South Park.

Now, Lerxst has used many a guitar over the past 50 years, from that ES-335 he used in the beginning, to the large amount of PRSes he used between 1990 and 2010. His most famous, however, is the one this one is talking about: a 1977 ES-355 built by Norlin-era Gibson. It has T-Top humbuckers (named as such due to the bobbins having a slightly raised part in the shape of a T), 22 frets on a voluted neck, a 7-ply bound top (you saw me refer to this in the Crest section; 7-ply bound top doesn't mean the top is 7 plies of veneer thick, it means the binding is 7 plies thick, and is bound around a 3-ply top of maple-poplar-maple) with a 3-ply bound back, a Maestro vibrola unit, an individual set of volume and tone controls per pickup, a simple 3-way toggle, and the key part - a varitone switch, with accompanying bypass mini-toggle for the "raw" tone unmodified by the varitone.

The output jack's also mounted to the top, but considering it's an ES model, I wouldn't think that too revolutionary. So, what's a Maestro vibrola unit when it's at home? For that, we need to explain vibrato units overall.

The history starts with Clayton "Doc" Kauffman, who devised the first ever patented vibrato system in the 1930s, fittingly named the Kauffman vibrola. This worked quite differently to vibratos that we know now, as the action of changing the pitch was much more subtle, and was done through moving the arm laterally, instead of pressing the arm down to the body. The sound was meant to mimic a slide guitar (as that's where Rickenbacker's guitars originally started), but there was an ever-so tiny but incredibly crucial detail: the tuning stability was terrible. Guitarists such as John Lennon decided to replace the Kauffman units on guitars they were installed on with other models, such as the Bigsby vibrola, the second patented vibrato unit, and the first to see widespread commercial success.

The Bigsby works in a much more conventional way, using the standard we know now: push down to lower pitch, release to return to normal. Supposedly, it has terrible stability in and of itself, but that is from players who ended up being like Floyd D. Rose, who overused the vibrato of the Bigsby, requiring that they retune. The Bigsby wasn't intended for that; instead, it was only intended to provide a slight "warble" effect to playing, what some would term a "shimmering" effect.

This, in effect, is what Gibson's vibratos were meant to provide, starting in 1961 with the Sideways vibrola. I have an opinion on these: they suck, both in function and form. They copy the function of the Kauffman nearly wholesale, and the large folded up arm in direct contact with the nitrocellulose finish(!), well. Yeah, no, not for me. The Maestro, however, looks and behaves so much better. It functions like a Bigsby would, excepting that it doesn't copy the mechanism wholesale like the Sideways does with the Kauffman.

To explain this, let's go on a small side tangent about a Bigsby vs. a Maestro vibrola, because I assure you, this is actually necessary to the guitar.

The Bigsby works by loosening tension using the leverage of the tremolo arm to cause a deepening of pitch. It's kept in place and returned to normal pitch by a spring which is compressed in the action of using the vibrato unit. The Maestro, however, uses direct leverage on a bent piece of metal to cause the same loosening of tension and lowering of pitch.

This means that the Maestro, while more primitive, is easier to work with when restringing due to the fact that the strings are threaded into the tailpiece, which is then bent, changing the angle and distance between the tuners and the ball-end of the string, thus affecting the tension. The metal returning to its standard shape (because the force required to permanently change its shape has not been applied) is what returns the guitar to standard and proper tension (as long as it's been set up correctly).

The Bigsby, meanwhile, has a specific way of threading the string through the unit before sending it down the neck to the tuner and the nut. When restringing a Bigsby, there is a massive rigamarole if you don't have a Vibramate spoiler installed. You have to thread the string down from the bridge, under the tensioning bar, then up over the string bar, around it, and slot the ball-end on the tiny little post on the underside, so it can function correctly when the arm is depressed. I honestly wish I was joking about this. I have restrung a Bigsby once, and once was all the experience I needed. Never again. I heavily advocate for people to damn well use a Vibramate spoiler on their units, even if it's just because of a personal gripe.

Back to the point where we were, about... 8 or 9 paragraphs ago, the 355 generally came stock with a Maestro vibrola in 1977, so it's no surprise that Lerxst got it on his. It's even featured on the reissues from 2008:

These are the same reissues that have a Fucked Up volute on the neck that's approximately halfway between the nut and the first fret, as opposed to in line with the nut. If I were to recreate this, I'd at least fix that.

So, it all seems possible, right? Then why is the build canned? Generally, it's the fact of the varitone, specifically the chokes. How, the literal fuck, do those things work. If I ever figure how they work, then maybe this will move from the can to the shelf. But right now? Canned. Completely and utterly.

Next, please!

Acoustic Rickenbacker 360/12c63:

This requires much less in the way of explaining. The Rickenbacker 360 is a famous guitar by most stretches of the imagination, soldiered on by its incarnations as the 360/12, used by George Harrison, the 370/12 used by Roger McGuinn, and the 330/12, used by innumerable amounts of famous guitarists like Peter Buck, Johnny Marr, Pete Townshend and The Edge.

But y'see, those are electric guitars. They've got magnetic pickups and all sorts of gubbins in there. My idea with this was to see if you could just... get rid of all that, construct a 360/12 in the double-bound style without that central block and all the electronics, and be left with an acoustic Ricky 12, complete with the compacted headstock and a piezo if I felt like it.

Knowing what I do about how Rickenbacker's shit is made, though, that would require making the body in the form of back, then sides, glued with bracing and then the top, with two sound holes. I'd then have to find somewhere to fit a pre-amp, and make sure that it's the usual thickness before then setting the neck in, which itself would be a 5-piece construction of maple with walnut center stripe and headstock wings, adding the truss rod(s) and the fretboard, before finally assembling the metal bits onto it.

Doesn't sound too hard, sure, but if you look at this example of what the Rickenbacker 360/12C63 looks like...

Yes, that is the entire thickness of the body. It's approximately an inch thick and not all that acoustically resonant. It'd be good as an experiment, but considering I'm debating over getting a standard acoustic 12 at some point, it's canned for that reason. Onto the last canned build, and the last build that's overall a hypothetical.

Telecaster-Shaped Red Special (TSRS):

I laid this whole thing out in a Notepad file back in May or June, as we were finishing up the Cherry XII, as a proposal of "maybe this can be the next build," but I scrapped it a month or so later because I fell into a trap I've fallen into so often it might as well be my home: I wanted to recreate a specific thing, without remembering the way that guitar is constructed, and really, what that guitar is built out of.

You see, the Red Special, built between 1963 and 1964 by Brian May and his father Harold, is a very interesting case of guitar design, in that it was designed to feedback in an appealing way. The internal cavities were actually carved out in a very specific way in order to allow for this, and most copies of the thing do the feedback, but struggle to do it exactly like his. He also has his own brand of guitars mainly made up of official replicas fitted with either a standard Strat-style trem system, that being the BMG Special, or the more accurate design mimicking the original's trem arm made of a knitting needle and a bicycle saddlebag holder.

Now, having only a Telecaster body, I couldn't recreate most of this. I mean, where am I going to put all this stuff? And the neck couldn't be slotted for 24" scale length. It just wouldn't have worked. 25", like the Harley Benton copy, maybe, but then I'd have to modify the body to allow for a 25" scale, and then rout out chambers for controls, the cavity, and the trem system's springs.

Looking back on it, I think I had a grand idea, but had bitten way too much off to just go and do it. If I ever do get it in my head to recreate the Red Special, even without a treble boost circuit or a treble boost pedal, I think I'm not going to try and start from a jump-off point, and just go at it from scratch.

Now then, we've gone through those that've been canned, let's look at the ones that aren't shelved or canned, but aren't currently in play. I denoted them as plausible above, but I might go at them at a slower rate than the Shelved builds.

Non-Specific Doubleneck:

When I say "non-specific" doubleneck, I don't mean "bland-name EDS-1275" like a Chibson or a Gear4Music or Harley Benton or anything like that.

For one, the EDS-1275 isn't the only doubleneck out there, nor is it the only doubleneck Gibson ever made. Rickenbacker made a 12/6 doubleneck 360, fittingly named the 362, as well as the 4080 doubleneck which was a bass on top and your option of a 480/6 or 480/12 on the bottom. That latter one was most famously used by Geddy Lee on Xanadu, as well as the former on A Passage to Bangkok (a song about smoking weed, if you didn't know).

Here's him with the former, in a surprising tuxedo (white with black plastics) finish:

And here's him using a Fireglo 4080/12 back in 2015 for the purpose of playing Xanadu:

Anyway, that's a Rickenbacker doubleneck, but they're not the only ones to do this stuff. Fender also make doublenecks. Well, "make" is a strong term. This is the only one I know about:

This is the craziest doubleneck I've ever seen. It's a basic 12/6, but actually No It's Not. You've got an Electric XII on top, which is the only "designed to be 12 string" guitar Fender made pre-CBS, and the Marauder on the bottom, with the vibrato merged into the pickguard, and the 5 pickup switches and the kill switch and everything that makes it the Marauder.

If I ever decide "okay, let's make a doubleneck," and then actually go through with it, I think I'm gonna take some design cues from all of these. I'll probably also chamber it so it's not uncomfortable to play for long periods of time, and just hide the chambering under the pickguards because that's a thing that could work.

Now, the other plausible idea.

Resonator Acoustic (kit build):

You know how I said kit builds were out of the question? Yeah, I didn't believe me either.

Resonators are a really cool relic of the pre-amplification era. Like, they're the step between electric guitars with magnetic pickups, and the acoustic guitars we all know, minus the piezoelectric undersaddle pickup. They work by passing the strings over a bridge mounted to a resonator cone, and when a string is plucked, strummed or otherwise makes a sound, the cone takes the vibrations and amplifies them entirely acoustically. They were originally made by a couple companies before Rickenbacker came along and invented the horseshoe pcikup and, by extension, the electric guitar.

Those companies were National String Instrument Corporation, and Dobro Manufacturing Company. The former was founded in 1927 by George Beauchamp (anyone who knows the history of Rickenbacker will know that name), and John Dopyera, a Slovak immigrant who came to America with his brothers and father in 1908, sensing that war would soon break out in Europe.

Smart move, fellas!

Anyway, Dopyera and his brothers, Rudy and Emil, soon left National to form their own comapny, Dobro. Dobro is a name with double meaning, in this case - while it's an abbreviation of Dopyera Brothers, it's also the word for "good" in a lot of Slavic languages, leading to the slogan "Dobro means good in any language!"

Due to Beauchamp's work with Rickenbacker, though, resonators fell off the radar in terms of popularity. After all, they'd figured out a form of amplification that didn't use lots of metal, so resonators ended up failing as a product. Or at least, they did for a while. Nowadays, you can find many brands producing resonators, usually for the specific tone resonators provide: rich and metallic. They're seen nowadays as bluegrass and country music instruments, but you can see people like Mark Knopfler using them for songs as well.

Now, this isn't referring to a specific kit build. I found one that's kinda an ES-style thing, with 21 frets, so that's probably the one I'd go for, not least because I like upper fret access, but it's all dependent on if I still want to build a resonator acoustic after the current build, or if I'd want to do something else entirely. It's an odd thing, my mind.

So, what now? The completed section? Eh, not exactly.

I would do a small piece on the Fretless and the Cherry XII each, I really would - God alone knows I love rambling about these builds enough, this post is testament to that on its own - but I don't need to. I made a full post about the creation of the Fretless, and made multiple posts in the course of building the Cherry XII, starting back in January and leading up to June.

But other than that? That's all there is to this post. There's nothing more I can really do in terms of explaining my ideas. I may have more ideas in between now and whenever I revisit this concept, I may reshuffle things, shelve one idea or can another. But as for everything else? It's in flux, constantly uncertain unitl we reach and observe it. I can't really say what I'll want to build after the Crusader, because I haven't finished the Crusader. Hell, I've barely started it.

Hope you enjoyed reading this. If something needs explaining further for one reason or another, tell me, and I'll try and explain it to the best of my ability.

#guitar building #lutherie #fender guitars #rickenbacker #gibson guitars #takosader's ramblings - this time into the double digits!!!#holy shit we did it #10th in the series baybeeeeeeee #anyway there's swearing in here...#somewhere i think #too many things to put in the tags so i'll hit the highlights and do the small postscripts #one - yes i'm aware that the chokes in a varitone system are capacitors and inductors #the issue's not the construction it's the values and the tones; what's the point in making a varitone if it doesn't function like it should #two - i know trogly's crest is a different variation on a normal crest #i watched his video while writing that section and clocked it because of the full hbs and the longer neck #otherwise it's exactly the same as the late '60s crest #three - if some of these feel like they came out of left field it's likely because they did #a lot of the ideas were listed on day 1 of writing this but others got added while i was writing mainly because i wanted this to be complet #comprehensiveness was another aim. yeah - as if i'll ever wring comprehensive and understandable documentation out of my head #wow this is a long post #wasn't expecting the tags to be so big either #guitar #hofner doesn't have a tag on here #but i'll put it down here for completeness

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