#Sam Andrews Band

[thislovintime]

Peter Tork with the Sam Andrew Band (Snookie Flowers, Evette Williams, Sam Andrew, Bill Laymon, and Sharon White) in Laytonville, California on September 6, 1993. Photo 1 by J.C. Juanniss; all photos courtesy of billlaymon dot net, and samandrew dot com.

(Photo 4) “Peter Tork and Bill Laymon, and Snooky’s red hat, with The Sam Andrew Band at Wavy Gravy’s Camp Winnarainbow.” - samandrew dot com

“Almost without exception, every show I do, I get that this is what I’m here for.” - Peter Tork, The Daily Journal, October 21, 2009

[denimbex1986]

'Andrew Scott’s success did not arrive overnight. His has been a slow and steady ascent from supporting player to leading man. But his status is now assured: at 47, the Irishman is among the most talented and prominent actors of his generation, on stage and screen.

Dublin-born and raised, Scott first took drama classes at the suggestion of his mother, an art teacher, to try to overcome a childhood lisp. At 17 he won his first part in a film, Korea (1995), about an Irish boy who finds himself fighting in the Korean War. By 21, he was winning awards for his performance in Eugene O’Neill’s Long Day’s Journey into Night, for director Karel Reisz, no less, at The Gate. He arrived in London, where he continues to live, at the end of the 1990s, and worked regularly, with smaller parts in bigger TV shows (Band of Brothers, Longitude) and bigger parts in smaller plays (A Girl in a Car With a Man, Dying City). By the mid-2000s he was well established, especially in the theatre. In 2006, on Broadway, he was Julianne Moore’s lover, and Bill Nighy’s son, in David Hare’s Iraq War drama, The Vertical Hour, directed by Sam Mendes. In 2009, he was Ben Whishaw’s betrayed boyfriend in Mike Bartlett’s Cock, at the Royal Court. He won excellent notices for these and other performances, but he was not yet a star. If you knew, you knew. If you didn’t know, you didn’t know. Most of us didn’t know; not yet.

That changed in 2010 when, at the age of 33, he played Jim Moriarty, arch nemesis of Benedict Cumberbatch’s egocentric detective, in the BBC’s smash hit Sherlock. The appearance many remember best is his incendiary debut, in an episode called “The Great Game”. When first we meet him, Moriarty is disguised as a creepy IT geek, a human flinch with an ingratiating smile. It’s an act so convincing that even Sherlock doesn’t catch on. Next time we see him, he’s a dapper psychotic in a Westwood suit, with an uncannily pitched singsong delivery and an air of casual menace that flips, suddenly, into rage so consuming he’s close to tears. Such was the relish with which Scott played the villain — he won a Bafta for it — that he risked the black hat becoming stuck to his head. In Spectre (2015), the fourth of Daniel Craig’s Bond movies, and the second directed by Sam Mendes, Scott played Max Denbigh, or C, a smug Whitehall mandarin who wants to merge MI5 and MI6, sacrilegiously replacing the 00 agents with drones. (If only.)

There were other decent roles in movies and TV series, as well as substantial achievements on stage, and he might have carried on in this way for who knows how long, even for his whole career, as a fêted stage performer who never quite breaks through as a leading man on screen.

But Scott had more to offer than flashy baddies and scene-stealing cameos. His Hamlet, at The Almeida in London, in 2017, was rapturously received. I’ve seen it only on YouTube, but even watching on that degraded format, you can appreciate the fuss. Scott is magnetic: funny, compelling, and so adept with the language that, while you never forget he’s speaking some of the most profound and beautiful verse ever written, it feels as conversational as pub chat.

Another banner year was 2019: a memorable cameo in 1917 (Mendes again) as a laconic English lieutenant; an Emmy nomination for his performance in an episode of Black Mirror; and the matinée idol in Noel Coward’s Present Laughter at London’s Old Vic, for which he won the Olivier for Best Actor, the most prestigious award in British theatre.

The second series of Phoebe Waller-Bridge’s phenomenal Fleabag, also in 2019, proved to a wider public what theatregoers already knew: Scott could play the mainstream romantic lead, and then some. His character was unnamed. The credits read, simply, “The Priest”. But social media and the newspapers interpolated an adjective and Scott became The Hot Priest, Fleabag’s unlucky-in-love interest, a heavy-drinking heartbreaker in a winningly spiffy cassock, and an internet sensation.

Fleabag began as a spiky dramedy about a traumatised young woman. Scott’s storyline saw it develop into a bittersweet rom-com, brimming with compassion for its two clever, funny, horny, lonely, awkward, baggage-carrying heroes, lovers who can’t get together because, for all the snogging in the confessional, one of them is already taken, in this case by God.

It was the best and brightest British comedy of the 2010s, and Scott’s fizzing chemistry with Waller-Bridge had much to do with that. The ending, when she confesses her feelings at a bus stop, is already a classic. “I love you,” she tells him. “It’ll pass,” he says.

Over the past 12 months, in particular, Scott has piled triumph on top of victory, and his star has risen still further. At the National, last year, he executed a coup de théâtre in Vanya, for which he was again nominated for an Olivier. (He lost out to an old Sherlock sparring partner, Mark Gatiss, for his superb turn in The Motive and the Cue, about the making of an earlier Hamlet.) For Simon Stephens’s reworking of Chekhov’s play, Scott was the only actor on stage. On a sparsely furnished set, in modern dress — actually his own clothes: a turquoise short sleeve shirt, pleated chinos, Reebok Classics and a thin gold chain — and with only very slight modulations of his voice and movements, he successfully embodied eight separate people including an ageing professor and his glamorous young wife; an alcoholic doctor and the woman who loves him; and Vanya himself, the hangdog estate manager. He argued with himself, flirted with himself and even, in one indelible moment, had it off with himself.

It’s the kind of thing that could have been indulgent showboating, a drama-school exercise taken too far, more fun for the performer than the audience. But Scott carried it off with brio. In the simplest terms, he can play two people wrestling over a bottle of vodka in the middle of the night — and make you forget that there’s only one of him, and he’s an Irish actor, not a provincial Russian(s). An astonishing feat.

For his next trick: All of Us Strangers, among the very best films released in 2023. Writer-director Andrew Haigh’s ghost story is about Adam (Scott), a lonely writer, isolated in a Ballardian west-London high-rise, who returns to his suburban childhood home to find that his parents — killed in a car crash when he was 11 — are still living there, apparently unaltered since 1987. Meanwhile, Adam begins a tentative romance with a neighbour, Henry (Paul Mescal), a younger man, also lonely, also vulnerable, also cut off from family and friends.

Tender, lyrical, sentimental, sad, strange, and ultimately quite devastating, All of Us Strangers was another potential artistic banana skin. At one point, Scott’s character climbs into bed with his parents and lies between them, as a child might, seeking comfort. In less accomplished hands, this sort of thing could have been exasperating and embarrassing. But Scott’s performance grounds the film. He is exceptionally moving in it. He was nominated for a Golden Globe for Best Actor, losing to his fellow Irishman, Cillian Murphy, for Oppenheimer. Earlier this year, he made history as the first person to receive Critics Circle awards in the same year for Best Actor in a film (All of Us Strangers) and a play (Vanya).

Finally, last month, the title role in Ripley, a new spin on the lurid Patricia Highsmith novels. That show, which unspools over eight episodes on Netflix, was a long time coming. Announced in 2019, it was filmed during the pandemic, at locations across Italy and in New York. Scott is in almost every scene and delivers an immensely subtle and nuanced portrayal of Highsmith’s identity thief, a character previously played by actors including Alain Delon, Dennis Hopper, and Matt Damon in the famous Anthony Minghella film The Talented Mr Ripley, from 1999.

The fragile almost-charm that makes Tom Ripley such an enduring antihero is there in Scott’s portrayal, but so is the creepiness, the isolation, the fear and desperation. His Ripley can turn on a smile, but it quickly curdles. Filmed in high-contrast black and white, Ripley is a sombre, chilly work by design, but doggedly compelling, and not without a mordant wit. Again, critics swooned.

So the actor is on a hot streak. Later this year he’ll appear in Back in Action, a Hollywood spy caper, alongside Cameron Diaz and Jamie Foxx, above-the-title stars with dazzling, wide-screen smiles. But could they play Chekhov single-handed? They’ll need to be on their toes.

Before our shoot and subsequent interview, in April, I had met Scott briefly on two previous occasions, both times at fancy dinners for fashion brands. Compact, stylish, dynamic, he is impishly witty and charismatic: good in a room. Also, obliging: the second time I met him, he took my phone and spoke into it in his most diabolical Moriarty voice for a wickedly funny voice message to my son, a Sherlock fan.

At the Esquire shoot, on an overcast day in south London, Scott again demonstrated his good sportiness: dancing in the drizzle in a Gucci suit; generously sharing his moment in the spotlight with an unexpected co-star, a local cat who sauntered on to the set and decided to stick around for the close-ups; and entertaining the crew — and hangers-on, including me — with rude jokes. At one point, while for some reason discussing the contents of our respective fridges, I asked him where he kept his tomatoes. “Easy, Tiger,” he said.

At lunch the following day, upstairs at Quo Vadis, the restaurant and members’ club in Soho (my suggestion), the actor arrived promptly, settled himself on a banquette, and we got straight to business. It’s standard practice now for interviews published in the Q&A format to include a disclaimer, in the American style: “This conversation has been edited for length and clarity.” (Well, duh.) In this case, we talked for close to three hours. Inevitably, paper costs being what they are, and Esquire readers having busy lives, some of that verbiage has ended up on the cutting-room floor. But not much! I’ve tried to let it flow as much as possible, and to keep the spirit of the thing, in which we toggled, like all good performances, between light and dark, comedy and tragedy.

In early March, a month before this interview took place, Scott and his family suffered a terrible and unexpected loss: his mother, Nora, suddenly died. He went home to Dublin to be with his dad, Jim, his sisters, Sarah and Hannah, and their family and friends.

As an interviewee and, I suspect, as a person, Scott is thoughtful, convivial and solicitous: he doesn’t just answer questions, he also asks them. He is not above the occasional forearm squeeze when he wants to emphasise a point. He seems to possess a sharp emotional intelligence. Perhaps one should expect empathy in a great actor, but in him it seems particularly marked.

Before we began talking, there was some studying of the menu. Scott wondered, since I eat often at Quo Vadis, if I had any recommendations. I told him I had my eye on the pie: chicken, ham and leek. “Why would you not have the pie?” wondered Scott. A good question.

So, how was your morning? Where have you come from?

This morning I’ve been at the gym, Alex.

Are you working out for a specific reason or are you just a healthy man?

Just trying to keep it going. Exercise is so helpful to me. I don’t know if you know, but my mum died four weeks ago.

I did know, and I’m so sorry.

Thank you. So, yeah. Just trying to keep it going. They say your body feels it as much as your mind.

The grief?

Yeah, the grief. My friend said a brilliant thing last night. She’s been through grief. She said, if you think of it like weights, the weight of it doesn’t decrease, but your ability to lift the weights does. So, if you go to the gym and you’re completely unpractised you won’t be able to lift the weight. But the more you get used to it, the more you can lift. There’s a slight analogy to grief. I’m just learning about it.

Have you been through grief before?

Not really. A little bit, but not to this extent. And it’s a strange thing because, obviously, I’m in the middle of having to talk a lot [promoting Ripley] and making that decision of whether to talk about it or whether not to talk about it. I’m finding myself talking about it, because it’s what’s going on, and without giving away too much of it she was such an important figure. It feels right. It’s such a natural thing.

Is it helpful to talk about it?

I think it has to be. I feel very lucky with my job, in the sense that, all those more complex, difficult feelings, that’s what you have to do in a rehearsal room; you have to explore these things. So strange: a lot of the recent work that I’ve done has been exploring grief. With Vanya, and All of Us Strangers. So it’s odd to be experiencing it this time for real.

I wasn’t planning on making that the focal point of this piece, so it’s up to you how much you feel comfortable talking about it.

I appreciate that.

Was it unexpected? Did it happen out of the blue?

Yes. She was very alive four weeks ago. She just deteriorated very quickly. She got pneumonia and she just… it was all over within 24 hours.

What sort of person was she?

She was the most enormously fun person that you could possibly imagine. Insanely fun and very, very creative. She’s the person who sort of introduced me to acting and art. She taught me to draw and paint when I was really young —that’s another big passion of mine, drawing and painting. She was amazing with all of us. My sister Sarah is very talented in sport, she’s now a sports coach. And my sister Hannah was very artistic and she’s an actor now. So, she was really good at supporting us throughout all our different interests. What I say is that we’ve been left a huge fortune by her. Not financially, but an emotional fortune, if you know what I mean? I feel that really strongly. And once this horrible shock is over, I just have to figure out how I’m going to spend it. Because I think when someone else is alive and they’ve got amazing attributes, they look after those attributes. And then when they die, particularly if they are your parent, you feel like you want to inhabit them, these incredible enthusiasts for life. She just made connections with people very easily. I feel enormously grateful to have had her. Have you had much grief in your life?

My mother died, during Covid. She had been ill for a long time, so it was a very different experience to yours. But I think they are all different experiences, for each of us. I don’t know if that loss would be in any way analogous to yours. But like you, I love art and books and music, and that’s all from her. Last night, I watched a rom-com with my daughter, who is 14. And I don’t know if I would like rom-coms so much, if it wasn’t for my mum.

Love a rom-com! What did you watch?

Annie Hall.

Did she like it, your daughter?

She absolutely loved it. She was properly laughing.

Oh, that’s great!

And she’s a tough one to impress. But she loved it, and my mum loved Woody Allen. My mum can’t recommend Woody Allen to my daughter now, but I can, and that’s come down from her. So it goes on.

That’s what I mean. Your spirit doesn’t die. And I’m sure you went to bed going, “Yes!”

I did! It was a lovely evening, it really was. Tonight we’ll watch something else.

Are you going to watch another Woody Allen? Which one are you going to watch?

I thought maybe we’d watch Manhattan? More Diane Keaton.

Or Hannah and Her Sisters? That’s a good one. Insanely good. Yeah, it’s amazing that legacy, what you’re left with. My mum was so good at connecting with people. She was not very good at small talk. She was quite socially bold. She would say things to people. If she thought you looked well, she’d tell you. She’d always come home with some story about some pot thrower she met at some sort of craft fair. Being socially bold, there’s a sort of kindness in it. When someone says something surprising, it’s completely delightful. My mother sent me something when I was going through a bad time in my twenties. It was just a little card. It said, “The greatest failure is not to delight.” What a beautiful quote. And she was just delighted by so many things, and she was also delightful. And like her, I really love people. I really get a kick out of people.

I can tell.

But there’s a kind of thing, if you become recognisable, people become the enemy? And it’s something I have to try and weigh up a little bit. Because people are my favourite thing about the world. I think it’s part of my nature. My dad is pretty sociable too. And so it’s weighing that up, how you keep that going. Because certain parts of that are out of your control: people treat you slightly differently. But this phase, the past four weeks, it still feels so new. Just thinking about legacy and kindness and love and the finite-ness of life. All that stuff.

Big stuff.

Yeah, it’s big stuff. And it’s very interesting, talking about grief. Because it’s not all just low-energy sadness. There’s something galvanising about it as well. I don’t know if you found that, too?

One of the things about someone else dying is it makes you feel alive.

Yes, exactly. Even though we have no choice, it does that. It’s that amazing thing, the year of magical thinking.

[Waiter approaches. Are we ready to order?]

We are.

I think so. Are we two pie guys?

We’re two pie guys!

We’re pretty fly for pie guys.

Are we salad guys? Tomato, fennel and cucumber salad?

Yeah.

And chips, maybe?

Listen, you only live once.

So, the year of magical thinking…

You know, when you’re walking along, are you allowed to have a surge of joy? Or are you allowed to just stay home and… It’s extraordinary when it gets you.

Like a wave of emotion?

I had one on the rowing machine today. I’m glad of it, though.

That was sadness.

Just loss, yeah. Just loss.

So, there’s two ways to do this. You can choose. We can do the usual interview where we start at the beginning with your childhood and go all the way through to now. That’s totally fine. Or, I can throw more random questions at you, and see where that takes us?

Random!

Shall we random it?

Let’s random it.

OK. That means I might sometimes read questions off this piece of paper.

Reading takes just slightly away from the randomness of it, Alex…

That is a very good point. You are quite right. But I don’t read them out in order! They’re just prompts.

[Sardonically] Oh, I see!

Talk me through what you’re wearing.

Oh, this is so old. What does it say?

[I peer at the label on the inside of his shirt collar. It says Hartford.]

What colour would you call that?

I’d call it a bit of a duck egg, Alex, would you?

I’d go with that. And it’s like a…

Like a Henley?

And these [pointing to trousers]?

Mr P trousers. And a pair of old Nikes.

And sports socks.

When I am off duty, I think I dress slightly like an 11-year-old. You know, when you’re just plodding the streets, I wear, like, a hoodie and trainers.

And you have a chain round your neck.

This is a chain that I bought in New York. No, maybe I bought it in Italy. It was a replacement chain. I’ve worn a chain for years. Sometimes I like to have it as a reminder that I’m not working. When you’re in character, you take it off. Because when you’re in a show or a play, they sort of own you. They own your hair.

They own your hair!

Or sometimes you have to walk around with, like, a stupid moustache. Or, worse, chops. Actors fucking hate that. Like, nobody suits that, I don’t think. Right? I’m trying to think of someone who suits that.

Daniel Day Lewis, maybe? He can carry it off.

He’s got the chops for chops!

What’s something about you that you think is typically Irish?

It goes back to that people thing. When I go home to Ireland, I’m aware that people talk to each other a lot more. And I think there’s a sense of humour that Irish people have that I love. And I suppose a softness, too, that I love. Those are the positive things. And then the guilt and the shame is the negative stuff.

Catholic guilt?

Catholic guilt. I feel very strongly, though, that I’ve worked to emancipate myself from it. There’s a certain unthinking-ness to guilt. Your first thought, always: “What have I done wrong? It’s gotta be me.” That doesn’t benefit anyone. And with shame, I don’t feel shame anymore. I think I probably did before. But in a way, it’s an irrelevant thing for me to talk about now. The thing I prefer to talk about is how great it is not to have that anymore. Rather than how horrible it was. The thing I feel enthusiastic about is how there are so many beautiful and different ways to live a life that aren’t centred on the very strict, Catholic, cultural idea of what a good life might be. Namely, 2.4 children and certain ideas and a very specific life.

Are there positives to be taken away from a Catholic education?

The rituals around grief, I think, are really beautiful, having gone through what I’ve just been going through. And the community that you get in Catholicism. Because that’s what Catholicism is about, in some ways: devotion to your community. The amount of love and support you get is to be admired. It’s the organisation that has been the problem, not the values. Random question number 16!

When’s the last time you were horrifically drunk?

Good question! I was in New York doing press recently for Ripley. And I met Paul Mescal. He had a negroni waiting for me. Love a negroni. And then we went dancing.

Are you a good dancer?

I’m pretty good, freestyle. Slow on choreography but once I get it, I’m OK. I love dancing.

I love dancing.

Do you really? Do you do, like, choreographed dancing as well?

No! But I’m a good dancer.

Do you have moves?

Oh, I have moves.

Ha! I love that!

It’s so freeing, so liberating.

It totally is.

And it’s sexy and fun.

Exactly! It’ll get you a kiss at the end of the night.

It’s sort of showing off, too, isn’t it?

But it’s also completely communal. It connects you with people. Also, you can learn so much about someone by watching how they connect with people on a dance floor. How much of communication do they say is non-verbal? An enormous amount.

If you didn’t live in London, where would you most like to live?

I suppose Dublin. I do live a wee bit in Dublin. But one of the things I feel really grateful for is that I have sort of been able to live all over the place. I lived in Italy for a year, during the pandemic.

You were making Ripley?

Yeah, we were all over. Rome, Venice, Capri, Naples… A bit of New York. I’d love to spend more time in New York. I was very lucky recently to have my picture taken by Annie Leibovitz. We were outside the Chelsea Hotel, and this woman came up. [Thick Noo Yawk accent, shouting]: “Hey, Annie! Why don’t you take a picture of this dumpster? It’s been outside my block for two months! Take a picture of that!” There’s something about that New York-iness that I love. It still has such romance for me.

How old do you feel?

Really young. I don’t have an exact age for you. Thirties?

Some people feel in touch with their childhood selves, or almost unchanged from adolescence. Others seem to have been born an adult.

That’s really true. I think of playgrounds for children: you’re actively encouraged to play, as a kid. “Go out and play!” And I hate that at some point, maybe in your mid-twenties, someone goes, “Now, don’t play! Now, know everything. Now, turn on the television, acquire a mortgage and tell people what you know.” I have to play for a living. It’s so important, not just in your job, but in life. It’s a great pleasure of life, if you can hold on to that. Talking about my mum again, she had an amazing sense of fun.

She was a funny person? She made people laugh?

Absolutely.

That’s important, isn’t it?

It’s really important. I think having a sense of humour is one of the most important things in life. It’s such a tool. And you can develop it. My family were all funny. Laughter was a currency in our family. Humour is a magic weapon. It separates us from the other species. Like, I love my dog. I think dogs are amazing. And he can have fun, but he’s not able to go, “This is fucking ridiculous.” He’s not able to do that! So it’s a real signifier of your humanity, in some ways.

Also, being a funny person, or someone who can connect with people through humour, that’s how we make friends.

I think actors make really good friends. Because you’re in the empathy game. And because you’re making the decision to go into an industry that is really tough, you need to have your priorities straight: “I know this is tough, I know the chances of me succeeding in it are slim, but I’m going to go in anyway.” It shows a sort of self-possession that I think is a wonderful thing to have in a friend. Also, actors are just funny. And a lot of them are sexy!

Funny and sexy: good combination.

I know! Not that you want all your friends to be sexy, that’s not how you should choose your friends.

Oh, I don’t know. It’s not the worst idea.

It’s not. But I think it’s something to do with empathy. And it’s a troupe mentality as well. You’re good in groups.

It’s a gang.

I love a gang. Do you like a gang?

I do. Magazines are like that. A good magazine is a team, a great magazine is a gang. And the thing we produce is only part of it: you put it out there and people make of it what they will. The process of making it is the thing, for me.

Oh, my God. That’s something I feel more and more. Process is as important as product. I really believe that. You can have an extraordinary product, but if it was an absolute nightmare to make then, ultimately, that’s what you’re going to remember about it. You make good things that are successful that everybody loves? That’s lovely. But also, you make stuff that people don’t respond to. So, if you have a good time in the process, and the attempt is a valiant one, and there’s a good atmosphere, if it’s kind and fun, that’s the stuff you hold on to. One of the reasons I love the theatre is you don’t have to see the product. You just do it, and then it’s done. It’s an art form that is ephemeral. There’s a big liberation, too, in discovering you don’t have to watch any of your films if you don’t want to.

Have you watched Ripley?

I watched Ripley once.

And?

It’s a lot of me in it! Jesus!

Is that a problem?

I find it hard to watch myself. I do. There’s something quite stressful about looking at yourself. Have you ever heard yourself on someone’s answering machine? Horrific! You’re like, “Oh, my God, that can’t be me. How do they let me out in the day?” It’s like that, and then it’s your big, stupid face as well. Mostly, I have a feeling of overwhelming embarrassment.

On a cinema screen, I can’t even imagine. Your face the size of a house!

The size of a house, and there’s 400 people watching you.

Nature did not intend humans to ever experience this.

That is so true. It’s not natural.

I mean, even mirrors are to be avoided.

Maybe looking in the sea is the only natural way?

Well, Narcissus!

Yeah, true. That didn’t turn out well. I’d love for that to be a tagline for a movie, though: “Nature did not intend humans to ever experience this…”

But equally, nature didn’t intend the rest of us to gaze upon you in quite that way. We sit in the dark, staring up worshipfully at this giant image of you projected on a screen for hours. Is that healthy?

Without talking about the purity of theatre again, when you’re in the theatre, you, as the audience, see someone walking on the stage, and technically you could go up there, too. There’s not that remove. It’s live. There’s a real intimacy. That’s why I feel it’s the real actor’s medium. Your job is to create an atmosphere. I always find it insanely moving, even still, that adults go into the dark and say, “I know this is fake, but I don’t care: tell me a story.” And they gasp, and they cry, or they’re rolling around the aisles laughing. It’s so extraordinary, so wonderful that it exists. I really do believe in the arts as a human need. I believe in it so deeply. During the pandemic, our first question to each other was, “What are you watching? What book are you reading?” Just to get through it, to survive. It’s not just some sort of frivolous thing. It’s a necessity. As human beings, we tell stories. Expert storytellers are really vital. No, it’s not brain surgery. But, “Hearts starve as well as bodies. Give us bread, but give us roses.” I love that quote.

Tell me about playing Hamlet. Was it what you expected it would be?

It’s extraordinary. Loads of different reasons why. From an acting point of view, there’s no part of you that isn’t being used. So you have to, first of all, have enormous physical stamina, because it’s nearly four hours long. Our version was three hours, 50 minutes. And you have to be a comedian, you have to be a soldier, you have to be a prince, you have to be the romantic hero, you have to be the sorrowful son, you have to understand the rhythm of the language, you have to be able to hit the back of the auditorium — there are just so many things about it that require all those muscles to be exercised. You know, it’s so funny that we’re talking about this today. Because at the beginning of Hamlet, it’s two months since his dad died. His mother has already remarried, to his uncle! What are they doing? I mean the idea that next month my dad might marry someone else is so extraordinary! So, Hamlet’s not mad. Of course he would wear black clothes and be a bit moody. The more interesting question [than whether or not Hamlet is mad] is, who was he before? I think he’s incredibly funny. It’s a really funny play, Hamlet. And it’s a funny play that deals in life and death: the undiscovered country from which no traveller returns. It’s about what it is to be human. And what it’s like to be human is funny, and sad. The language is so incredibly beautiful and it’s also incredibly actable. And it’s also a thriller.

And a ghost story. It’s supernatural.

It’s a supernatural ghost story. And because the character is so well-rounded, I always think of it like a vessel into which you can pour any actor or actress. So, your version, the bits you would respond to if you were playing Hamlet, would be completely different to mine or anyone else’s. It can embrace so many kinds of actors. So Richard Burton can play it or Ben Whishaw can play it or Ruth Negga can play it or I can play it, and it’s going to bring out completely different sides. Did you do much Shakespeare at school?

I did. I studied Hamlet.

I remember Mark Rylance said…

[The waiter arrives with our pies and we both take a moment to admire them before breaking the crusts… The following passages are occasionally hard to make out due to enthusiastic chewing.]

You were about to say something about Mark Rylance. I saw his Hamlet in… must have been 1989, when I was doing my A-levels. He did it in his pyjamas.

I’ve heard. He came to see [my] Hamlet. He said, you feel like you’re on a level with it, and then in week four, you plummet through the layers of the floor and you’re on a deeper level. He was exactly right. Something happens. It’s just got depth.

Does it change you? Do you learn something new about yourself, as an actor?

I think because it’s such a tall order for an actor, it’s sort of like you feel you can do anything after that. Like, at least this is not as hard as Hamlet. You know you have those muscles now. We transferred it from The Almeida on to the West End. So, we did it loads of times. That’s a big achievement.

How many times did you play him?

One hundred and fifty. Twice on a Wednesday, twice on a Saturday. Eight hours [on those days]. Even just for your voice, it’s a lot.

We keep coming back to theatre. Is that because you prefer it?

It goes directly into your veins. It’s pure. You start at the beginning of the story and you go through to the end. When you’re making a movie, it’s a different process. Your imagination is constantly interrupted. You do something for two minutes and then someone comes in and goes, “OK, now we’re going to do Alex’s close-up, so you go back to your trailer and we’re going to set up all the lights and make sure that window across the street is properly lit.” And that’s another 20 minutes, and then you try to get back into the conversation we’ve just been having… And so the impetus is a different one.

The Hot Priest…

What’s that?

Ha! I watched Fleabag again, last week. It’s so good. But The Hot Priest, he’s a coward. He gets a chance at happiness with the love of his life and he doesn’t take it.

Well, not to judge my character, but I suppose there’s an argument that he does choose love. He chooses God. That’s the great love of his life. Whatever his spirituality has given him, he has to choose that. Is there a way that they could have made that [relationship] work? Of course there is. We’re seeing it from Fleabag’s point of view, literally, so of course it feels awful [that Fleabag and the Priest can’t be together]. But I think we understand it, the thing that is not often represented on screen but which an awful lot of people have, which is the experience of having a massive connection with somebody, a real love, that doesn’t last forever. I think somebody watching that can think, “I have my version of that. And I know that I loved that person, but I also know why we couldn’t be together.” And that doesn’t mean those relationships are any less significant. It just means that they are impossible to make work on a practical level. Not all love stories end the same way.

Annie Hall.

There you go! La La Land. Love that movie.

The Hot Priest is damaged. There’s a darkness there. Journalists interviewing actors look at the body of work and try to find through lines that we can use to create a narrative. It’s often a false narrative, I know that. However, that’s what we’re here for! Let’s take Hamlet, and the Priest, and Adam from All of Us Strangers, and, I guess, Vanya himself, even Moriarty. These are not happy-go-lucky guys. Ripley! These men seem lost, lonely, sad. Is it ridiculous to suggest that there’s something in you that draws you to these characters — or is it a coincidence?

That’s a really good question. I think it can’t be a coincidence. Like, even when you said “happy-go-lucky”, right? My immediate instinct is to say, “Show me this happy-go-lucky person.” With a different prism on this person, there would be a part of him that’s not happy-go-lucky, because that’s the way human beings are. If we could think now of a part that’s the opposite of the kind of part [he typically plays], a happy-go-lucky character…

How about the kinds of roles that Hugh Grant plays in those rom-coms? Yeah, the character might be a little bit repressed, a bit awkward at first, but basically everything’s cool, then he meets a beautiful woman, it doesn’t work out for about five minutes, and then it does. The end.

[Chuckles] OK, yeah. I’d love to have a go at that.

Wouldn’t you like to do that?

I would! I really would.

Why haven’t you?

I don’t know! It’s weird. That is something I would really love to do. Because I love those films. There’s a joy to them. It’s something I would love to embrace now. When I was growing up, as a young actor, I did want to play the darkness. With Moriarty, I was like, “I’ve got this in me and I’d like to express it.” And, conversely, now I think the opposite. I know that’s a little bit ironic, given I’ve just played Tom Ripley. Ha! But I have just played it, and I have spent a lot of time in characters that are isolated. And I was in a play [Vanya] that was one person. I don’t feel sad doing those things. It’s cathartic. But I would love the idea of doing something different.

Also, you don’t strike me as a person who is especially morose.

No! No, no, no. I’m not. But again, we all contain multitudes. My mother’s legacy was so joyful. Not that she didn’t have her soulful moments, because of course she did. I mean this as the opposite of morbidity, but it doesn’t end well for any of us, it really doesn’t. So bathing in the murkier waters, it’s wonderful to be able to explore that side of you, but also the opposite is true, the idea of joy and fun and lightness is something I’m definitely interested in. Like a musical! I’d love to be in a musical. I’ve just done a cameo in a comedy that I can’t talk about yet. It was just a day, with someone I really love, and it just lifted me up. But of course, there’s the stuff that people associate you with, and that’s what brings you to the table.

You played a baddie really well, so you get more baddies.

Yeah. You have to be quite ferocious about that. You have to go, “Oh, wow, that really is a great film-maker, that’s a lovely opportunity…” But how much time do you have left and what do you want to put out to the world? I feel like I want to be able to manifest what I have within me now. That’s a wonderful thing to be able to do. It’s such a privilege. And I feel so grateful for the opportunities I’ve been given. But why not get out of the hay barn and play in the hay?

Ripley has been well received. Do you read reviews?

I read some of them.

Why?

I’m interested in the audience. You know when people say, “You should never care about what other people think?” Of course I care what people think.

Ripley is excellent, but it’s quite gruelling to watch. Was it gruelling to make?

Yeah.

Because you have to inhabit this deeply unhappy person?

Maybe not unhappy. But very isolated, I think that’s key. It was hard. There was a huge amount of actual acting. Doing 12-hour days for almost a year. I’m not necessarily convinced you should act that much.

Ripley is himself an actor. He puts on other people’s identities because he doesn’t like his own. He doesn’t like himself. Some people think actors are people who don’t like themselves so you pretend to be other people, assume other identities. Or maybe it’s that actors are hollow shells. When you’re not acting, there’s no one there. No you. Sorry to be rude.

No, it’s not rude at all. I totally understand it. But I find it to be completely the opposite of what I’ve learnt. The essence of acting, for me, the great catharsis of it, is that you’re not pretending to be somebody else, you’re exploring different sides of yourself. You’re going, who would I be in these circumstances? Some of the darkest, most unhappy people I know are the people who say, “I don’t have an angry bone in my body.” Then why do I feel so tense around you? People who have no anger… I remember I used to have it with some religious people when I was growing up. People proclaiming that they’re happy or good or kind, that does not necessarily mean that they are happy or good or kind. That’s the brand they’re selling. I’ve always liked that expression: “fame is the mask that eats into the face.” How do you keep a healthy life when you’re pretending to be other people? You do it by going, “I’m going to admit I have a dark side.” It’s much healthier to shout at a fictional character in a swimming pool [as Moriarty does in Sherlock] than it is to be rude to a waiter in a restaurant, in real life.

You find that therapeutic?

Yes, you’re still expressing that anger. I think it is therapeutic.

So playing Tom Ripley every day for a year, were you able to exorcise something, or work through something?

Well, that’s why I found Tom Ripley quite difficult. He’s hard to know, and a harder character to love. If you think of Adam in All of Us Strangers, you go, “OK, I understand what your pain is.” What I understand with Tom, the essence of that character, is that he’s somebody who has a big chasm that is unknowable, perhaps even to himself. We’re all a little bit like that, we’re all sometimes mysterious to ourselves — “I don’t know why I did that…” — but to have empathy for someone like that is difficult. You know the boy in your class who gets bullied, and it’s awful, and you try and understand it but he doesn’t make it easier for himself? That’s the way I feel about Tom Ripley. It’s a thorny relationship. Your first job as an actor is to advocate for the character. That’s why I hate him being described as a psychopath. Everyone else can say what they like about him, but I have to be like, ‘Maybe he’s just… hangry?’ So you have to try and empathise, try and understand. When we call people who do terrible things monsters — “This evil monster!” — I think that’s a way of absenting yourself from that darkness. Because it’s not a monster. It’s a human being that did this. You can’t look away from the fact that human beings, sometimes for completely unknowable reasons, do terrible things. And that’s why it’s interesting when people talk about Tom Ripley. They say, “Have you ever met a Tom Ripley type?” The reason the character is so enduring is because there’s Tom Ripley in all of us. That’s why we kind of want him to get away with it. That’s [Highsmith’s] singular achievement, I think.

I find reading the Ripley books quite unpleasant. It’s a world I really don’t want to spend any time in. I read two of them preparing for this. She’s a great writer, but they’re horrible characters; it’s a depressing world.

I agree. That’s what I found most challenging. Where is the beating heart here? How much time do I want to spend here? And when you do, well, it took its toll. It did make me question how much time I want to spend with that character, absolutely. That’s the truth.

The way you play him, he’s very controlled. You didn’t play him big.

I think it’s important to offer up difference facets of the character to the director and he chooses the ones he feels marry to his vision. And those are the ones [Steven Zaillian] chose. And he executed those expertly.

Are you a member of any clubs?

Yeah, I’m a member of the Mile High Club. No, no…

That’ll do nicely.

OK, that’s my answer.

What’s your earliest memory?

Do they still have, I think it’s called a play pen?

Sort of like tiny little jails for toddlers? What a good idea they were!

I remember being massively happy in it. My mother used to say she just used to fling me in that thing and give me random kitchen utensils. I don’t know, like a spoon. I’ve always been quite good in my own company. I really remember being left to my own imagination and being very happy.

Do you live alone now?

Yeah.

Is that not lonely?

Of course I’ve experienced that but, ultimately, no. I don’t know if that’s the way I’m going to be for the rest of my life. But I certainly don’t feel lonely. I’ve got so much love in my life.

Would it be OK if you lived alone for the rest of your life?

Yeah. It would be OK. One of my great heroes is Esther Perel.

I don’t know who that is.

Esther Perel. She’s a sort of love and relationships expert, a therapist, and she’s a writer. A real hero, I think you’d really dig her. She talks about relationships and the mythology around them. The difference between safety and freedom. She talks with real compassion about both men and women; she talks about this idea of what we think we want, and what we really want. And how there’s only one prototype for a successful life, really, or a successful relationship. Which is: you meet somebody, da-da-da, you fall in love, da-da-da, you have kids, da-da-da. And that prototype just can’t suit every person in the world. There are some people who live in the world who might see their partner every second Tuesday and that suits them. And to be able to understand and communicate your own preference at any given time is really the aim. To be able to say, “At the moment I’m happy in the way I am, but maybe at some point…” I’ve lived with people before, and maybe I will again, but at the moment it feels right to sort of keep it fluid.

The difficulty, of course, with relationships, is there’s another person with their own preferences. Maybe you’re OK with every second Tuesday, but they need Thursdays and Fridays, too…

But isn’t that the beauty of love? That you construct something, like a blanket. You stitch all these things together. One of the things about being gay and having a life that ultimately is slightly different from the majority of people’s, is you learn that you can create your own way of living, that is different and wonderful. A homosexual relationship doesn’t necessarily have to ape what a heterosexual relationship is. That’s a very important thing to acknowledge. I mean, of course, if you want to do that, that’s brilliant. But you don’t have to. To me, the worst thing is to be dishonest or uncommunicative or unhappy or joyless in a relationship. It’s much more important to be able to have a difficult conversation or a brave conversation about how you feel or what you want. So many of my gay friends, I feel very proud of them, really admiring of the fact we have these conversations. It seems very adult and very loving to be able to acknowledge that the difference between safety and freedom can be real torture for some people. How do I love somebody, and still keep my own sense of autonomy and adventure? That’s a real problem. That’s what Esther Perel says. It’s one of the biggest causes of the demise of a relationship. That people coast along, they can’t have that conversation, and then the whole bottom falls out of the boat.

I wasn’t necessarily going to ask you about being gay. One tries to avoid labelling you as “gay actor Andrew Scott” instead of “actor Andrew Scott, who happens to be gay”. But since we’re talking about it already: because you’re famous, you become a de facto spokesperson for gay people. People look to you for the “gay opinion.” Are you OK with that?

I’ll tell you my thoughts on that. If I talk about it in every interview, it sounds like I want to talk about it in every interview. And, of course, I’m asked about it in most interviews, so I’m going to answer it because I’m not ashamed of it. But sometimes I think the more progressive thing to do is what you’re saying: to not talk about it and hopefully for people to realise that if you had to go into work every single day and they said, “Hey, Alex! Still straight? How’s that going?”… I mean, being gay is not even particularly interesting, any more than being straight is. But I understand, and I’m happy to talk about it. I suppose it depends on the scenario. I just don’t want to ever give the impression that it isn’t a source of huge joy in my life. And at this stage in my life, rather than talk about how painful it might have been or the shame, or not getting cast in things [because of it], actually, I’m so proud of the fact that I’m able to play all these different parts and, hopefully, in some ways it demystifies it and makes people — not just gay people, but all people — go, “Oh, yeah, that’s great that it’s represented in the world, but being gay is not your number-one attribute.” The problem is it becomes your schtick. Frankly, I feel like I’ve got just a bit more to offer than that.

Two reasons I think you get asked about being gay. One is just prurience — you’re famous and we want to know who you’re shagging — and the other is that identity politics is such an obsession, and so polarising, and we hope you’ll say something controversial.

I think that’s right, I think that’s what it is. But sometimes people think there’s just one answer, in 15 characters or less. That’s something I resist, slightly.

All of Us Strangers is about loads of things, about grief, love, loneliness, but it’s also very specifically about being gay. To me, anyway.

Yes, it is.

I thought, in particular, that the scene with Claire Foy, where your character comes out to his mother, was incredibly moving.

Isn’t it extraordinary, though, that you, who is not a gay person, could find that so moving? There’s no way you’d find that moving if it was only about being gay. I always say that coming out has nothing to do with sex. When you’re talking to your parent, you’re not thinking, “Oh, this is making me feel a bit frisky.” Anyone can understand that this is about somebody who has something within them — in this case, it’s about sexuality — that he hopes is not going to be the reason that his parents don’t speak to him anymore. And I think we all have that: “I hope you still love me.” And the great pleasure about All of Us Strangers is that it’s reached not just a particular type of audience, but all types of people. And I love they’re able to market it to everyone. Usually they do this weird thing where they pretend the film’s not gay…

Right. There would be a picture of a woman on the poster.

Exactly. Someone who’s playing the neighbour! But now you’re able to market a film with Paul [Mescal] and I, and the fact is that that’s going to sell tickets. I know there’s a long way to go, but that is progression. Before, that wasn’t the case. This time, no one gave a fuck. Nothing bad happened. The world didn’t explode. Family didn’t collapse.

Identity politics question: there’s an opinion now frequently expressed that gay people ought to be played by gay actors, and so on. What are your thoughts on that?

The way I look at it, if somebody was to make a film about my life — it’d be quite a weird film — would I want only gay actors to be auditioned to play me? I would say that I’m more than my sexuality. But there might be another gay person who feels that’s incredibly important to who they are and how they would like to be represented on film. How do we balance that? I don’t know. I don’t have an easy answer on that. I think it’s a case-by-case thing.

You’ve played straight people and gay people. You’re Irish but you’ve played English people and American people. I would hope you would be able to continue doing that.

The question I suppose is opportunity, and who gets it. It was very frustrating to me, when I was growing up, that there were no gay actors.

Well, there were lots of gay actors…

But not “out” gay actors. Now there are more. Representation is so important. So I think it’s complicated, and nuanced. And talking about it in a general way rather than a specific way is not always helpful. It depends which film we are talking about. Which actor.

You were spared the curse of instant mega-fame, aged 22. Would you have handled that well?

No. I think all that scrutiny and opinion, it’s a lot. Now I’m able to look at a bad review or somebody saying something really horrible about the way I look, or even someone saying really nice things about that, and go [shrugs]. Before, when that happened, it was devastating. But I survived and it was fine, and I got another job and I was able to kiss someone at a disco, so… Whereas if you’re 22 and you don’t have that experience behind you, you go, “Oh, my God. This is horrible, what do I do?” And also, there’s much more scrutiny now, so much more. I think that must be really hard. Social media is a crazy thing, isn’t it?

I think it’s a horrible thing, on the whole.

That thing you were saying about cinema, about how it’s not natural to see yourself, or other people like that… The amount of information that we’re supposed to absorb and process? Wow. You wake up in the morning and you’re already looking at it.

They used to say that the fame of TV actors was of a different order because they are in your home. People felt they knew the stars of Coronation Street in a much more intimate way, while movie stars, Cary Grant or whoever, these were much more remote, almost mythical creatures. People who are famous on Instagram or TikTok are in the palm of your hand talking to you all day.

And it’s so interesting what people on social media choose to tell you about their lives, even when nobody’s asking them any questions. Like, is that person insane? It’s a very dangerous thing. I find it troubling.

Do you think things are getting better or are they getting worse?

That’s such a good question. I have to believe they’re getting better. I don’t know what that says about me.

It says you’re an optimist.

I think I am an optimist.

What’s the weirdest thing you’ve ever put in your mouth?

Fucking hell. Do you know what I don��t like? Any food that you don’t have to put any effort into eating.

Give me an example.

Custard.

Yes!

I don’t mind ice cream, because it’s got a bit of texture. But I don’t like mashed potato. I don’t like creamed potatoes, or creamed anything.

Risotto?

Absolutely borderline. So if it’s got a little bite to it, it’s OK. But baby food. Ugh! Makes me feel a bit sick.

What’s your favourite of your own body parts?

Ahahah! What do I like? What have we got? I don’t mind my nose? My eyes are OK. Like, my eyes are definitely expressive, God knows. Fucking hell. I remember I was in rehearsal once, and the director said, “Andrew, I just don’t know what you’re thinking.” And the whole company started to laugh. They were like “You don’t? What the fuck is wrong with you?” Because I think I’ve got quite a readable face.

Which is a tool for an actor, right?

It can be a tool for an actor. But you have to learn what your face does, as an actor. On film, your thoughts really are picked up.

What’s your favourite body part that belongs to someone else?

I like hands. And I like teeth. Someone with a nice smile.

Are you similar to your dad?

Yeah, I am. He’s pretty soft-natured, which I think I am, to a degree. He likes fun, too. And he likes people. He’s good at talking to people. He’s kind of sensitive, emotional. He’s a lovely man, a very dutiful dad to us, very loyal.

Would you miss the attention if your fame disappeared overnight?

I definitely think I would miss an audience, if that’s what you mean. The ability to tell a story in front of an audience, I’d miss that. Not to have that outlet.

Before you got famous, you were having a pretty decent career, working with good people, getting interesting parts. Would it have been OK to just carry on being that guy, under the radar?

Oh, my God, yes. Absolutely.

Would you have preferred that to the fame?

The thing is, what it affords you is the opportunity to be cast in really good stuff. You get better roles, particularly on screen. And I’m quite lucky. I have a manageable amount of fame, for the most part.

Some people are born for fame. They love it. They’re flowers to the sun. Others should never have become famous. They can’t handle it. You’ve found you’re OK with it.

Do you know what I feel? I feel, if I was in something I didn’t like, if I was getting lots of attention for something I didn’t feel was representative of me, I think I’d feel quite differently. I feel very relaxed, doing this interview with you today. I feel like, whatever you’re going to ask me, I would feel self-possessed enough to say, “Alex, do you mind if we don’t talk about that?”

Shall we leave it there, then?

Thank you. That was lovely.'

[history105rockandrollblog]

Lecture 12: Janis Joplin left Big Brother and the Holding Company in 1968 and organized another group, the Kozmic Blues Band. In the last year of her life, her music evolved into a more soulful and bluesy style that emphasized her voice even more than her music with Big Brother. In this video, Janis performs a song titled “Kozmic Blues” at a 1970 concert in Frankfurt. They perform such songs as “Try (Just a Little Bit Harder),” “Me,” “Maybe,” “Summertime” and “Ball and Chain.” The Kozmic Blues band consisted of a variety of different musicians, including Joplin’s former Big Brother band mate Sam Andrew and legendary Blues guitarist Mike Bloomfield. I Got Dem Ol’ Kozmic Blues Again Mama! was Joplin’s only solo album released during her lifetime. Her next album, Pearl, came out posthumously. (Incidentally, this concert footage also includes brief interview segments -- check it out!)

[soulmatesinc-if]

A light-hearted interactive fiction game about soulmates, chances and choices, written in ChoiceScript.

|| LINK to demo || [119k]

Here at Soulmates Inc we specialize in chance meetings!

Love happens.

It takes by the storm. It is lucky, it is cruel, it makes no sense, it elevates. It is beautiful, it rears its ugly head, then it is beautiful once again. Now that, humans can manage on their own.

Soulmate-grade connection is an entirely different brand. Enter you. That's your brand. It requires dedicated labor. Whimsical meetings. Nuance.

As a soul-link, you arrange for those destined matches to happen using the powers of glamor at your disposal. An ancient practice, really, though, as with everything, it has evolved and happily marched with the times. You work out of an office, have a phone plan, a lease, and a favorite restaurant. Your boss is not a half-naked man with a bow and arrows but a fashionably dressed man who goes to a gym and drives an electrical Mustang.

It is nice. Modern.

Just one rule. The only rule, in fact. A scripture, if you will: never interact with a soul directly.

Which is precisely why your most recent half-match staring at your confused face is so damn bad. Worse yet, they can see right through your glamor for some reason.

Now what?..

love is all around you but it does not have to be for you: play as aro, ace, bi, gay or straight. Your romantic prospects are three, but each has a story to tell

explore who you are: a firm and enthusiastic believer, a burned-out office worker, or a skeptical soul-link questioning their purpose

use and evolve your soul-link powers: Empathy and Shroud

keep up with your job duties and bring people together while trying to protect your employer from a greater looming threat

someone is throwing around heavy words like 'destiny', but dealing with existential questions is entirely optional!

Amber | Andrew Wyatt Once a high-performer soul-link, they flew too close to the sun and snooped around where one does not snoop around. Having fallen from grace at a company that believes in chances, Wyatt is back on probation, though under your supervision. The light is snuffed out of their eyes, and instead of being a firm believer, Wyatt now drips disillusioned pearls of what they think is wisdom.

A languid redhead who wears sunglasses more often than not.

Samuel | Samantha C. Powell Sam has a steady job, does weekly family visits and always parks the bike properly. How do you learn that? Sam is also your sparkling new charge, a common everyperson, a salt of the earth—nope, not that simple at all! You cannot seem to find their soulmate (never happens) and they can see through your glamor (never happens either). To be fair, Sam is freaked out by it, too.

Your sporty charge in a wrinkle-free T-shirt with a mess of locs held back by a band.

Martin | Mia Romero A hectic ball of energy that is a human person, they are passionate about their distaste for your employer's business and are happy to go in length about it. Romero is messy, yet strangely put together in their belief: a hurricane that may sweep you off your feet if you are not careful enough. They know things, things no human should. You should probably report that to your boss...

A city dweller with hair tied sloppily in a short low ponytail, perfectly matched with dramatic eyebags.

[otdiaftg]

The Raven King - Chapter Sixteen

Day: Sunday, December 31st Time: 11:55 PM EST

Neil nodded and looked at the clock. It was five 'til midnight. "Are we going to watch the ball drop? I want to make a wish." "You make wishes on shooting stars," Wymack said. "New Year's is for resolutions." "That's okay too," Neil said. Wymack dug his remote out from under a couch cushion and turned on the TV. Noise and music filled the room. Cameras panned across the crowd as a band performed on stage. Neil searched the crowd for his teammates' faces, knowing he wouldn't see them but needing to look anyway. He checked his phone, found the battery blinking critically low, and opened his messages box anyway. He didn't read them. He didn't have time and the battery wouldn't last long enough. He had enough power to compose a group message, though, so he tapped out a simple "Happy New Year" to the Foxes. Betsy had told them Andrew's phone was confiscated for the duration of his stay at Easthaven, but Neil added his number anyway and pressed SEND.

Art used with permission by Sam. Thank you so much @02511213942

[mlmxreader]

For I Have Sinned | Dean Winchester x gn!reader

『••✎••』

↳ ❝ Hi can I request “Nothing, just… you look really good right now” with dean please ❞

: ̗̀➛ You get a little bit hot under the collar seeing Dean in a particular outfit.

: ̗̀➛ heavy sexual referencing & innuendo, swearing

↳ MINORS DNI

•───────────────★•♛•★──────────────•

Admittedly, it was very rare for you and the Winchesters to ever really cross paths accidentally; whenever you worked a job together it was done so on purpose, and often arranged in advance so that you knew where to stay and what was going on.

But this time was different, as a small rural village in pretty much nowhere had been plagued with stories of a werewolf, and you didn’t have time to contact the Winchesters about it before they were bursting into your motel room together dressed as priests.

It made you want to laugh, really, but when they started asking about work, you could only shake your head as you held up your palms.

“Boys, boys!” You shouted, trying not to grin. “Settle down already, I’ve only just got here, alright?”

Carefully, Dean sat on your bed as he folded his arms across his chest; Sam leaned against the wall mimicking his brother’s posture, which made you sigh as you gently tapped your thighs. Unable to keep your eyes off of Dean as you swallowed thickly.

“So, what’d you know?” Dean asked, almost impatient as he raised his brows and stared directly at you.

You shook your head, chewing at the inside of your lip. “Honestly? Pretty much fuck all at this point. You?”

“About the same,” Dean agreed with a curt nod, his gaze dropping to your mouth for a moment before he awkwardly cleared his throat. “Sammy? Could you, erm, could you go grab somethin’ to eat while we talk?”

“Yeah, sure,” Sam said slowly, looking between you and Dean for a moment before leaving.

“Quit lookin’ at my mouth,” Dean told him, resting his forearm on his knee and glaring at you. “Now ain’t the time.”

You sighed as you chewed at the inside of your mouth. “Oh, so it’s my fault that you decided to dress up as the only attractive priest on the planet?”

He shrugged. “What about that guy, erm… Andrew whatever?”

“He’s not attractive,” you scoffed. “But seriously, it’s just nothing, just… you look really good right now and, yeah! It’s a little bit distracting!”

Dean laughed softly as he shook his head fondly; he could have said the same about you with your old band t-shirt and matching hoodie, camouflage cargo trousers and beaten up brown boots.

He really could have said the same about you, given how you kept biting your fucking lip and how you were sat with your legs spread; he hardly growled as he swiped his hand down his face, swallowing thickly.

He couldn’t take his eyes off of you, his breath hitching in his throat as he tried - in vain - to take his eyes away from your mouth for even just a quick moment. He narrowed his eyes slightly, thinking about the last time you were in a motel together alone.

He almost gave up, until you shifted in your seat and grunted under your breath - it almost immediately drew his attention directly to you. 

“Dean!” You almost shouted, making him blink quickly before shaking his head in shock. “Let me guess - suddenly you’re distracted, too, right?”

He nodded slowly, clearing his throat awkwardly as he rubbed his mouth. “Yeah, erm… yeah. Sorry.”

You shook your head, taking in a deep breath as you tried to steady and steel your nerves. “So what the fuck do we do? We can’t… how the fuck are we meant to go hunting if we can’t even sit in a room together?”

“I can get changed,” he murmured. “Dump the whole Father Brodén schtick and find something else. Maybe, erm… I think I got an Agent Taylor or somethin’ stashed away somewhere, I don’t-”

“No,” you said softly, quietly. “No, you don’t need to do that - I’ll, I’ll sit this one out, do base research from here.”

Dean shook his head, running a hand through his hair. “No, I can’t let you do that. You were here first, this is your hunt.”

“Dean,” you sighed. “We can’t do shit if we’re like this. You know that, and I know that.”

“So what do we do?” He asked, furrowing his brows.

“Well, Sam’s out,” you mused, pursing your lips for a moment. “I’m sure we could, erm, y’know… lock the door, keep the window shut and erm… let loose, don’t you think?”

Dean seemed to consider it, swallowing thickly as he shifted where he sat for a moment. “Conflict of interest.”

“Hmm?” You furrowed your brows as you frowned. 

“There’s you and me,” he started, “we don’t see each other often, you know the life - think we can even work together if we’re… lettin’ loose all the time?”

You shrugged, clasping your hands together between your legs as you swallowed thickly. “I’m willing to give it a shot, are you?”

“Yeah,” he murmured, rubbing the back of his neck. “I would be… c’mere a sec, though.”

You got up, your legs a little shaky as you walked over to him, surprised when he pulled you down onto his lap, licking his lips and grinning; you put your hands on his shoulders, eyeing up the white collar around his neck for a moment.

“You should dress as a priest more,” you breathed out, taking a moment to stare at his lips. 

Dean nodded, shifting his hips so that you were right on him. “Noted. You should wear that tight shirt more.”

You squeezed his shoulders a little, breath hitching in your throat. “Noted.”

You couldn’t help it, one hand going to his hair and the other at the nape of his neck as you caught him in a quick kiss; immediately, Dean kissed back, grunting softly when you tugged at his hair gently to pull him closer.

The kiss became open mouthed and heavy, making you squirm a little when you pulled away, looking at how shiny and plump his lips were for a moment. 

“Dean…”

“I’m gonna take my shoes off,” he whispered. “And then I’m gonna lie down - you gonna join me?”

“Well, fuck it” you breathed out, laughing for a second. “Forgive me, Father, for I have sinned.” 

[thisphantomlife]

Songs Hozier has covered

Bowie - Changes, Young Americans (see also Trinity Orchestra section)

Prince - I Wanna Be Your Lover, Raspberry Beret, Jungle Love

James Carr - The Dark End Of The Street

The Beatles - Blackbird

John Lennon (Donny Hathaway version) - Jealous Guy (at the goldenplec block party with Zaska)

Ariana Grande - Problem

Warren G - Regulate (mashup with Problem)

James Blake - Retrograde

Tom Waits - Strange Weather

Florence and the Machine - Cosmic Love

Stevie Wonder - Living for the City, As

Sting - 7 Days

The BeeGees - To Love Somebody

Lauryn Hill - Doo Wop (that thing)

Amerie - One Thing

Skip James - Illinois Blues

Muddy Waters - Catfish Blues

Van Morrison - Caravan, Sweet Thing, Domino, Brown Eyed Girl, Saint Dominic’s Preview

Bill Withers - Ain’t No Sunshine

Arctic Monkeys - Do I Wanna Know

Demi Lovato - Sorry Not Sorry

Led Zeppelin - Whole Lotta Love

Fun - We Are Young

Paul Simon - Bridge Over Troubled Water

Sam Smith - Lay Me Down

Destiny’s Child - Say My Name

Britney Spears - Toxic (snippet)

The Band - The Weight

Otis Rush version of Willie Dixon and the Big Three Trio - My Love Will Never Die

The Talking Heads - Burning Down the House (Instagram live messing around with friends)

The Staple Singers - Let’s Do it Again

The Weather Forecast 🤪

Ed Lewis - I Be So Glad When the Sun Goes Down (Instagram snippet)

Mavis Staples - Eyes on the Prize

Jackie Wilson - (Your Love Keeps Lifting Me) Higher and Higher

The Meters - Just Kissed My Baby

Christmas Songs - God Rest Ye Merry Gentlemen, Winter Wonderland, Santa Claus is Coming to Town (with others at the Xmas Eve Ball 2015)

Traditional Irish songs - My Lagan Love, The Humours of Whiskey, I Am Stretched On Your Grave, The Rolling Wave (on the low whistle), The Parting Glass, The Lonely Jig (on the low whistle)

(Live) Collabs - that are not Andrew’s own songs

Alvin Youngblood Hart - Illinois Blues

Maren Morris - The Bones, My Church, Girl, The Tree

Annie Lennox - I Put a Spell on You (Screamin Jay Hawkins cover)

Tom Odell - Another Love

Noah Kahan - Northern Attitude

Allison Russell - Requiem, Stop Dragging My Heart Around (Stevie Nicks & Tom Petty cover)

Brandi Carlile - The Joke, Walk On (U2 cover), The Weight (The Band cover)

Jamala - Walk On (U2 cover)

Mavis Staples - The Weight (The Band cover), Keep Your Eyes on the Prize (with Our Native Daughters, Jason Isbell and Phil Cook)

Boygenius - Salt in the Wound

Alana Henderson - Ae Fond Kiss (poem by Robert Burns)

U2 - When Love Comes to Town

Tori Kelly - Blackbird (the Beatles cover)

Mumford and Sons - Guiding Light, Awake My Soul, With a Little Help From My Friends (Beatles cover, with other artists)

Lake Street Dive - Everyday People (Sly and the Family Stone cover)

Rachael Price - Rental Love

Victoria Canal - Swan Song

Elwood (his dog) - Don’t Go Breaking My Heart (Elton John and Kiki Dee cover, Insta snippet)

All the artists at Love Rocks NYC 2022 - Like A Rolling Stone (Bob Dylan cover), Feeling Alright (Traffic cover)

Brian Kennedy (and others) - I Wish I Knew How It Would Feel to Be Free (Nina Simone cover)

His Dad - The Weight (The Band cover at MSG)

Zaska, Wyvern Lingo, Loah - Sir Duke (Stevie Wonder cover)

Eabha McMahon - Bright Blue Rose (Jimmy McCarthy cover)

Christmas Eve Busk 2015

Bono, Glen Hansard - When Love Comes to Town, Every Breaking Wave

Glen Hansard, Imelda May - The Dark End of the Street (James Carr cover)

Christmas Eve Busk 2017

Glen Hansard, Coronas, Imelda May, Liam O Maonlaoi - So This is Christmas (John Lennon cover), The Aul Triangle

Music Groups

Nova Collective - (original songs) Tuile, Closer, Quick Bossa

Zaska - (original songs) In Your Own Sweet Time, Different Light, She Gunk Gunk Dunk A Funk, Oh Yeah

Anuna - with Andrew on lead vocals: The Raid, La Chanson de Mardi Gras. With Andrew in the choir: Jingle Bells, An Uaithne

The Wiggles - Cherry Tree Carol with Anuna

Trinity Orchestra - songs covered with Andrew on lead vocals

~ Queen - Somebody To Love, Don’t Stop Me Now

~ Arcade Fire - My Body is a Cage

~ Pink Floyd - Time, Breathe, Comfortably Numb, Shine on You Crazy Diamond, Money

~ Michael Jackson - Earth Song, Black or White, Smooth Criminal

~ David Bowie - Heroes

*This list may not be complete. It only contains songs that can be found online.

Please let me know if any songs are missing so I can add them 🫶

I’ve not included the songs he sang snippets of on that Song Association interview

[umactuallyspn]

Three years ago today, the Supernatural finale, "Carry On," premiered... to mixed audience reactions. The show ended its fifteen season run with Sam and Dean both in Heaven, Dean having died after a vampire hunt and Sam of old age with his son, Dean Jr., at his bedside. Few fan favorites, including Castiel, were present--the only recurring characters present (besides Sam and Dean, of course) were the boys' father figure, Bobby Singer, and Jenny, a vampire who appeared in season 1's episode "Dead Man's Blood." However, showrunner Andrew Dabb revealed on social media several months later that the original plan for the finale had indeed included Sam and Dean's loved ones from over the years gathering at the Harvelles' Roadhouse and enjoying a live performance from the actual band Kansas. Misha Collins stated during a convention panel that he was supposed to be in the scene, but playing as Jimmy Novak instead of Castiel.

Something is wrong with this statement. Can you tell what it is?

[ourshadowstallerthanoursoul]

An audience with... John Paul Jones

(from Uncut, April 2010 - link)

You’re stuck on a deserted island, you have one instrument you can bring. It is: a) piano, b) bass or c) mandolin? (Gary Attersley, Ontario, Canada)

Oh… that’s horrible! I’ll probably get Hugh Manson – the guy who builds all my bass guitars – to build me some monstrous instrument that encapsulated all three! Hugh and his brother Andy Manson once actually designed me a triple-necked guitar with 12-string guitar, six-string guitar and mandolin on it! Andy also designed a triple-necked mandolin. But I guess if it really came down to it on a desert island, it would have to be the piano, because you can do so much on it. You’re a whole band. The bass is not much fun on your own.

John, it’s so good to see you so engaged with today. Any advice for old farts who can’t move on? (Andrew Loog Oldham)

Who are you calling an old fart? I dunno, Andy, you tell me! Ha ha. He’s done a good job of staying up to date. Andrew, of course, gave me the name John Paul Jones. I was John Baldwin, until Andrew saw a poster for the French film version of John Paul Jones. I thought it ’d look great in CinemaScope, as I wanted to do music for films. I imagined it saying “Music By John Paul Jones”, over the whole screen. I never realised then that he was the Horatio Nelson of America!

I know that you’ve been getting heavily into bluegrass lately – who are some of your favourite bluegrass artists of all time? (Ryan Godek, Wilmington, Delaware)

Apart from Bill Monroe, you mean? Oh, there’s loads. I’m friends with the Del McCoury band, I love that style of classic bluegrass. I love Sam Bush’s Newgrass stuff. And of course there’s Nickel Creek, Chris Feely, Mike Marshall. I love it all, really. One thing I like about bluegrass is that you don’t require amplifiers, drums and trucks. You can pull an instrument out of a box and get on with some instant music making. I carry a mandolin around wherever I go. I also like the fact bluegrass musicians play more than one instrument. There’s a tradition of them swapping instruments. In bluegrass bands I swap between double bass, fiddle and banjo.

One Butthole Surfers anecdote, please? (Dave Grohl)

Ha! I was brought in to produce the Butthole Surfers’ 1993 album, Independent Worm Saloon. I guess it was to give it a heavy rock vibe, but it didn’t work like that. They were actually incredibly hard-working in the studio, but I do recall running up a phenomenal bar-bill at the San Rafael studio. And then there was Gibby [Haynes, Butthole Surfers’ frontman] and his… eccentric studio behaviour. Gibby did one vocal take shouting into his guitar. He held it out in front of his face and screamed at it. Ha! He was trying to find out if it picked up through the pick-ups, which it kind of did. And that was pretty good.

How’s the violin coming along? (Sean, Berkshire)

I started about three years ago. With the guitar, or the piano, you can sound OK quite quickly. With the violin, it takes much longer. Once you get past the first six months of scraping, of muttering to yourself, “What is this fucking horrible noise on my shoulder?” you get the odd musical bit, and you think, ‘Oh, this is starting to get good.’ And you continue with it for a while. I’m getting into country fiddle playing, Celtic folk songs, a bit of swing. Basic stuff, but very satisfying.

Why not record a second ‘Automatic For The People’ with REM? (Franz Greul, Austria)

They haven’t asked me! But doing the string arrangements for that album was a great experience, actually. They sent me the demos of their songs, and we went into a studio in Atlanta, with members of the Atlanta Symphony Orchestra. They were great songs, something you can really get your teeth into as an arranger. And I’ve been good friends with them ever since.

How did you first meet Josh Homme? And is he still a notorious party monster? (Rob Hirst, Kippax, Leeds)

Well, I think we’ve all calmed down rather a lot. Dave introduced me to Josh at his 40th birthday party. It was a ridiculous themed place where they have jousting with knights. As Dave said, it was like somewhere you’d have your 14th birthday party. Or maybe even your 4th. Anyway, Dave sat Josh and I together for a blind date. Which was reasonably embarrassing for both of us, surrounded by people going “prithee this” and challenging each other to duels. But we survived the trauma and went into the studio the next day, and just started jamming. And I knew immediately it was going to be something special.

If Them Crooked Vultures had Spice Girls-like nicknames what would they be? (Paul Jones, Liverpool)

Dave would be Smiley Vulture. He can’t stop grinning. Josh would be Slinky Vulture. He’s a slinky kinda guy. And I’d be Speedy, I guess. Or Jumpy. So there you go. Smiley, Slinky and Speedy. Or does that sound more like the dwarfs?

I remember you being a pretty funky bass genius back in the day! What memories do you have of those sessions? (Donovan)

The sessions with Don and Mickie Most were great, because we were given a free hand. I usually got leeway, because I was the sort of Motown/Stax specialist, so producers in the mid ’60s would get me in for cover versions of American records, and none of them could write bass parts convincingly enough, so I was London’s answer to James Jamerson, I guess! And I was certainly encouraged to get kinda… funky when I worked with Donovan.

How did it feel to see Jimmy Page and Robert Plant venture off in their own project in the ‘90s without mentioning a word of it to you? (Danny Luscombe, Hull)

Oh yeah, I was pissed off about it. The surprise was in not being told. It’s ancient history now, but it was a bit annoying to find out about it while reading the papers. It came just after Robert and I had been discussing the idea of doing an Unplugged project. Then I’m on tour in Germany with Diamanda Galás, I turn on the TV and see Robert and Jimmy doing it, with someone else playing all my parts! I was pissed off at the time. You would be, woudn’t you? But… it’s all in the past, isn’t it?

Did you listen to much work by Josh Homme or Dave Grohl before you were contacted in relation to joining Them Crooked Vultures, and if so, how did you honestly rate it? (Ralph Ryan, Lisronagh, County Tipperary)

I did like the Foo Fighters and Queens Of The Stone Age, before I’d met either of them. There’s a tendency for people – especially musicians from my generation – to say that there has been this terrible decline in musicianship, that today’s bands haven’t got the chops, blah blah blah. But that’s not true at all. There’s always some people for whom technique on an instrument isn’t necessary. They can get their ideas across without being able to have the chops. But Josh really does have the chops, he just doesn’t feel the need to flash them about all the time. In fact, there were a few riffs he gave me that I had to simplify, because they were bloody difficult to play. I really had to work at it, where he could just flick it off. He is an astonishing musician.

Were you serious when you told Peter Grant that you wanted to jack it in to become choirmaster at Winchester Cathedral? (Brian Fisher, Manchester)

Ha! That was a tongue-in-cheek joke, although I was serious about leaving Led Zeppelin in 1973 unless things changed. But Peter did sort things out pretty quickly. What kind of choirmaster would I have made? A bloody good one! Listen, any way that they’ll pay you for making music is just the best situation in the world. I’d do it for nothing. I don’t care what music it is. I just love it all. The rubbing of notes together. I love it all. I would be very passionate about whatever I decided to do.

What was the worst session you ever did as a jobbing session player? (Adam Burns, Castleford, West Yorkshire)

I generally have fun memories of that time. I’d criss-cross London playing two or three sessions a day, going between Trident and Olympic and Abbey Road and Philips in Marble Arch, you know. You’d be backing Shirley Bassey, Cat Stevens, Lulu, whoever was paying you. The worst experience was a Muzak session. With Muzak sessions, the music was deliberately boring. I distinctly remember one session where I embellished the bass part a little bit, just so that it wasn’t so boring for me to play. They said, “No, you can’t do that. Any interest in the music will distract people’s attention from when they’re meant to be eating.” Or standing in a fucking lift. For fuck’s sake! So I was like, “OK, thanks, bye!”

[spngirlpolls]

this is a very stupid poll about non-spn stuff that comes up frequently on my dash that i am not personally into but enjoy seeing the mutuals have fun discussing :)

[thislovintime]

Peter with Bill Laymon, 1993.

“I was in a band with Peter Tork for a spell in the San Francisco Bay Area - the Sam Andrew Band (Sam of Big Brother & the Holding Company). Peter was a fine player & a really great guy; always upbeat & cheerful, always bringing his best game, musically. Delighted to have had the opportunity to play with Peter Tork.” - Bill Laymon, comment on a Facebook post on the John Einarson Remembers page, December 2023

[tedtalkcity]

WELCOME TO THE OC BLOG GOOD LUCK FIGURING IT ALL OUT

its me robbie from @dykeseesgod welcome to the silly guy zone

MY TOYHOUSE THIS IS WHERE ITS ALL CONSOLIDATED THIS IS THE BEST PLACE TO LEARN ABOUT EVERYTHING ITS PRETTY MUCH ALL THERE

ASK MY QUESTIONS ABOUT ANYTHING AND EVERYTHIGN FOREVER

more info w/specifics about the thangs under the cut ^_^

MY STORIES ARE AS FOLLOWS

RELIGIONVERSE: set in 1950s new york city following an angel named theodore who is very much not supposed to be on earth. other key characters are his wife (cecily) his weird priest situationship (elijah) god (deity) and luci (satan) ALSO I HAVE A GOOGLE DOC CHRONICLING MOST OF THE LORE THAT YOU CAN READ HERE

INDIE: weird loser named atticus stalks his partner from highschool (axel) because thats easier than addressing his deep-seated childhood trauma. other key characters are axels current girlfriend (mitchell) takes place from the time theyre in 7th grade (2012) to more or less present day (2022)

VARMINT: two twins named shad and shishka, following the long-term aftermath of their dad, damien, killing their mom, sam, and damiens subsequent outing as a prolific serial killer. and theyre also furries! ive had these characters since i was literally age 8 they are my oldest ocs and my dearest children. takes place in 2021

HOMETOWN USA: fucked up town where every resident is based on a song by tom lehrer. no real story just a bunch of guys existing. theyre going through world war III. set in a vague anachronistic alternate 1960s

G&S INC.: normal office guys. listen to andrew in drag by the magnetic fields. set in the mid to late 1990s. daniel and andrew are mitchells parents btw. and emmetts there too

RAINFOREST FLOODS: haunted waterpark! ghouls! ghosts! soul crushing life ruining guilt over things that cannot be changed! toxic yaoi! sorry im getting tired of writing these. characters are andy bruce vincent kelsey and jeff. shared with @ratsbypaulzindel. you really got a hold on me by the beatles

SHITROACH: the most annoying people youve ever met in your life (gabby nelson graysong) are in a band that sucks dogshit. and also theres other people (niamh newt winona schmidt)

AND ALSO THERES MORE THAT ARENT IN ANY OF THESE STORIES BUT I DONT FEEL LIKE LISTING THEM FIREEMOJI

[ya-boi-haru]

Hey SMTO fandom! Amongst my time of cosplaying the characters (which you can watch here if you don't know my stuff) I did also do a genderswap au for a fun thing to continue doing the characters, but that was really it, however I'm about to reveal a project I never got around to working on...

✨️Seduce Me: Band AU✨️

I just recently remembered this, so I'm going to try and remember all the headcannons + add new ones, that I would have done!

James: Pianist, guitar + Band manager/agent, Lead vocal

Erik: Pianist, a little guitar, singer

Sam: Drums, guitar, back up singer

Matthew: base, back up singer, drums

Damien: learning: guitar, base, piano and vocals

Mika (mc): Singer

Diana: solo artist/singer

Saero: Diana's bodyguard

Suzu: Drums

Naomi: piano, harp

Andrew: piano

✨️Now headcannons✨️:

(Disclaimer: I'm not very knowledgeable on music stuffs so...)

• All the boys have tattoos, they all got a matching one of a heart with horns (the horns varying to what theirs look like in the game)

• Tattoos (not including the matching ones)

- James: tribal pattern around his lower torso, music notes

- Erik: Twisted rose vines with sharp thorns with blood drops

- Sam: Dragon on his back, demon circle on his shoulder, tribal patter on his front torso (to match his demon markings)

- Matthew: probably something colourful and kinda cute. A small simon tabby on his calf (he lost a bet)

- Damien: 4 music notes, each one drawn by a brother on his wrist

- Diana: Panther that looks like its coming out of her shoulder, Matching golden rose with Searo

• Piercings:

- James: (1)Earlobe double, helix, eyebrow

- Erik: Ears double, helix double, lip, nose, nipples

- Sam: Ears (double), helix ( double each), nose, tounge, lip (snakebite)

- Matthew: Ears, nose, helix (double)

- Damien: Ears (double), nose

- Diana: Ears, nipples, tounge

- Saero: Lip Dolphin bites, ear, helix

• Whenever Sam needs to vent out his feelings he takes it out on his drums, doing "practice sessions"

• All the brothers are teaching Damien how to play/sing since he wasn't allowed to learn growing up

• They've heard of Diana since their parents tries to get them to make a contract with each other but the brothers left their Fathers publisher name before they could

• While they enjoy playing together, the boys do have their own style as well

• SAM USES GUYLINER

• Mika would sing with Naomi and Suzu and they'd pretend to have big gigs while playing the the garage. Her father would rather she take over the producer company, but thinks its good she's "knowledgeable about the art"

• Erik is in charge of their outfits/costumes

• Matthew organises light/stage work etc

• Damien chills back stage with James when he's not on

• Damien is working on a song

• Sam takes his drumsticks with him everywhere. He has multiple and even a lucky pair

• Sams never been one for writing the songs but he tries to for Mika

• The boys started out at bars and small clubs and just where ever they could get a gig. They also done some shows for charity

• Harold discovered them and let them join his record company

• Mika wanted to be a singer but was supposed to take over her dad for the company and she "couldn't do both"

• Diana met up with Harold before about a job at his company but before papers could be finalised, he passed away

• Damien doesn't want to show his song as he's "still working on it" but if you were listening at the right time, you can hear him humming it, trying to work out a melody and lyrics

• Erik, Mika & Matthew are shower singers (both in the AU and cannon)

• The boys learned how to play Mikas favourite song as a surprise for her birthday

• Mika helps them out with Social Media management

That's all I have for now but hope you enjoy the concept. Feel free to add on or use as inspiration for anything (tho please credit/tag)

[castielli]

How to request:

Send your request featuring the character you want, the plot (+ANGST, FLUFF…) and anything I need to know about the reader. I write MALE READER only

MASTERLISTS:

MOVIES/TV SHOWS

KDRAMA/KPOP

OCs PROFILE:

@nathan-ocs

Fandoms I write for under the cut!

——————————————

NCIS

Timothy McGee

Jimmy Palmer

Nicholas Torres

CRIMINAL MINDS

Spencer Reid

Penelope Garcia (platonic🫶)

Luke Alvez

CALL OF DUTY (MW/WWII)

John Price

Soap MacTavish

Ghost Riley

Gaz Garrick

Alex Keller

Alejandro Vargas

Phillip Graves

Vladimir Makarov

Rudy Parra

Red Daniels

William Pierson

Joseph Turner

Robert Zussman

Frank Aiello

Drew Stiles

SHAMELESS

Ian Gallagher

Carl Gallagher

Lip Gallagher

Mickey Milkovich

Kevin Ball

THE WALKING DEAD (+TELLTALE GAME)

Rick Grimes

Daryl Dixon

Glenn Rhee

Negan Smith

Shane Walsh

Lee Everett

Kenny

Doug

Mark

STRANGER THINGS

Steve Harrington

Billy Hargrove

Robin Buckley (platonic)

Eddie Munson

Jim Hopper

Jonathan Byers

Peter/001

Jason Carver

Dimitri

THE UMBRELLA ACADEMY (I still need to finish the last season😊)

Viktor Hargreeves

Klaus Hargreeves

Diego Hargreeves

Number Five

Luther Hargreeves

Ben Hargreeves

SUPERNATURAL

Dean Winchester

Sam Winchester

Castiel

Crowley

Bobby (platonic)

Chuck

NOW YOU SEE ME

Jack Wilder

J. Daniel Atlas

Merritt McKinney

Dylan Rhodes

Chase McKinney

MARVEL (Avengers/X-men)

Wanda Maximoff

Tony Stark

Bruce Banner

Thor Odinson

Loki Laufeyson

Steve Rogers

Stephen Strange

Peter Parker (Tom/Andrew/Tobey)

Clint Barton

Deadpool

Bucky Barnes

Sam Wilson

Peter Quill

Quentin Beck/Mysterio

Eddie Brock/Venom

Druig

Ikaris

Charles Xavier

Erik Lehnsherr

Peter Maximoff

Wolverine

Scott Summers

Hank McCoy

Bobby Drake

Alex Summers

Phil Coulson

Marc Spector/Steven Grant/Jake Lockey

Scott Lang

Pietro Maximoff

Mobius M. Mobius

Matt Murdock

Shang-chi

STAR WARS

Anakin Skywalker

Luke Skywalker

Obi-Wan Kenobi

Kylo Ren

Poe Dameron

Finn

TEEN WOLF

Stiles Stilinski

Scott McCall

Derek Hale

Isaac Lahey

Jackson Whittemore

Peter Hale

Theo Raeken

Liam Dunbar

Jordan Parrish

Mason Hewitt

Danny Mahealani

Aiden Steiner

Ethan Steiner

Corey Bryant

THE BOYS IN THE BAND

Bernard

Harold

Hank

Donald

Cowboy

Alan McCarthy

Michael

Larry

Emory

WHITE COLLAR

Neal Caffrey

Peter Burke

Mozzie (platonic)

Clinton Jones

DIVERGENT

Peter

Caleb Prior

Four

HARRY POTTER

Neville Longbottom

Sirius Black

Cedric Diggory

Seamus Finnigan

Viktor Krum

Remus Lupin

Draco Malfoy

Tom Riddle

Charlie Weasley

Fred Weasley

George Weasley

Percy Weasley

Ron Weasley

Oliver Wood

FANTASTIC BEASTS AND WHERE TO FIND THEM

Gellert Grindelwald (Mads Mikkelsen)

Newt Scamander

Credence Barebone

Theseus Scamander

Albus Dumbledore (Jude Law)

HUNGER GAMES

Peeta Mellark

Coriolanus Snow

Sejanus Plinth

MAZE RUNNER

Newt

Thomas

Gally

Minho

911 (and LONE STAR)

Evan Buckley (Buck)

Howie Han (Chimney)

Bobby Nash

Eddie Diaz

TK Strand

Carlos Reyes

Paul Strickland

Owen Strand

Jud Ryder

Mateo Chavez

RIVERDALE

Jughead Jones

FP Jones

Archie Andrews

Hiram Lodge

Sweet Pea

Fangs

Kevin Keller

Reggie Mantle

Chic

Moose Mason

BROOKLYN99

Jake Peralta

Terry Jeffords

All the others (platonic only)

CHRISTIAN BALE

Patrick Bateman (American Psycho)

Bruce Wayne (Batman)

PEDRO PASCAL

Joel Miller (TLOU)

Din Djarin (The Mandalorian)

Javi Gutierrez (The Unbearable Weight of Massive Talent)

Javier Peña (Narcos)

Oberyn Martell (Game of Thrones)

Agent Whiskey (Kingsman)

Silva (Strange Way of Life)

Francisco Morales (Triple Frontier)

Marcus Moreno (We Can Be Heroes)

Dieter Bravo (The Bubble)

DETROIT BECOME HUMAN

Connor

RK900

Hank

Markus

Luther

Simon

Gavin

Josh

BARBIE

Ken (Ryan)

Ken (Simu)

Allan

SHERLOCK

Sherlock Holmes

John Watson

Jim Moriarty

Mycroft Holmes

FNAF (movie)

Mike Schmidt

Steve Raglan

SUITS

Harvey Specter

Mike Ross

LA CASA DE PAPEL

El Profesor

Berlín

Palermo

Denver

Río

I WON’T WRITE:

-Smut (for anyone)

-R*pe

-Female readers/GN readers

-Suic*de

-inc*st

-Crossdressing

-Romantic/Suggestive stories for underage characters (only platonic, basically)

If the character you wanted to request is not on the list, you can try and ask me anyways.

[louisrarepairfest]

LOUIS RARE PAIR FEST 2024

— Pairings —

[Feel free to submit a possible rare pair you would like to read or write that you don't see on the list here]

🫐 Poly pairings are allowed.

🫐 Writers can sign up for any Louis rare pair pairing on the list or one of their own choosing.

🫐 Multiple writers can write the same pairing.

⬇️ Possible pairings below ⬇️

Louis/Liam

Louis/Zayn

Louis/Niall

Louis/Liam/Zayn

Louis/Liam/Zayn/Niall/Harry

Louis/Nick Grimshaw

Louis/Nick Grimshaw/Harry

Louis/Original Character

Louis/Luke Malak

Louis/Michael Blackwell

Louis/Greg James

Louis/Charlie Lightening

Louis/Angus O'Loughlin (aka the Australian interviewer from 2014)

Louis/Dermot

Louis/Lando Norris

Louis/Dominic Calvert-Lewin (soccer player Harry Lambert is styling)

Louis/Taylor Swift (f/f, m/m, m/f)

Louis/either Gallagher brother

Louis/himself

Louis/Billie Joe Armstrong

Louis/Sunroom band

Louis/Ian McKellan

Louis/Cillian Murphy

Louis/Brie Larson

Louis/Alex Gaskarth

Louis/Vincent Rodriguez III

Louis/Oscar Isaac

Louis/Matt Bomer

Louis/Harry Potter

Louis/Danny Zuko

Louis/The Derry Girls cast (f/f)

Louis/David Bowie

Louis/Matt Dinnadge

Louis/Andrew Garfield

Louis/Rob Pattinson

Louis/Sebastian Stan

Louis/Sam Claflin

Louis/Zayn/Liam

Louis/Michael B. Jordan

Louis/David Dawson

Louis/Pedro Pascal

Louis/Alex Turner

Louis/Frank Ocean

Louis/Tom Holland

Louis/Isaac Anderson

Louis/Jacob Elordi

Louis/Peso Pluma

Louis/James McAvoy

Louis/Jude Law

Louis/Logan Lerman