#anyway i went after lyrics for these examples but just generally when going through the playlist the first time

[svtskneecaps]

also in terms of the bolas playlist it's fascinating to me that the songs added by each person have a slight tendency to represent a consistent aspect of bolas

like

the songs added by slime are their chaos

the songs added by philza are their rebellion

the songs added by cellbit are their rage

the songs added by baghera are their anguish

it's so fucking FASCINATING TO ME but i don't know enough music theory to elaborate lmfao this is Vibes Only

(mouse's songs i can't boil down to an easy noun which is why they aren't mentioned lmao anyway they go hard asf)

(also i went on the longest fucking unhinged elaboration in the tags lmfao i almost didn't have enough tags left to tag "long tags" at the end

(i could have even gone on longer in terms of where their characters were at entering purgatory [philza: cage for a cage; cellbit: fed worker murders; baghera: her past as a federation experiment; slime: turning into a code because of the code pretending to be his daughter] but i ran out of space and also time it's 4AM AAAAA)

[jackredfieldwasmyjacob]

Not an ask, but a task: I want you (if you want, of course) tu sort your main characters from your book using the @/sortinghatchats system (@/wisteria-lodge has a great short guide to understand the system)

Also, I'd like to know how they were conceived (the characters specifically, not necessarily their story) and what your favorite character dynamic from your book is

thank you so much for the ask anon!! i didn't even know about the sorting hat chats system so you've just opened a whole new world for me lol

i'm gonna use both the characters from my finished book (not all of them, just the ones i would say are the 'main' ones) and the ones from my fantasy book cause there are only two of them and i wanted to see how they'll fit lol. anyways, here's how it would go:

finished book:

-león: (exploded) snake primary, lion secondary. to explain the conception of these characters i need to tell you the origin of the story first. basically, i decided i would keep a diary for a year (2017) and then make a book out of it. it ended up pretty different from real life but nevertheless, león is heavily based on myself as the main character of the book. specifically, he is my 2017-self more or less. of course i've changed a bunch of stuff of his personality (i don't think i would be snake lion for example) but still it's undeniable he's my self-insert at the end of the day. i chose that name cause it's my dad's and great-grandfather's name and i think it's a pretty cool one.

-emma: snake primary, snake secondary. she is loosely based on the crush i had back in 2017. i say loosely cause she ends up being a really vital character in the book and so i changed a lot about her personality and character; the only recognizable traces to her model are like some of her physical attributes and minor details, that's it. i chose that name cause back in the day it was my favorite name. also i was reading madame bovary and there's actually a bunch of references to that book through the names of various characters (see león for example).

-celia: (burnt) badger primary, (bookkeeper) badger secondary. every chapter in my book starts with a song with lyrics i then work into the plot of that chapter. for celia's introduction, she was supposed to be a girl getting bullied in a street i went to that year. i based her appearance and personality partially on this one girl i know and max from stranger things more or less, and ran with it. i definitely didn't realize she would become that important when i first conceptualized the bullied girl. for the longest time her name was just 'the maudes street girl'. i went for celia in the end just because it is one of my favorite names and it fits her personality.

-jimmy: lion primary, lion secondary. i know he doesn't exist but he's my friend okay? anyways i generated the songs for the chapters randomly and for jimmy's first appearance i got st. jimmy from green day and i immediately went OH. he literally popped up into my head the minute i read st. jimmy on the screen, he's literally him. i was reading / watching nana (the anime / manga) at that moment so i just visualized a guy that would fit right into the punk aesthetic there. of course his name was chosen after the song, and his real name, jesús, is also referencing a green day song (jesus of suburbia).

-carolina: (burnt) lion primary, bird secondary. carolina is a weird one, cause i conceptualized her after carolina by m-clan was chosen as the song for her first appearance, and i never really stopped to think about how she is or looks or acts? i loosely based her after cris from skam españa kinda?? at least in her fashion sense more or less. the thing is, i already have a character that dresses similarly and is heavily implied to be a choni, but carolina never really seems a choni herself. she also acts very differently after her first appearance because, once again, i wasn't planning on her being as important as she turned out to be. she's definitely the more underdeveloped character of the bunch and i'm planning on developing her for the next draft.

the book centers around the dynamic between león and emma, but honestly my favorite one is the león-celia one, i think it's very cute and wholesome. i also really like león-jimmy and jimmy-carolina, they're nice i think :)

fantasy book:

-jiji: snake primary, lion secondary. back in the day (i'm talking 2012-2013) when i was first creating my fantasy world, i made a list of all the stories in all the countries of that said world that i would get to write in the future. in there is where i first conceptualized jiji; as a young girl with strong morals that escapes the life dictated for her and her best friend to look for a better life in the fringes of society or somewhere else in the world. over the years i've been polishing her character more, but she's never stopped being that girl; that's in essence who she is. i wanted her to be like katniss everdeen; a cool strong girlie who fights for her ideals and is just a badass. as for her name, i just tried a bunch until jiji sticked.

-li: bird primary, bird secondary. li!!! li was conceptualized much later than jiji, for years he was just 'the friend' until i had to actually create him. as jiji was based around katniss, i wanted him to be more like peeta: soft, charismatic but not action-oriented. i don't think he ended up like that, as he's way more depressing and less charismatic, and he reminds me more of lloyd from harvest moon grand bazaar now ( i know, weird reference). in the end i basically wanted him to oppose jiji in their world-view: whereas jiji is angry at everything and knows pretty well her immediate surroundings but not the rest of the world, li is just contempt with it and knows a lot about a lot of places due to being a bookworm (this might be a bit self-inserty but whatever). as for his name, it's the same story as jiji's, i just tried various until one sticked lol. his name actually has some in-universe lore i'm pretty happy about so that's also nice :)

this book is all about the dynamic between them two so yeah, a pretty easy answer for this one lol.

[swimmingleo]

Harry Styles and Two Loves - A love that dare not speak its name.

‼️Disclaimer I am in no way an English literature expert or student for that matter and can barely organize my thoughts but I’ll try my best. If something doesn’t make sense or is regretful thinking please tell me‼️

Basically Harry is a fervent reader that does not limit himself to Buk*wski and Mur*kami though for some reason he loves to bring up those dudes. Queer literature seems to play a big role when it comes to his inspiration and I love that about his music. A good example is his Shakesqueer Sweet Creature madness. But another one that I hold close to my heart are the parallels he draws with Alfred Douglas’ poem, Two Loves.

Here is the full poem. Give it a read if you can because I won't break it down verse by verse for this post sorry :(

To make it short, the poem is about the narrator (let's say Douglas) wandering in a garden where he meets a young man that turns out to be his lover. For context, Alfred Douglas was very much queer and in a romantic relationship with Oscar Wilde. Both developed their own coded language to express their love and ''sexual tendencies'' through their art (been this way foreverrr will we ever leaarn). However they were not always so sneaky about it and Two Loves in particular was so in your face that it was used against Wilde to prove his homosexuality in trial. He did get away with it this time. Here is his defense. Blueprint of denials. No iPhones at the time.

In Two Loves, two different personifications of love introduce themselves to Douglas and his lover:

The first love is loud and cheerful and sings about pretty women and men that love the said pretty women.

The second love is discreet, almost erased by the other’s presence but is beautiful and draws the attention of the narrator.

Obviously the first love is Heterosexuality, the one that is openly praised by society and the second is Homosexuality who is bullied into silence by Heterosexuality if he tries to speak. The poem ends with Homosexuality saying "I am the love that dare not speak its name." Yeah. And isn’t that the story of H’s career.

HS1 opens with MMITH which ends on "We don’t talk about it, it’s something we don’t do". And from there follows SOTT, "We don’t speak enough". And right after we get the very loud, very explicit and very well documented Carolina. So far the album narration goes "There is something painful going on but we can’t talk about it, I say ‘we’ because there is a you and I and yeeEEAAH THIS GIRL I MET ONCE GETS A WHOLE SONG THE WORLD DESERVES TO KNOW HOW GOOD SHE FEELS FOR A LADDY LAD LIKE ME ALSO HER NAME IS TOWNES YOU CAN CHECK FOR YOURSELF SEE IF SHES REAL I LOVE REAL WOMEN AS IN WOMEN THAT EXIST". Heterosexuality is loud and sings about pretty women right.

But then, THEN we get Two Ghosts. Which is the center piece of this whole post. I mean, the title... Two Ghosts//Two Loves Two hearts in one home ? Sick.

The parallel that hits the most is the physical description that is made of Douglas’ lover and of Homosexuality (which are technically two different characters in the poem).

Douglas’ lover / Homosexuality

Same lips red / Same eyes blue / Same white shirt

Red were his lips / His lips were red / His eyes were clear as crystal / His large eyes were strange with wondrous brightness / White as the snow / His cheeks were wan and white

In Douglas’ poem, it is meant to be understood that the young boy he meets first, his lover, is related to Homosexuality through their physical appearance. Douglas’ love is therefore inherently queer. With Two Ghosts, I’ve always wondered why Harry chose specifically to point out a white shirt as it comes across a bit generic and not really personal yk? But if you compare it to Two Loves, it checks out the recurrent descriptive color scheme: red, blue and white. In both works, red are the lips, blue are the eyes, and white is the ~envelopp. RIGHT. I suppose Harry didn’t feel like describing his lover with pale white skin since it’s brown with lemon over ice when under summer skies so he went with a plain white shirt instead.

I’m not going through a whole analysis of Two Ghosts yet I can safely say that it deals with unspoken words. Not saying things is a recurrent theme in H’s songwriting but within the album, Two Ghosts is the first song that deals with it through the undeniable prism of romantic love. Right before with Carolina, H had no issue being straightforward and wanted to "scream and shout it out", but with Two Ghosts he’s tongue tied and doesn’t say what he really means. Communication issues go on with the following track Sweet Creature, btw may I just:

But oh, Sweet Creature (!), Sweet Creature

Would he […] cry "O sweet creature!", Othello

I cried "Sweet youth…, Two Loves

Queer Literaturry is going wild(e).

Expanding this post with Sweet Creature allows me to speak about the garden metaphor. In lyric poetry, the expression of emotions is often done through nature. It is a process that Harry seems pretty fond of when singing about love (ie Olivia, Adore You, WS, Canyon Moon and Sunflower are good examples) but it’s way more subtle with TG and SC. In Two Ghosts, nature is the moon, and in Sweet Creature it’s the garden.

Would you look at that, Two Loves happens to combine both:

Moon dances over your good side and this was all we used to need, Two Ghosts

Running through the garden oh where nothing bothered us, Sweet Creature

Flowers that were stained with moonlight / Alone in this fair garden, till he came unasked by night, Two Loves

For Harry, the night is where the moon enhances his lover’s beauty, when it’s just the two of them and they need nothing more than each other. The garden is where they run (free?away?), once again alone, unbothered. For Douglas, Homosexuality took form and began to occupy the garden at night, while Heterosexuality who thrives in the golden light (um I- nvm) wasn’t paying attention.

It is also interesting to note that Homosexuality is associated with the night but also with death. And he’s super pale. So like… A ghost ? ANYWAY.

The garden in Two Loves is where love happens, it is a piece of heaven. It’s elevated on a hill and untamed with flowers of various colors growing everywhere. There is sunshine and moonlight, there are "pools that dreamed" and by pools I assume the author means vernal pools which are habitats where flowers grow and oh look over there:

Nice ruffles on that white shirt by the way. Very Victorian.

Two Ghosts, 2017 Mularry so true

So yeah. I don’t want to go into full analysis mode but I find it all interesting. Once again, Two Loves holds a great significance regarding the Oscar Wilde’s lore, and Harry is probably very familiar with anything Wilde related (don’t even start) and by that I think about the Carnation business.

I’ll just conclude with that quote from Maurice by E.M Forster whom I love very much:

"I am an unspeakable of the Oscar Wilde sort."

[telehxhtrash]

I originally wanted to make two separate posts about this but i’m actually making a single one : the overarching theme of love, redemption, second chances and Togashi’s overall positive and optimistic writing are leading me to believe a few things concerning Killua and Gon’s relationship, namely that we’ll get an explicit romantic confession to canonize their relationship, but also that Gon is actually the one who fell for Killua first.

First of all, I know I say it a lot but I really, really do believe that by the end of the manga, Killua and Gon’s relationship will be a canon romantic one. I wrote a short post about this already, but I’m gonna explain briefly my point of view on this as I believe it’s important and relevant to the points I want to try and make in this post.

• Killua is pretty much canonically in love with Gon. There’s just too much subtext concerning this matter, and the “shinjuu” line single-handedly canonizes that fact. Togashi is a very, very smart man, and doesn’t throw random words around, he knows the weight of the word shinjuu and what it implies, and the entire chimera ant arc focuses on Killua’s feelings towards Gon, so there is no doubt in my mind that Killua canonically has romantic feelings for him. These two tweets live in my head rent free because it’s so wonderfully written, so here you go :

• I also deeply believe that Togashi would never leave this ambiguous. I wrote a full post about this if you want to read it, but basically, it doesn’t fit Togashi’s writing style. A lot of people say that Togashi’s queer rep is ambiguous in HxH, but it’s unfair because HxH is literally not over yet. There are still ambiguous things because the manga is still developing. Thing is, Togashi has put queer characters in his previous works, and it was never ambiguous. It was always explicitely stated. Same goes for the relationships between his characters. There’s no reason to believe this wouldn’t be the case for HxH.

• Togashi’s positive writing is echoed in Killua’s story arc, in the sense that Killua reflects Togashi’s optimistic writing style and the overarching theme of love, redemption, second chances and the power human connection. 

Killua’s character arc is one of slowly changing your life around, becoming your best self with a little help from someone to show you the way, it’s about positive growth, healing from trauma and going against what people think of you. It’s about healing and becoming your best self, no matter what.

It’s a very positive character arc, and one that’s been thoroughly demonstrated during the entire story.

That’s why Killua’s romantic feelings towards Gon could never stay unrequited one way or another, because it just would defeat the entire positive narrative of Killua’s character arc. Because Killua’s character arc is about healing and growing, and even though you thought you could never do that, learn how to love. It’s about finding love after abuse. 

And to me, the only way to complete that story arc, when we know that Killua canonically has romantic feelings towards Gon, would be for Gon to return those feelings. Because Killua’s character arc isn’t only about learning how to love someone no matter what, but also about being loved in return. That’s how you complete Killua’s positive story arc. 

I’ll come back to this theme a bit later on, though.

• There’s no way Shonen Jump can intervene and censor HxH. Now, I think I’m one of the few meta writers who actually believes this, but I’m 100% convinced that Shonen Jump always knew that HxH is queer work. I wrote multiple posts about this : the first post I linked mentions why SJ probably knows ; on the general gay subtext in both anime adaptations ; on 99 specifically and finally on the fact that it’s weird that gay subtext was emphasized in 99 anime when there was none in canon material only for it to appear later on in the manga.

But to summarize, there’s just no way Shonen Jump doesn’t know. 

First of all, Hunter x Hunter is published right after Yu Yu Hakusho. Thing is, Togashi ended YYH for a few reasons, but one of them was because he didn’t feel free of doing what he wanted to do with his story, because Jump kept on declining his ideas.

This led him to completely drop the story. Now, if you’re a manga writer who’s been deeply disgusted by how your last manga was controlled, what would you do ? I’m sure you would make 100% sure you could take your next story wherever you wanted. And I’m certain that’s what Togashi did. Because to be able to write his story the way he wanted, he had to make sure SJ would allow him to go anywhere he wanted. That includes his characters and their relationship dynamics, which are the basics when you pitch a story.

Togashi also emphasized in one of his interviews that he’s free to do whatever he wants.

Furthermore, Togashi’s editors and Shonen Jump aren’t dumb. They can definitely pick up on the gay subtext. If they didn’t want gay things in HxH, they would’ve never let Togashi publish some chapters, ESPECIALLY the chapter where Killua declares he’ll commit shinjuu with Gon. SJ isn’t dumb. Shinjuu hits HARD, especially in japanese, so they definitely know what it means (it’s literally the equivalent to saying them dying together would be like Romeo and Juliet).

Finally, and that’s half crack-theory half serious, but one of the main reasons I believe SJ knows is because of the 99 anime adaptation. It was HxH’s first anime adaptation, and Togashi was involved in it to some extent. Now, 99 is extremely gay. I linked the posts where I talk about it above, but basically, it’s rainbow flags overlay on top of the characters in the opening, gay opening and ending song lyrics, over the top gay lines and situations.... which is interesting. Because like i mentioned in one of these posts, it’s interesting that this gay subtext was present and highlighted in the anime adaptation when there was none in the manga at that stage. It’s very, very interesting that gay subtext appeared later on in the manga, after the anime adaptation went crazy with it. I firmly believe it’s because Togashi pitched his manga as gay to the 99 animators, and if so, that’d mean SJ would also know.

Anyways ! In short, I believe Killua and Gon’s relationship will become canon by the end of the manga because there’s no risk of editorial meddling since SJ probably knows this is where the story is going. Killua’s romantic feelings are also pretty much canon, and the only way to complete his positive character arc would be to have Gon return those feelings and prove that you’re worthy of love no matter what. Finally, Togashi would never leave it ambiguous, because that’s something he’s never done before, and Killua and Gon’s relationship has never been portrayed as ambiguous nor subtle, it’s still developing.

Now !! This was just an introduction to what I wanted to talk about in this post, I’m sorry you still have a bit more reading to do HAHAA

But ! 

With this belief in mind that Killugon will be canon in the end, there are two things I want to talk about.

• First, I genuinely believe we’ll get a romantic, highly emotional love confession scene between the two of them. For the sole fact that it’s something deeply intertwined with Killua’s character arc.

Like I mentioned above, Killua’s arc is about overcoming trauma and having a second chance at life, a chance to be better, a chance to be your best self. His arc is about opening up his heart to new experiences and new feelings, and learning how to love and pass that love around. His story arc is representation for trauma survivors that things can and will get better, and you can overcome anything, turn your entire life around, heal, and thrive.

And to me, the completion of that story arc is definitely to show that not only can you learn to open up your heart and love someone, but that you can be loved for who you are. That someone can look at you for who you are, accept you and love you no matter what. You can be loved by someone the same way you love them, in a romantic way.

To me, that’s where the story is going. Considering Killua’s canonical romantic feelings, and the overall positive themes surrounding his character arc, there’s no doubt in my mind that this is the message Togashi wants to convey.

And in my opinion, this message wouldn’t be delivered ambiguously or subtly. This narrative of being loved has always been enforced through highly emotional scenes throughout the manga, to highlight the message that yes !! you, trauma survivor !! can be loved for who you are !!

It’s been expressed through that emotional scene where Nanika tells Killua she loves him, for example.

It’s also been displayed in the countless scenes where Gon expresses his love for Killua, expresses his admiration for him, how he’s glad he’s met him, how happy he makes him, how Killua is his best friend in the entire world.... It’s been conveyed through the stargazing scene on Whale Island, through the entire Zoldyck Family Arc where Gon waltzs in the Zoldyck Mansion to rescue Killua, through the scene in Greed Island Arc where Gon tells him he’s glad to have met him, through the dodgeball match scene where Gon declares that it can only be Killua holding the ball, through the moment Gon says that the first thing he’ll do when he sees Ging is introduce him to his best friend in the whole world, Killua. 

Togashi could have chosen to show and not tell that Gon cares a lot about Killua, and that he finally found someone who loves him for who he is. He could’ve made them hang out normally, and we would’ve understood that Killua found someone who accepts him. But no, this has always been the main theme of HxH. Seeing the both of them grow closer and closer and grow and heal together. He chose to highlight the fact that he’s loved and cared for through words of affirmation to emphasize the narrative of being loved after surviving trauma. For the purpose of providing an extremely clear message of love to trauma and abuse survivors who identify with Killua : that you can find someone like Gon, someone who will love you for who you are. Togashi wanted to make it explicitly clear.

So now, since all of these words of affirmation were “platonic” (i’ll come back to the quotation marks in the last part of this post), but still highly emotional :

Wouldn’t it make sense that the romantic application of this narrative would also be portrayed through a highly emotional scene ? 

For the sole purpose of highlighting the final message of Killua’s story arc of overcoming your past and being loved and accepted for who you are, in a romantic way this time ? Of being loved the same way you love ? 

Since we’ve had so many platonic reaffirmations of this idea, I think it’d be fitting for the romantic part of the narrative to be conveyed through a highly emotional scene. Like a confession scene under the stars that would parallel the stargazing scene on Whale Island, for example, since stars are thematically fitting since they are linked to Killua’s story echoing Tanabata. 

An open love confession would be the final and ultimate way to cement that narrative of loving and being loved. A highly emotional scene, just like we’ve always had, to demonstrate the romantic application of the theme of being loved after experiencing trauma. The ultimate, non-ambiguous message of unconditional love for trauma survivors. 

Showing that you, trauma survivor who identifies with Killua, can learn to love yourself, love someone else and be loved in return.

• Keeping Killua’s character arc in mind, I want to adress a final point that I deeply believe is true. 

To me, Gon is the one that actually fell in love with Killua first.

Thing is, Gon is that type of character that acts first and thinks later on. He always does things on instinct, only giving it thought after the thing happened. So it 100% makes sense that it would apply to romantic feelings too. That’s why, to me, it’s very likely that Gon fell in love first but just didn’t realize it was romantic feelings, because he’s 12, never really thought about it and feelings are confusing. And to me, Togashi is setting up feelings realization on Gon’s part.

Gon has always behaved very intensely with Killua, always reaffirming how much he means to him. He’s always taken onto that role of providing Killua with love from the moment he met him. He accepted him for who he is, and always made him feel cared for. 

Togashi definitely planted the seeds for a possible interpretation of this idea of him falling first. The stargazing scene on Whale Island is just.... so romantic in nature. Gon tells Killua that he’s happy when he’s with him under a starry night sky, tells him he wants to travel the world with him and stay with him, because his presence next to him fills him with joy. Then we have his constant words of affirmation towards Killua, and how cool he is, how amazing and strong he is...

But to me, what really convinces me that Gon fell first is Greed Island arc. Gon’s behavior towards Killua during this arc was extremely emotional. It was deep, deep care and love for his best friend. We get to see him blush as he tells Killua that he’s really, really glad he’s here with him and glad he’s met him.

We get to see him declare that the first thing he’ll do when he finds Ging will be to introduce his amazing best friend to him.

But honestly, what made my brain explode is the dodgeball scene. 

Because as I mentioned in this post, the phrasing Gon uses is one that is used in romantic contexts to confess to someone. It’s a love declaration, literally. And I don’t believe Gon meant it as romantic, because he probably has no idea his feelings are romantic in nature. But. Togashi is a troll. He really, really enjoys toying with his readers. 

To me, the fact this sentence is romantic in nature could be Togashi putting Gon’s feelings right in front of our faces, hiding it in double meaning but still plainly there for us to see. It could be Togashi toying with us in the process of setting up Gon’s feelings, so that when it gets canonized that Gon fell first, on a re-read of the manga, you go “oh. that sentence is romantic. it was literally right in front of our eyes the entire time”. I’m probably reaching !!! but!!!! the fact is, this sentence is still romantic in meaning. It’s still coated in romantic subtext. And that’s intentional on Togashi’s part.

I’ll link this magnificent post by Quintessence that basically explains what I just said much better.

In short, it would totally make sense that Gon fell first. It wouldn’t come out of nowhere, since Gon’s behavior from the beginning of the manga can definitely be interpreted as romantic in nature. The countless emotional scenes where he asserts how much he cares for Killua can definitely be read as romantic, and Gon’s behavior can definitely be explained by him having a crush on Killua, despite him not knowing.

Now, the thing that makes me further believe this is true is the fact that symbolically speaking, it makes sense that Gon fell in love with Killua first. It would enforce the narrative of Killua’s character arc of being loved for who you are and not having to earn love.

It would literally dismiss everything Killua believes about having to earn the right to be loved. About having to earn his place right next to Gon. About having to change to be good enough for Gon.

Because if Gon fell first, then Killua was loved for who he is from the beginning, from the moment they met. Killua didn’t have to earn his love, like he thought he had to, especially in CAA, because he was loved the same way all along.

It’d show that Gon didn’t start to love Killua because Killua earned that right by changing for Gon. He didn’t start to love Killua when he started to heal and change his life to become a good person. He was always loved for who he is because Gon always saw him and loved him no matter what.

And that would once again highlight Killua’s character arc beautifully. It’d show that you are worthy of love even if you literally just came out of years of abuse. That someone can look at you and instantly fall in love with you, no matter how broken and unworthy of love you think you are. You never, ever had to earn that love. It was always here to begin with.

It’d break Chimera Ant Arc completely, it’d break Killua’s belief that he was unworthy of staying by Gon’s side and that he had to earn his place. Because he was always loved and never had to earn his right to stay by Gon, because Gon wanted him there all along. 

And that is a beautiful, deeply symbolic meaning that would complement Killua’s character arc perfectly.

It’d be Togashi showing trauma survivors that you can heal and love yourself, learn how love someone else and be loved in return. 

Showing trauma survivors that you don’t have to prove your worth to be loved. That just like Killua, even if you came out of years of abuse, a broken, scared person, you’re always worthy of love. That you’re worthy of love at any stage of your healing phase. That you’re worthy of love no matter how broken you feel you are. 

Someone will always love you and accept you for who you are. 

Anyways !! Thank you for reading this !! Those two headcanons are really precious to me and I really do believe they could come true. Because it’d make sense in so many ways ! 

I know it’s hard to imagine such a thing happening, because queer representation has always been ambiguous that it’s hard to fathom a manga being openly gay, but I really want to be optimistic about it. We got the subtext, the author interested in LGBT-rep, the positive narrative and virtually no risk of being censored. 

So I want to stay optimistic on this and believe that we’ll get a romantic love confession as a way to canonize their relationship, and that it’ll become evident one way or another that Gon fell in love with Killua first.

Thanks for reading !! 

[theywontletmebeprincipal]

can you give me drowsy headcanons, ramble, or anything please, i am so deprived. do not be afraid to make it super long, the more the better, i just love drowsy chaperone and love to hear other people (plus you’re one of the only people i’ve seen who knows a lot abt it)

ASK AND YE SHALL RECIEVE

I’ll divide this into a few different parts, going from least to most excruciatingly sad :)

1. general headcanons

2. in canon things i noticed and think about daily

3. a full analysis of man in chair’s connections with the drowsy chaperone as an in universe show (trigger warning for abuse ment, alcoholism ment, suicide ment)

SECTION ONE: HEADCANONS

- okay the chaperone is trans I don’t make the rules

- also her name is ambrosia :) she forsook her last name :)

- she’s about 12 years older than janet and kinda hung with janet’s family after leaving her own for a while . essentially she’s a big sister to janet

- aldolpho has some lines where he asks if the bride is big and/or burly and while in canon this is supposed to show he’s kind of a womanizer I like to believe it’s because he was fully prepared to fight her if needed

- speaking of which Of Course janet is ripped she does gymnastics

- my batshit crazy headcanon for this show is that dee dee allen from the prom is a descendant of roman bartelli no I will not elaborate

- is aldolpho one of those bitches with pets that definitely shouldn’t be legal? yessir

- post show kitty becomes a star okay I just want her to be happy

- the “pastry chefs” do discover a love of baking post show and now run a shop along with performing in feldzeig’s follies which might maybe be a front for some crime too

- TRIX DROWSY AND ALDOLPHO WORLD TRAVELING POLYCULE CAUSING PROBLEMS ON PURPOSE

- underling’s name is james I will not elaborate on this either

- show never says what trix does so I’ve decided she’s an explorer. she charts maps and punches colonialists and drags her stupid friends along with her, the only bitch in the show with a braincell

- drowsy was a former vaudeville child star pre transition - she left the business but was a mentor to janet

- I do have a headcanon for mic’s name but in the spirit of every actor who’s ever played him I won’t fucking tell

SECTION TWO: SHIT I NOTICED

- robert refers to himself by full name a lot of the time which is v interesting given he’s named after the writer, bob martin (whose wife is also named janet van de graaf). the real bob martin is like five feet away at all times playing mic

- idk how to describe it but the dynamic kitty and feldzeig (VICTOR felgzeig. we have a name from one (1) line) have when talking to each other is so snappy and funny and good

- aldolpho’s lines in spanish are mostly romantic bullshit but his first one hints that he has/had a wife who, if we’re taking the translation literally, refused to touch him. yeah I’ll bring this up in analysis

- the “pastry chefs” provide liquor for the wedding even though it has absolutely no relevance to their mission of stopping it :)

- drowsy is like. SUPER endearing towards janet and despite her bad social skills it’s super clear she cares a lot about her

- robert speaks fluent french apparently

- everyone says “ew” after aldolpho reveals his affair with drowsy despite her being a certified milf

- the body language of drowsy in the end of the show where she takes mic’s hands and breaks the barrier between reality and fiction is just so good. she was iconic the whole show but I honestly think this final bit is what won beth leavel the Tony in the end

SECTION THREE: OH NO

before diving into the way the drowsy chaperone affects his character, we need to understand what exactly it’s playing off of. to fully understand mic’s attachment to the drowsy chaperone, we need to outline what led him to isolating himself and living in fiction to the extent that he does.

mic’s father left his family at an early age and his semi estranged alcoholic mother was the one who began his love for theatre. mic grew up in a broken household and eventually moved on to land in a one sided marriage, which lasted a few months until he slipped up and expressed his discomfort with the situation, after which he and his wife split. nowadays, he lives alone in his apartment surrounded by records he uses to escape to a better life - his favorite of which being the one his mother gave him, the drowsy chaperone.

symbolism in the drowsy chaperone regarding mic’s life can be split into two main categories - mommy issues and internalized homophobia. there isn’t nearly as much mom symbolism as there is the latter, so I’ll cover that first.

drowsy covers both bases, but she definitely has some undeniable mom symbolism going on. drowsy marries aldolpho and mom dreams of being swept off her feet by a latin lover, both feel they’ve wasted their chances at love, both drink to forget, etc. this is where the idea of the drowsy chaperone being mic’s ideal way for things to work out, a positive parallel, comes into play. given that we don’t hear too much about mic’s mom other than her connections to major life events and the record itself, we can assume they grew apart in one way or another. the key difference is that drowsy finds a happy relationship for herself and retains her bond with janet, unlike what we’re led to assume mom was like.

further elaborating on the drowsy chaperone representing mic’s ideal fantasy version of events is the wedding the drowsy chaperone’s plot centers around. here’s a list of the things that didn’t stop that damn wedding:

- a minister not showing up

- the groom cheating on the bride with the bride

- the bride having a complete mental breakdown

- indirect mafia interference

- direct mafia interference

on the flip side, what little mic says about his wedding indicates it sucked absolute ass. he spent the entire ceremony in internal distress as he went through with a life changing event he, at that point, knew at least a bit that he didn’t want. I think he also implies he had severe diarrhea on the wedding day? it gets worse when you realize mic’s relationship before the wedding wasn’t any good for him either - he was playing along the whole time because it would be cruel not to, right?

throughout the show, mic is pretty clearly shown as an extremely repressed gay man. there are five specific instances that point at romantic and/or sexual attraction to men directly and another moment outside of his commentary that pretty much confirms it if you look a little bit deeper. thus, here is what I propose - to mic, the drowsy chaperone’s wedding plot represents a world where he was able to ignore that part of himself and have a happy marriage with his wife despite all the overwhelming obstacles thrown at him. however, bits and pieces of that internalized homophobia manage to show themselves throughout the drowsy chaperone anyway despite its happy ending. here’s a rundown on a few significant instances:

- by the end of the show, the “pastry chefs”, who had literally been planning to kill feldzeig, have left their life of crime to perform with him. this symbolizes how in mic’s ideal world he would have been able to turn away from what he perceived at the time as living wrongly - his homosexuality

- at the same time, the “pastry chefs” have this line, spoken in regards to janet: “if she gets married and leaves the show... there ain’t no show.” this is a take on mic’s subconscious concern that he might lose himself if he goes on with his marriage pretending everything is alright - of course, as we already know, he doesn’t listen

- “cold feets” is a pretty obvious instance of mic’s hesitation

- aldolpho’s line in spanish regarding the wife who won’t touch him flips to reflect on mic’s treatment of his own ex wife - she was alien to him as a lover, just as aldolpho was to this woman

- janet recalls her meeting robert at a point in the show and states “we spooned, briefly, then he proposed.” though mic’s relationship pre marriage was much longer than that, it must have felt that way to him - just as quick and nonsensical as janet describes

- just as janet is caught in showbiz but has a toxic love for it, so does mic with his own repressed life

- janet has a line in “show off” that alludes to her experiencing harassment/assault: “I don’t wanna be cheered no more/ praised no more/ grabbed no more/ touched no more/ loved no more” , which I believe represents the way mic perceived his intimacy with his wife - labeled as love yet unenjoyable for him

- “I look into his eyes... I get all woozy. and that’s... love, isn’t it?” is another very clear nod to mic’s misconception of love based off the only thing he’s ever experienced, relationships with women he’s had to fake

- this is the part where I tell you the lyrics to toledo surprise are a metaphor for actively suppressing gay thoughts. I’ll just leave you with “if it tries to rise; don’t let it”. these lyrics are not comprehensive enough to make a dish - trust me, I have tried. it’s also notable that they serve a double entendre as instructions on how to beat the shit out of someone, but several lyrics are also directed towards the singer/audience. for example: “it’s a snap/ try it folks/ whip your whites/ split your yolks” is an easy metaphor for the unhealthy mental gymnastics required to repress oneself so wholeheartedly

it’s also worth noting the obvious just for the sake of it - mic copes with all this by isolating himself in a safe spot where he can use musicals to escape and live his ideal fantasy, even if it’s only for a short time. there are plenty of nods to this throughout the drowsy chaperone as well. in “as we stumble along” drowsy notes that “the best that we can do is hope a bluebird/ will sing a song/ as we stumble along” - to mic, musicals are his bluebird. while mic mostly indulges in these fantasies, he knows to a certain extent the sheer amount of time he’s spending in them is unhealthy. the first line of the show is “I hate theatre” and I think that to an extent? he does. obviously mic loves theatre as a concept, that can’t be denied. what he hates is the way he’s allowed it to confine him.

with all that out of the way, let’s move on to the most important moment of the show. if you’ve ever seen the show, you’ll know exactly which scene I’m talking about immediately. I’m referring to, of course, the infamous “l-ve while you can” scene. as janet stands at the alter she asks drowsy for one final word of advice, which is partially obscured by aldolpho dropping his cane. “l-ve while you can.” it’s a simple moment, but mic reveals to us that he’s been agonizing over it for years - did drowsy say “live” or “leave”? it occurs to everyone eventually, whether a couple days after the show like with me, or years after like with bob martin’s replacement on broadway that the most likely answer is that she had said “love while you can”. it’s this moment, when you realize why mic had never seen that as an option, that the drowsy chaperone’s status as a musical within a comedy within a tragedy is solidified. mic had no love in his life - his parents hated each other and he was forcing himself into relationships in which he felt nothing. to him, living and leaving were options, but loving never was. so he locked himself away.

as the final note on the record is playing, all power in mic’s apartment shuts down and the fantasy is ruined. the superintendent arrives and further invades his space, breaking the private sanctity he had built up for so long. she fixes the power and before mic can stop it from happening, the final note of the record plays. and the super recognizes it as a musical. she makes a remark about how much her wife loves musicals and leaves, completely unaware of what she’s just done.

mic sits in silence for a while. and then he begins to sing. gradually, the cast members begin to echo their songs, dancing around him but never touching him. then drowsy appears and sings harmony to mic. and she takes his hands. the show ends with the entire cast, including mic, taking off on trix’s airplane as the curtain falls, drowsy handing mic his record as the plane takes off.

some people interpret the ending as mic committing suicide, finally deciding between live and leave. I don’t personally believe that and neither does writer and original mic bob martin, but it’s still a valid interpretation. the drowsy chaperone’s ending is ambiguous, yes, but not to that extent. no matter what you believe the ending means, it was brought on not by the interruption of the fantasy, but by whatever realization the super’s remark about her wife triggered. as I see it, there are two main options here.

option one - mic realizes he still has time to live and to love. when he was younger the prospect of living as himself was unthinkable to him, yet now he sees that while he was spending countless years alone the world grew. drowsy offers mic her hand, an invitation to finally become what he had admired in her - someone who isn’t anywhere near perfect, but is damn well trying and living life without regret. he accepts.

option two - mic realizes that while he spent years alone the world moved on without him and he’s isolated himself so much from social interaction that he’d no longer be able to make a meaningful connection with anyone outside. so he stays inside instead, never trying, always trapped between live and leave. drowsy offers mic her hand - at least he’ll have a tune to carry with him.

I really want to believe we got option one. I think option one is the intended, really, given mic ends the show with a joyful goodbye to the audience. but the way that the ending is still left open for interpretation makes it so that we can never really know - we as the audience only get to be privy to a small part of mic’s life, and we don’t get the answers we want because at the end of the day they’re irrelevant to us - all we can do is make our own choice.

[monkberries]

They dealt with all of the above. Ringo was treated as a joke for pretty much everything, especially since this was the era of prog rock. His personal life was also tabloid fodder. George was derided as being a dour spiritual nut who was out of touch. He along w/ Ringo didn't get the respect he deserved as a guitarist bc his style wasn't in at the time & people knew little about his role in The Beatles. All credit went to Lennon/McCartney. 1/2

John had the benefit of having the rebel genius image, but even he became a source of ridicule with all the stunts he pulled with Yoko and the way his career declined after Imagine. He wasn't deified to the degree he was in the 80s. I'm not trying to say Paul never had a hard time, but the way this fandom talks as if he is the only one who faced extreme criticism or disrespect just tells me they haven't looked much into the other Beatles' lives. The man is more admired than most musicians. 2/2

(IDK if this screenshotted anons were from the same person or not, but I’ll just answer them in this one since it’s all the same subject.)

Here’s what I think is valid, as I see it: Paul fans are upset by the way his music was treated by the music press, especially in the first few years of the 70s, while the music of the other three were generally given at least the benefit of the doubt. They’re not upset about the tabloid gossip, the purely personal stuff – they are upset, specifically and with good reason, at the way Paul’s music was treated and the way the music world’s personal dislike of him seeped into their music reviews. I’m gonna focus in on 1970 through the end of 1974, since this is where a lot of the complaints spawn from, and things start to shift in a big way in 74. You didn’t ask but contemporary writings about their early solo music is something I’m fascinated by anyway and you turned the wind-up toy key in my back, so. Off I go. This is gonna be so, so long.

At different points in the decade, all of them were subject to a sullying of their personal reputations. That is where I do agree with you: all of them were subjected to that by the press, to varying degrees, at varying times, and for various reasons for each of them. That is just what happens to public figures the longer they are public figures. Tabloids mess with everyone no matter how beloved they are. 

However, that’s not what I generally see Paul fans getting upset about. What I see is that they’re upset at the way the much more legitimate and widely respected music press approached Paul’s music and talent in general. It is widely received knowledge now that the critics treated Paul’s music differently than they did John’s and George’s and even Ringo’s; the trashing was not “equal.” They came at John and George with the assumption that their talent was real and ongoing outside of the Beatles, their genius unquestionable, their motives pure and well-intentioned and honest. Paul was not afforded these assumptions. Some examples to show what I mean, most of them found through wikipedia, rocksbackpages, or rollingstone.com.

John

Plastic Ono Band was Robert Christgau’s number one album of 1970 in The Village Voice. from Creem’s review: “John's record, of course, has been righteously raved over ever since its release, justifiably. It's interesting and even enlightening to see a man working out his trauma on black plastic but more than that, it's totally enthralling to see that Lennon has once again unified, to some degree, his life and his music into a truly whole statement.” From High Fidelity’s review: "a tremendously exciting listening experience, perhaps the best any Beatle has ever offered." In their Imagine review, Rolling Stone called POB “perfect.” A couple reviews in the mainstream were more mixed, put off a little by the rawness of it, but overall the rock world quickly grew to see this album as a work of genius.

Imagine was even more widely well-reviewed, despite a mixed review from Rolling Stone (John fell out with Jann Wenner around this time, curiously). Here’s a passage from rateyourmusic.com: “Imagine was actually one of the most critically acclaimed albums of the year, aside from this tepid review in Rolling Stone. Indeed, much of the rock press seemed palpably relieved that the former Beatle hadn't gone completely off the deep end. ‘It's the best album of the year, and for me it's the best album he's done, with anything, or with anyone, at any time,’ Roy Hollingworth wrote in the 10/9/71 issue of Melody Maker. ‘The album is superb,’ Alan Smith agreed in the 9/11/71 issue of NME. ‘Beautiful. One step away from the chill of his recent total self-revelation, and yet a giant leap towards commerciality without compromise...I have no criticism at all.’”

Some Time in New York City was admittedly John’s nadir, and the press was vicious about it, both personally and musically, deeming the album egotistical, lacking in energy, and devoid of sincerity. However, many maintained a reverence for the genius that came before it and hopeful encouragement for the future. Rolling Stone said that “The Lennons should be commended for their daring;” Creem said it wasn’t half bad; and even though NME’s article was scathing, it ended with a plea for John to return to form, saying, “Don't rely on cant and rigidity. Don't alienate. Stimulate. You know, like you used to.”

Mind Games, though reviews were mixed, fared far better in comparison. Again, there is a hopeful tone to the reviews, a sureness that John can do better. From Rolling Stone talks about the music being a return to POB form, but the writing is his worst yet; however, Landau qualifies this by saying the lyrics aren’t “offensive, per se, just misguided... [John Lennon’s admirers] might even be able to withstand something more challenging” and then praises John��s voice, his production, and a few individual songs. In Melody Maker, Ray Coleman says, “if you warm to the rasping voice of Lennon and, like me, regard him as the true fulcrum of much of what came from his old group, then like any new Lennon album, it will be enjoyable and even important.” Christgau is more middling but also says, “Still, the single works, and let's hope he keeps right on stepping.”

Walls and Bridges seems confusing to reviewers in retrospect. They couldn’t seem to come to a consensus on it. The musicianship was widely praised, for the most part, though Rolling Stone criticized the first side on this front; reviewers alternately said it was “the latest chapter in John Lennon’s Identity Crisis” (Creem) and “truly a superb album by any standards” (Melody Maker). Throughout the Rolling Stone review, the author is able to thoroughly critique the songs, for better or worse, with a neutral affect and without resorting to insulting John personally. He ends the review on a positive note: “When one accepts one’s childhood, one’s parenthood and the impermanence which lies between, one can begin to slog along. When John slogs, he makes progress.” Again, even though the reviews aren’t all positive, we can see, especially and most importantly in the most influential rock magazine of the time, the acknowledgment of his talent, a sense of excitement for what John will do next, and a belief that his work is authentic and honest.

George

All Things Must Pass, I mean. Apart from a couple of outliers like Christgau in The Village Voice (he called it “overblown fatuity”), it was incredibly, almost universally beloved by the music press when it came out. There was quite a bit of surprise that such a talent had been under everyone’s noses all this time, but I don’t think anon is quite correct that all the credit for the Beatles went to Lennon/McCartney. For example, Ben Gerson in Rolling Stone recognized George’s talent within the Beatles like this: “Up until now, George has been perhaps the premier studio musician among rock band guitarists. From the electronic whine which began “I Feel Fine” to the break in “Hard Day’s Night” to the crazed, sitar-influenced burst on “Taxman,” George exhibited an avant-garde imagination and a technical flawlessness, as well as the ability to stay within the bounds of a song, which has remained unparalleled.” In Melody Maker, the feeling of journalists was summed up thusly: hearing the album was “the rock equivalent of the shock felt by pre-war moviegoers when Garbo first opened her mouth in a talkie: Garbo talks! – Harrison is free!" The personal nature and honesty of the lyrics were praised as well; Time described it as an “expressive, classically executed personal statement.” Ben Gerson did call his proselytizing offensive, but in the next sentence says that George redeems himself from that with the personal plea in Hear Me Lord.

Concert for Bangla Desh - again, some cynicism from Christgau in The Village Voice (must have woke up on the wrong side of the bed that day) and of course tax issues dogged it later, but overall, for the rock press at the time, this was a crowning achievement that George pulled off. He was praised all over the press, countercultural and mainstream, for his live musical talent, the group of musicians that joined him, the lack of political motivation, the sincerity and goodwill, and George’s ability to bring back  "a brief incandescent revival of all that was best about the Sixties" (Rolling Stone). To this day he is credited with creating the model for future charity concerts. 

Living in the Material World - Nothing could have topped the one-two punch of ATMP and the Concert for Bangla Desh, but honestly, LITMW came pretty close for some journalists. Rolling Stone again praised George’s honesty and authenticity: “ Despite the occasional use of “psychedelic puns,” Harrison’s lyrics are so guileless they convey an extraordinary sincerity that transcends questions of craftsmanship. Similarly, the devotions we are called upon to share with Harrison, though they communicate no specific, private torment, do have the authenticity of overheard prayers and are therefore sacred.” Melody Maker said, "Harrison has always struck me before as simply a writer of very classy pop songs; now he stands as something more than an entertainer. Now he's being honest." The pushback against his pious attitude and lyrics picked up some steam with this album, particularly with Christgau (again) and Tony Tyler of NME, who called it “so damn holy I could scream.” However, it was far from the consensus opinion at the time, and with the biggest rock magazine in the world at your back, you can withstand quite a bit.

Dark Horse, oof. That poor man. It did get some positivity in Billboard and Melody Maker, but my god, the reviews for this album and its subsequent tour were so cruel. I suspect when these anon(s) talk about the others being treated terribly by the press as well, this, along with John’s STINYC, is one of the examples they would give, and they’re not wrong about that. This was the point where George’s piety and what they perceived as a sanctimonious attitude finally started really getting to everyone, and the album plus the tour was the perfect opportunity to dogpile on him. I guess it was to be expected; no one can ride that high forever, and the press loves to knock people over and kick them while they’re down. Rolling Stone called it “disastrous,” “shoddy,” and called his guitar work “rudimentary,” eventually declaring that George had “never been a great artist.” This from the same magazine that was practically worshipping at his feet the year before. Yowch.

Ringo

Sentimental Journey - The less that’s said about this album, the better.

Beaucoups of Blues was actually quite well-received. No one called him a genius for it, and it wasn’t a serious personal record and therefore wasn’t treated that way, but journalists seemed uniquely able to let themselves enjoy this record despite the serious/political/personal tone of most musicians at the time. Melody Maker believed Ringo had  "conviction and charm" and that because of that, the album stripped away the serious “hip posturing” and let you just enjoy the music on its own terms. The Village Voice said that Ringo was “good at making himself felt.” Although Rolling Stone’s tone was a bit more cruel than other magazines (there was a crack somewhere in there that Ringo wasn’t as smart as John), it also called him lovable and the record “a real winner” where the songs “sound terrific.”

Ringo was a total smash and I think people forget this. It’s remembered only because it’s an album that was worked on by all four Beatles, but actually, the critics fuckin loved it. Ringo was praised in Rolling Stone for his unpretentiousness, sensibility, and essentially collaborative nature: “Ringo was always the figure of conciliation within the Beatles, undoubtedly the most genial, conceivably the most sensible, and the one with the smallest musical axe to grind. His very lapses bespoke the esteem in which the others held him; had they not liked him so much, those perfectionists would never have allowed him to sing. Perhaps because as the drummer he stood outside the process of creation, he had the best perspective from which to see the Beatles as a unity. Ringo has never had any pretense of self-sufficiency. Once he had gotten his special projects out of the way (projects for which John, Paul and George's talents would have been unsuited anyway) Ringo was ready to call upon the three most obvious people to assist him with writing, singing and playing. As Starr's first "pop album," Ringo signifies a homecoming, not just of family, but in musical style as well.”

Goodnight Vienna was kind of a minor album for Ringo, but still, reviews were pretty good. Rolling Stone praised his “unalloyed sincerity which is his trademark and trump card.” Yet again, we see the theme of authenticity popping up in these reviews - if you are perceived as authentic, honest, and sincere, that takes you a long way with music reviewers in this time period, and Ringo was nothing if not wholly, completely himself.

Paul

McCartney - One of the main complaints of Paul fans is that Jann Wenner forced Langdon Winner, the author of the review for this album in Rolling Stone, to rewrite his article and put a more negative spin on it. The result is that Winner praised most of the music but totally undermined his own praise by questioning the authenticity of the tone and deriding the press release that came with the album as much as he praised the music. He ends the article like this: “I like McCartney very much. But I remember that the people of Troy also liked that wooden horse they wheeled through their gates until they discovered that it was hollow inside and full of hostile warriors.” This was a huge blow at a time when personal authenticity and substance were considered paramount. Melody Maker also questioned the legitimacy of his genius, saying “With this record, [McCartney's] debt to George Martin becomes increasingly clear.” Most other reviews weren’t any better.

Ram, I mean, Jesus Christ the reviews for this. It’s a widely respected album now, even made the RS top 500 albums of all time list last year, but at the time people were still so angry with Paul for supposedly breaking up the Beatles that they were still taking it out on his music a year later (imo). Landau in Rolling Stone called it “emotionally vacuous” and said it lacked conviction, saying also that it was “so incredibly inconsequential and so monumentally irrelevant you can’t even [hate it]; it is difficult to concentrate on, let alone dislike or even hate.” NME called it “the worst thing Paul McCartney has ever done.” Threaded through these reviews is a belief that the songs are devoid of meaning and that Paul’s happy domestic front is just a frustrating lie; Christgau in The Village Voice said he was “infuriated by the McCartneys' modern young-marrieds image” - infuriated because he clearly doesn’t believe it, rendering Paul dishonest and his music inauthentic. Once again journalists are unable to review Paul’s music without sniping about him as a person.

Wild Life - Though the situation remains largely the same - reviewers refuse to take him seriously, believe anything he says, or treat his musical talent as anything but vacuous fluff - the reviews aren’t quite as bad as they were for Ram and a bit of positivity begins to stir. It’s evident especially in the Rolling Stone review, where Mendelsohn wonders if Paul is making crappy fluff on purpose to piss John off because it will sell just as well anyway. It’s not much, and on top of the fairly strong criticism there is almost no hope for future Paul releases: “My own conviction is that we'd be foolish to expect anything much more earth-shaking than Wild Life out of McCartney for a good long while... In the meantime the reader is advised to either develop a fondness for vacuous but unpretentious pop music or look elsewhere for musical pleasure.” But it’s something.

Red Rose Speedway Paul continues to be lambasted by a lot of the press on this album for being lightweight and having no meaning behind his songs (at this point it’s just repetitive to quote the articles, just trust me that they say basically the same thing they were saying for the past three albums too), BUT I think a nuance that gets forgotten in all of this is that Rolling Stone gave it kind of a decent review. It seems like they finally quit gatekeeping and realized that songs don’t need to have some deep personal meaning to be good. Kaye is still not very nice about Paul’s lyrics but he recognizes that he doesn’t have to take Paul’s music on the same terms as he takes John and George. Paul’s music is less personal, but that doesn’t make it unworthy. He calls it “pleasant, accessible without concentration” and praises Paul’s voice and arranging skills. It feels like for this album, Rolling Stone took the stick out of its own ass when it came to Paul and finally relaxed enough to receive Paul’s music on his terms rather than theirs. Which, imo, primed the rock world for...

Band on the Run, Paul’s comeback. Even though Christgau in The Village Voice remained unconvinced (he called it “a pleasant piece of hackwork”), almost everyone else adored it. It seems weird to us now, but the general sentiment seemed to be that people were surprised by how good this album was. NME said, “The ex-Beatle least likely to re-establish his credibility and lead the field has pulled it off with a positive master-stroke”; and although Landau’s review in Rolling Stone overflowed with praise, he also said, “I'm surprised I like Band on the Run so much more than McCartney's other solo albums because, superficially, it doesn't seem so different from them.” 

I hope I’ve been able to demonstrate a general trajectory with the musical reputation of each Beatle here. John starts off on two incredible high points, crashes and burns, and then works his way back up. He DEFINITELY missed with STINYC, but even when he followed it up with Mind Games, there was still a hopeful tone to the reviews, sort of like, “Ah, well, the last two weren’t great but we’re still looking forward to what John will give us next.” Until the Dark Horse tour/album, which did sour the press on poor George, the music press adored him. It was hit after hit with him. He could not miss. Three high points, one after the other, then a monumental crash. Ringo seems to stay fairly high, even if the records aren’t serious records. All three of them start out incredibly well, and the music press was able and willing to give them the benefit of the doubt.

Paul was given none of that. Perhaps because he was out of step with the attitudes about music at the time, perhaps because journalists hated him for breaking up the Beatles, perhaps because they believed John when he painted Paul as “establishment,” perhaps a combination - whatever their issue was, Paul was given no benefit of the doubt to start with, no faith in his genius, and no belief in his authenticity. He was just a hack to the music press for the first few years of the 70s; he started at the bottom and was forced to work his way up, unlike the other three. It started, imo, when Wenner forced the journalist who wrote the McCartney review in RS to rewrite the article, and it spiraled from there. He was seen as hollow and uncool, as one of the anons said, “straight” in the parlance of the time - straight meaning “establishment.” This is kind of where I do start to roll my eyes a little bit at stans, when they get upset at people calling him “establishment” and trying to prove that actually he was so anti-establishment that people couldn’t handle it or whatever, without trying to understand what the word “anti-establishment” meant at the time. But there are also really substantive arguments you can make that say Paul’s music was not taken seriously because of a personal grudge against him.

I’m not saying that all of them didn’t have run-ins with the music press. I’m saying there is nuance here that I don’t think these anons are allowing for in the first few years of that decade. They came at George and John and Ringo with a positive, or at least neutral, slant most of the time. They came at Paul with a negative one. Case in point are the reviews of Band on the Run that were surprised at how good it was. That stuff gets people’s hackles up. The others didn’t have positive reviews rewritten to be more negative. The others didn’t have albums savaged that are now on the Rolling Stone top 500 albums of all time list. I do agree that John, at least, and George post Dark Horse, had a harder time with the music press than people generally remember or care to think about – deification is retroactive, I guess, and as Paul fans we should definitely recognize that Paul wasn’t the only one who went through a rough time with the press. But I do think Paul’s situation was made uniquely and unjustifiably difficult for those first few years.

I mean, at the same time, I cannot stress enough how much this did not affect his bottom line. Despite the horrible reviews, Ram still made a ton of money, McCartney made a ton of money, Band on the Run and Wild Life and Red Rose Speedway all made a ton of money. He had a fanbase, a huge one, that followed him loyally and faithfully through the early 70s as he was getting savaged by the press, and through the middle and late 70s when he was touring. At some point, you have to step back and go, wait. Why does any of this matter? This was 50 years ago. He was a multi-millionaire then and is a billionaire now. And you are right; whenever people over-generalize and try to make the case that Paul was always badly reviewed and the others were press darlings, I tend to get annoyed because they’re totally missing the actually interesting nuances of the situation (that can be easily found online! I found most of the music reviews through snippets on Wikipedia!) In conclusion, I guess my point is that both “Paul was vilified while everyone else wasn’t” and “everyone was equally vilified” paint the events of the early 70s with brushes that are too broad and miss the nuance that was evident in the way the press interacted with their music.

[hello-im-not-a-possum]

Werewolf Thomas x Merman Sammy.

This might end up taking multiple chapters, in addition to me digging in too deep, this ship in general just gives off a petty enemies, to reluctant allies due to supernatural circumstances, to ‘hey you’re not as bad as I thought.’, to friends, to lovers vibe.

Occam's razor indicates that the simplest explanation to a scenario is also the most likely scenario to be the true one.

For example: when an animation studio suddenly closes down and gets condemned, people who are on the outside looking in are much more likely to blame the studio's poor money management than go look for some extraordinary truth. That, paired with the workers of the said studio also coming out to site the terrible conditions of the place as an added cause for the studio's demise. When people have to work long hours with little pay to show for it in a dingy, gloomy, constantly-falling-apart studio that clearly wasn't going anywhere except six feet under or lower, they aren't exactly motivated to work hard or happy.

The Hunger was intense, growing beyond mere gnawing and was now consuming the cursed mechanic. The first change he felt was his teeth, the Curse deciding it was easier to make them all fall out at once so his new ones would grow in. He cut up his own tongue on the newly-made fangs. Call it an act of mercy or an act of mockery, but the tongue followed the teeth's example, falling out altogether so that the tongue of a wolf could grow in.

No one batted an eye when a majority of the studio's former workers left with some of them being untraceable, the lucky ones moved on to greener and happier pastures, others simply got a change in scenery, and sadly, accidents happen all the time in such an unsafe studio, people got severely injured in there all the time, so it was gut-wrenching for many, but not a shock to discover that it was common for unlucky people to lose their lives in the Dancing Demon's domain.

His entire body burned on the inside and outside, taking off his clothes did nothing for him as his new, thick coat grew in, a coat that was the same pitch black as his hair, at least, most of it was. The change did not hurt as much as he thought it would. As painful as it sounded when his bones became a crackling choir that reminded him of fireworks, it was not pure agony, he was sore, afraid, and so, very, very, hungry, but he was physically fine.

No one suspected anything like somebody intentionally sabotaging the many pipes that pumped ink through the entire building, that would just be silly! It was more than obvious that the pipes got the same treatment as the rotting wooden walls: they were ignored until it was too late. With all the wood, paper, flammable ink, candles, no windows, and avid smokers in that place, it was only a matter of time before that place went up in flames.

Colors began to dim and fade out leaving him with vision that could only see black, white, and the several shades of gray inbetween them. The trade off with his senses made itself clear as his sense of smell and hearing both grew stronger, he could barely think as the smells and sounds his human self had been blind to came to him at full force, overwhelming the mechanic. He held back the urge to scream and call for help, he knew none would come, unless it was the dogcatcher at this point. However he would not hold back the urge to whine, whimper and cry, as pathetic as he looked and sounded, he would at least give himself that mercy, even if he didn't deserve it.

No one thought the ink machine was anything more but an expensive and stupid project that definitely sped up the studio's already fast decline, but only with it's mere presence. Honestly, a machine that made models out of ink, wouldn't it be cheaper and easier to make a statue of your beloved mascots out of plastic or something like that?

Thomas yelped in surprise when the tail grew in, it felt like somebody gave his spine a good sharp yank. He was furious, scared, even remorseful as he knew he was responsible for this happening to himself and possibly others knowing Mr. Drew, and by god, did he want to sink his teeth into something.

No one except for crazy cross-clutching worrywarts who want to spoil every one else's fun and or conspiracy theorists would assume that the Little devil darling who graced the comics and silver screens for at least a decade would have literal satanic magic going on behind the scenes, no matter how screwy the man in charge seemed.

He was starving all day ever since the ritual, but now that the changes were over, he felt hungrier than ever before, like his stomach was a black hole that would make him consume everything in his path.

No one would ever seriously suggest that magic was real and led to being the studio's final nail in the coffin instead of becoming its savior like it's founder had wanted it to.

In the moment, Thomas Conner believed that Occam's razor was bullshit.

The mechanic knew what he'd seen, he knew to an extent what he took part in, he saw what happened to some of the unluckier members of the "Missing" studio workers, and most importantly of all, he experienced what he just went through. There was no 'simple' or 'normal' explanation for it; the ritual failed and as a result, he and a handful of other people had gotten cursed.

Here the new wolf was, squeezing his now much larger body underneath his bed to do nothing but cower like a frighted animal while trying to convince himself not to panic or to eat his pet snake. Keeping his human mind at the moment was both a blessing and a cur- -some extra salt to rub into his fresh wounds.

On one hand, the fact he was still smart enough to know better than to jump out the window and follow his nose for food like his instincts were telling him to was a lifesaver that kept him safe from animal control. On the other hand; if he was a beast in mind, he would at least be doing something more productive than sulking in his apartment thinking about anything else other than how badly he got fucked over, how his life was in shatters and how he had nobody but himself to blame for it (Well, aside from Joey, but that wasn't the point).

While far from ideal, his current plan was to remain under that bed, try his best to go to sleep, and occasionally chew its legs to stop himself from going on a rampage. He might not be the most supernaturally informed person, but he had seen enough werewolf horror flicks to know that nothing good would come if he gave into his hunger or if he tried to leave. Best case scenario; he'd become as sick as a dog after eating something he found in the garbage. Worst case scenario; Somebody decides that he'd make a great living room rug and BANG!

And then, his ears perked up as he heard the song.

It was a simple, repetitive tune, made with a music box maybe? It was the first time he heard it yet it felt familiar to him. The song itself was muffled, used a lot of ambiance in its melody, and if he strained his ears enough, he could almost pick up the sound of a voice singing along with it, but it was far too faint for him to tell who or what was singing, let alone what the lyrics to the song were. It sounded nice in spite of it's strangeness, but it gave him goosebumps. He knew it wasn't playing from the radio, he only kept it on when he was fixing something at home.

The curious wolf struggled to push a window open with his snout to figure out where it was coming from. He was making progress, the song did sound slightly less muffled now that he was poking his head out the window. Was it just him, or did the tune become faster? And it was also louder and more frantic, and he swore that the constantly repeating motif sounded like something he knew. The mechanic never considered himself to be a man with a keen ear for music, but he knew he heard it before.

Three short notes, three slightly longer notes, three more short notes, again and again and again repeating endlessly...---...Wait a minute. Thomas didn't recognize that pattern from a song, he recognized that that was a call for help!

"Don't do it..." He grumbled to himself as he put his paws up on the windowsill. "You don't know what'll happen, or if you'll even get there in time. Just go back inside and you'll figure out what to do with yourself in the morning."

The song, almost as if it was aware he was trying to ignore it like he was ignoring his hunger, grew louder and faster.

"Don't give in..." The wolf turned back. "You can't help anyone like this anyway, you'll only end up hurting yourself."

It... started to die down, back to its regular, chilling melody and grew even softer. Flickering away like a candlelight in the cold.

"Don't..." The wolf let out a very tired sigh as he looked out the window. "Oh fuck me."

Thomas leapt out the window and sped towards the source of the song, not caring who or what saw him in the city that never sleeps, he bolted directly into the forest. He tried to block out the new sounds of various creatures he couldn't hear before as well as the new smells of the earth underneath his paws and the plants all around him.

Strange marks were on the ground, they looked like someone dragging themselves through the dirt and the marks themselves smelled vaguely of fish and ink.

The song, while faint was very close, he was hot on the mysterious caller's trail! In fact, the wolf's new sense of smell started to become useful as he picked up some familiar scents in the woods; the smell of ink, smoke from a fire, and the smell of cologne- Wait, he recognized that specific cologne, it was that fancy European brand that the "missing" hot-headed music director used to keep himself from smelling like cigar smoke, vomit, and despair.

And the voice of the singer in the distress call 'song' did sound like him now that he was close enough to hear it. He felt a pit of dread in his stomach that almost made him forget his hunger. He knew that the musician was far too prideful to call for help for anyone unless this was his very last option and his will to live made the difficult task of overpowering his ego.

Squelch.

Almost confirming his fears and adding a new one that he was too late, the mechanic made the mistake of looking down and saw that he stepped on a severed leg. A black, tar-like substance that smelled like ink and rotten meat was squeezed out of the part of the thigh that should've been attached to a person.

"...Mr. Lawrence?" He hesitantly called out, thankfully getting him an exhausted groan in response. "Lawrence, where are you?"

"Here." A hoarse yet relieved sounding voice answered. "Look down."

The wolf looked down into a shallow pool to see what had become of the musician. If he was being honest with himself, he wouldn't deny that the music director was always easy on the eyes, and while the curse effected him drastically, that fact about him didn't change.

The water was clear enough to show off the musician's jet black, fish-like tail which glistened in the moonlight, the still human half of his body went through some changes as well; his hands were webbed and clawed, unlikely to properly hold any instrument, let alone use it, his torso, arms, and neck had patches of black scales scattered about haphazardly like splashes of paint on a canvas. Aside from the siren's new set of teeth (which looked like they could haunt anyone's nightmares), waist-long hair when it was previously shoulder length hair, and glassier eyes, the man's head seemed relatively unchanged.

"Could you stop gawking!?" Sammy re-positioned himself to keep his tail out of sight, or at least he tried to, the damn thing was two thirds of his body and he didn't exactly have something to cover himself up with. "I'm not exactly 'thrilled’ about this... Change, for lack of a better term."

"That's one way to put it." The mechanic almost let out a sympathetic chuckle. "I’d never thought I’d be saying this, but it’s great to see you haven’t died yet.”

“Why thank you.” The merman sarcastically responded. “That’s exactly why I went through all the trouble of literally singing my fucking lungs out!” He exclaimed while gesturing to a pair of charcoal-black things that the wolf previously thought were rocks. “To hear you tell me that ‘it’s great I haven’t died yet’.”

The wolf rolled his eyes.

“So why did you go through all the trouble for summoning me here then? Aside from the whole ...fish thing, you seem perfectly fine.”

“It... wasn't intentional.” The fish-man begrudgingly admitted, his voice sounded bitter, but his eyes shone with fear. “I wasn’t thinking about who or what would hear me or come at the moment. My body was falling apart before my eyes and all that was on my mind during it was; ‘Oh god, I’m going to die here, aren’t I?! And if not, my life will be ruined beyond repair!’. And when I sang out as a panicked response, you became the first to show up. Nothing more, nothing less.”

The siren swam to the other side of his aquatic prison and sighed resignedly.

Tom’s ears folded back in guilt, It didn’t take a genius to figure out that the musician was cursed by the failed ritual HE played a giant part in. As strongly as he disliked the musician, it didn’t feel right to leave him like this; alone, scared, and immobile in a place that could even spell out his death if he was unlucky enough.

He walked over to the other side of the pool and laid down beside the edge of it.

“Hey, you don’t need water to breathe, right?”

The siren looked confused.

“I’ve been breathing air just fine, in fact, I think one of the few advantages to this new body is that it replaced my old lungs with healthier ones. Why are you asking?”

“Climb on my back and I’ll take you out of here, granted, I don’t know where we’re gonna go, but where ever it is, it’ll be better than sitting around waiting for your pool to dry up.”

The merman, while hesitant, did climb up on the wolf man’s back, wrapping his arms around his neck to keep him from falling off, the wolf stood up and ran deeper into the woods.

[fuckyeahstephensondheim]

Rick Pender knows his Sondheim from A to Z

If the word “encyclopedia” conjures for you a 26-volume compendium of information ranging from history to science and beyond, you may find the notion of a Stephen Sondheim Encyclopedia perplexing. But if you have ever looked at a bookshelf full of book after book about (and occasionally by) the premiere musical theatre composer-lyricist of our era and wished all that information could be synthesized and indexed in one place, maybe the idea of a Sondheim encyclopedia will start to make a little more sense to you. It did to Rowman & Littlefield Publishers, an independent publisher that’s made encyclopedias such as this one of their calling cards, offering tomes on everyone from Marie Curie to Akira Kurasowa. Several years ago, they approached Rick Pender, longtime managing editor of the gone but never forgotten Sondheim Review and now, after years of research, writing, and pandemic-related delays, the The Stephen Sondheim Encyclopedia is finally hitting shelves. I sat down with Rick (via Zoom) to chat about this unique, massive project.

FYSS: I want to really focus on the new book, but we should start with your history with Sondheim and The Sondheim Review. How did you become so enmeshed in this work?

RP: As a teenager, the first LP that I bought was the soundtrack from West Side Story, and I didn't have any clue about who much of anybody was, particularly not Stephen Sondheim. But I loved the lyrics for the songs, especially “Something’s Coming” and “Gee, Officer Krupke.” These are just fabulous lyrics.

Then, of course, in the ‘70s it was hard as time went by not to have some awareness of Sondheim. I saw a wonderful production of Night Music in northeast Ohio, and I again just thought these lyrics are incredible, and I love the music from that particular show. Fast forward a little further in the late ‘80s, I was laid up with some surgery and I knew I was going to be bedridden for a week or two anyway, so I went to the public library and grabbed up a handful of CDs, and in that batch was A Collector's Sondheim, the three-disc set of stuff up through about 1985, and I must have listened to that a hundred times, I swear, because it had material on it that I didn't know anything about like Evening Primrose or Stavisky. So that really opened my eyes.

Later, my son had moved to Chicago. He's a scenic carpenter and a union stagehand. He worked at the Goodman Theatre, and I went to see a production when they were still performing in a theater space at the Art Institute of Chicago, and they had a gift shop there. And lo and behold in the rack I saw a copy of a magazine called The Sondheim Review! I thought, oh my gosh, I've got to subscribe to this! This would have been about 1996, probably, so I subscribed and enjoyed it immediately. A quarterly magazine about just about Stephen Sondheim struck me as kind of amazing.

In 1997-98 the Cincinnati Playhouse did a production of Sweeney Todd in which Pamela Myers, all grown up, played Mrs. Lovett, and so I wrote to the editor of the magazine and said, “Would you like me to review this?” That started me down a path for a couple of years of making fairly regular contributions to the magazine. Then in 2004 that editor retired, and I was asked to become the managing editor, which I did from 2004 to 2016. It went off the rails for some business reasons, but it lasted for 22 years which I think is pretty remarkable.

I tried to sustain it in an alternative form with a website called Everything Sondheim. We put stuff up online for about 18 months, and we published three print issues that look very much like The Sondheim Review, but we were not able to sustain it beyond that.

FYSS: How did the Encyclopedia project originate?

RP: The publisher asked me to write an encyclopedia about Stephen Sondheim! I envisioned that I would be sort of the general editor who coordinated a bunch of writers to put this together, but they said no, we're thinking of you as being the sole author. They had done a couple of other encyclopedias particularly of film directors, and those were all done by one person, so they sent me a contract asking me to generate 300,000 words for this book, and after I regained consciousness, I said all right, I'll give it a try.

It took me about two years – most of 2018 and ‘19 – to generate that content. I sent it off in the fall of ‘19, and then, well, the world stopped because of the pandemic. It was supposed to come out April a year ago, and they had just furloughed a bunch of their editors and everything stalled. But now it's coming out mid-April 2021.

FYSS: What was the research and writing process like?

RP: This project came about in part because the publisher initially approached another writer, Mark Horowitz, who's at the Library of Congress and who had done a Sondheim book of Sondheim on Music. Mark and I had become quite close because he wrote a number of wonderful features about different Sondheim songs for The Sondheim Review. When I heard that that he had put my name out there, I went back to him after I had agreed to do this and said, Mark, could we use some of that material that you wrote for the magazine about those songs? And he said, sure do with them whatever you wish. And I was glad he said that, because they were really long pieces, and I've reduced each of them to about 1500-2000 words, which I thought was probably about the maximum length that people would really want to read in a reference volume.

But other than that, I generated everything else myself. I relied upon plenty of material within the 22 years of back issues of The Sondheim Review. Another great resource was Sondheim's own lyric studies, the two-volume set which provides so much information about the production of shows and that sort of thing.

Of the 131 entries I wrote for this, 18 of them are lengthy pieces about each of the original productions, so again Sondheim's books were certainly useful for that, and other books like Ted Chapin's book about Follies.

I also spent some time in Washington, D.C. at the Library of Congress, and Mark loaned me a quite a bit of material that he had collected – not archival material but scrapbooks of clippings that he put into ring binders of stuff about Sondheim's shows.

I came back to Cincinnati with about four or five cartons of materials, and I could really dig through that stuff as I was working on these. And then I have, as I'm sure you and lots of other Sondheim fans have, a bookcase with a shelf or two of Sondheim books, and those were all things that I relied upon, too.

I actually generated a list with lots and lots of topics, probably over 200, and I knew that was going to be more than I could do. Eventually, some things were consolidated, like an actor who perhaps performed in just one Sondheim show wasn't going to get a biographical entry, but I would talk about them in the particular show that they were involved in. So, I was able to collapse some of those kinds of things. But as I said, I did end up with 131 entries in the publication, and it turned out to be 636 pages, so that's a big fat reference book.

FYSS: Who is the intended audience for a work like this? RP: The book is really intended to be a reference volume more than a coffee-table book. It does have photography in it, but it's black and white and more meant to be illustrative than to wallow in the glories of Sondheim. There is an extensive bibliography in it, and all the material is really thoroughly sourced so people can find ways to dig into more.

FYSS: Sometimes memories diverge or change over time. Did you come across any contradictions in your research, and how did you resolve them?

RP: I can't say that I can recall anything like that. I relied very heavily on Sondheim's recollections in Finishing the Hat and Look, I Made a Hat because he's got a memory like a steel trap. Once in a while I would email him with a question and get very quick response on things. I really used him as my touchstone for making sure of that kind of thing.

I also found that Secrest’s biography was very thoroughly researched, and I could rely on that. But I can't say that I found a lot of discrepancy, and some of those kinds of things were a little too much inside baseball for me to be including in the encyclopedia.

FYSS: For figures with long and broad histories, how did you decide what to include? George Abbott, for example, is the first entry in the book and he worked for nine decades! How important was writing about an individual as they relate to Sondheim vs. who they were more generally?

RP: To use George Abbott as an example, I would say that the first things that I did was to go back to the lyric studies and to the Secrest biography and just look up references to Abbott. I mean, it was George Abbott who said that he wanted more hummable songs from Sondheim, so you know that was certainly an anecdote that was worth including because, of course you know, it becomes a little bit of the lyric in Merrily We Roll Along. 

So you know, I would look for those kinds of things, but I also wanted to put Sondheim in context because Abbott was well into his career when he finally directed Forum which, since it was Sondheim's first show as a composer and a lyricist, is significant. That was very much the focus of that entry, but I wanted to lay a foundation in talking about Abbott, about all the things that he had done before that. I mean, he was sort of the Hal Prince of his era in in terms of his engagement in so many different kinds of things – writing plays, directing musicals, doctoring shows, all of that.

FYSS: Did any entries stick out to you as being the hardest to write?

I think the most complicated one to write about probably was Bounce/Road Show because it's got a complicated history, and Sondheim has so much to say about it. And because it's not a show that people know so much about, I wanted to treat it appropriately, but not as expansively as all of that background material might have suggested. So I kind of had to weave my way through that one. It also was a little tough to write about, because how do you write a synopsis of a show that has had several incarnations quite different from one another, and musical material that has changed from one to the other? With shows like that, I particularly tried to resort to the licensed versions of the shows. 

FYSS: I haven't had a chance to read the book cover-to-cover yet, but I did read the Follies and the Into the Woods entries to try to get a sense of how you covered individual shows, and both of those are shows that had significant revisions at different times. And I thought you made it very clear what they were and also where to go for a reader who wants to learn more.

RP: Let me say one other thing this is not directly on this topic, but it sort of relates, and that is that in writing an encyclopedia, I didn't want to overlay a lot of my very individual opinions about things, but with each of the show entries I tried to review the critical comments that were made about the show in its original form, perhaps with significant revivals and that sort of thing, and then to source those remarks from critics at those various points in time. And of course, my own objectivity (or lack thereof) had something to do with what I was selecting, but I thought that was a good way to represent the range of opinion without having to make it all my own opinion.

FYSS: Did you feel any responsibility with regards to canonization when you made choices about what to include or exclude? What made the First National Tour of Into the Woods more significant than the Fiasco production, for example? Why do Side by Side by Sondheim & Sondheim on Sondheim get individual entries, but Putting It Together is relegated to the omnibus entry on revues?

RP: I guess that now you are lifting the curtain on some of my own subjectivity with that question. I tried to identify things that were particularly significant. I mean with the revues for instance, several of those shows – you know, particularly Side by Side by Sondheim, the very early ones – they were the ones I think that elevated him in people’s awareness. So, I think that to me was part of what drove that. And then shows that that were early touring productions struck me as being things that maybe needed a little bit more coverage. I think the Fiasco production was a really interesting one, but with the more recent productions of shows I just felt like there's no end to it if I begin to include a lot of that sort of thing.

FYSS: I mean it's so subjective. I'm not the kind of person who clutches my pearls and screams oh my goodness, how could you not talk about this or that. But I was surprised to see in your Follies entry that the Paper Mill Playhouse album was not listed among the recordings, for example. I imagine that once this book hits shelves you're going to be bombarded with people asking about their pet favorites.

RP: Oh, I'm sure, and maybe that will be a reason to do a second edition, which I’m totally ready to do.

The Sondheim Encyclopedia hits bookstore shelves April 15. It’s available wherever you buy books, but Rick has provided a special discount code for readers of Fuck Yeah Stephen Sondheim to receive 30% off when you order directly from the publisher. To order, visit www.rowman.com, call 800-462-6420, and use code RLFANDF30.

Celebrate the launch of The Sondheim Encyclopedia with a free, live online event featuring Rick Pender in conversation with Broadway Nation’s David Armstrong Friday, April 16 from 7:00 to 9:00 p.m. Eastern. More information and register here.

[taekooktimeline]

1 : I disagree with the anon who thinks tae has a hard time dealing with his sexuality and jk does not. In the earlier years, tae said very conservative things but since a long time now, he has been the loudest supporter of lgbt of the entire group, answers harshly to delulu fangirls and even implied he wanted to sing his love christmas song only with a man because he chose to not release it when a big hit producer made him sang with adora instead of jimin.

Disclaimer - please keep in mind the below is our opinion / theory on the topic at hand. The timeline is separate from asks and we strive to remain credible, and driven by facts, there. In asks we more freely theorize. Thank you!

Sara: These are my rough thoughts as of 9th of November 2020. General Disclaimer - I could easily change my mind about anything that I say that isn’t included in the actual Timeline due to the extreme level of insight or subjectiveness that asks usually require which can only be answered with opinions in development and insufficient pondering / research. Well, this turned into a discussion which is good :) I do agree that Jk also struggles with his identity and is afraid to be outed without being prepared, which is natural. This would fall in line with him saying he didn’t want “a kiss from a boy” as he panicked in his coming of age day back in 2016 when he already knew he liked Tae (the famous day joon called for tae to kiss him). Mind you, on that same trip Tae said it was weird to hold a man's hand in public when he saw JK and hobi holding hands in the streets of Europe. I don’t think Tae said that due to jealousy. I think it was his internalized homophobia speaking (meaning self-rejecting feelings that are so common within lgbtq individuals where they are affected by what society considers correct. That’s where self-hate comes from). Both Jk and Tae deal with internalized homophobia and they’ll probably deal with it their entire lives to some extent, because it doesn’t necessarily disappear in its entirety even if you come out and “accept” yourself, especially if you live in a conservative environment. I can tell they’ve both come a long way though and they are much more comfortable in their own skin. It’s beautiful how Tae has embraced gay culture and clearly feels part of the lgbtq community. I think Tae seeks for belonging while Jk is much more “independent” and I personally think the idea of “a community” doesn’t resonate with him as much. I don’t know if it’s due to him being a huge introvert or what but not every non-straight person needs to be immersed in the gay scene. There was a time that Jk repeatedly mentioned Troye Sivan as his top 3 favorite singer (while he was self-discovering), recommended “memo” by years & years, etc, and we don’t know what he enjoys in his private life so...at least we know he did find solace in gay public figures during an important period of his life. I love Tae being sassy and shutting down fan’s fantasies, but Jk playing along is innocent and his way of being “friendly”. Jk is the opposite of what toxic masculinity looks like so I don’t see him going out of his way to look straight. He does whatever he wants. He uses women’s perfume, unironically fixed his long hair up into 2 cute ponytails while eating out, enjoys cosmetics and does his own makeup, owns pink items, etc. I’m just saying he doesn’t have a fragile masculinity. Saying bro is just for laughs and to sound cool and american. Him saying he didn’t think he could fall for a guy was a joke to overly compliment hobi while not outing himself. It’s not that serious. He didn’t have the need to joke about crushing on hobi, but he did so VOLUNTARILY. To me it seems like he is pretty comfortable with himself as of now, but remember they are closeted and in a delicate situation.

Kayla - hi anon! The beauty of discussions is each is entitled to their opinion. Respectful discussions are fun - thanks for being kind in your ask☺️I personally think Jk referencing “I’m still me” then taking the time to draw it in artwork speaks volumes. It was around the time Joon recommended a song from the movie and it’s a famous quote so to me, that’s not a coincidence, though you’re entitled to discard it if you wish. I also think we need to consider the context of Jk calling Tae bro - an interview in which he looked at his lips at one point, and caressed his back as he said that word. Those two were pretty affectionate through the overall interview. For some, the bro comment is proof TK aren’t together. For me, context is critical. That moment never dissuaded me on them being “real”. I know some will disagree on that so please know that’s simply my interpretation of that moment. Plus my UK friend said soon after that moment she calls her partner “bro” jokingly so I second Sara it may be as simple as that in why Jk said it. As far as the Hobi comment, I feel like that statement alone shows Jk is part of the lgbtq community. He flat out is saying he fell for a man … and I anticipate one would argue he’s joking but, for me, there’s truth in jest. He didn’t have to say that comment yet he did. I just want to leave it as I don’t agree Jk wants to come off straight at all. I mean don’t forget this is the same guy who also said grapes were more interesting than the girls at the shoot...and this was in his teenage years so🤷🏻‍♀️some may say he was just nervous around the women and that is, of course, totally okay if they interpret it that way. I just view that comment differently. And he’s wearing genderless clothes this year (2020) and changed the lyrics of “savage love” to be genderless, so he shows support, it’s just not in a bold way like Tae. He’s worn a paper clip earring and suppprted lgbtq artists so he does acknowledge the community. I think it just comes down to some people place greater weight on others knowing their identity.

I think Tae wants people to know, hence why he’s expressed loud support in various ways, whereas Jk doesn’t really feel like he needs to address it. My take is Jk genuinely just doesn’t care how people perceive him, and that’s why he isn’t as vocal as Tae, who seems to indicate he really wants people to know his identity. Jk is fortunate to have a progressive family (an example being during his vlive he said, “Anyway, my parents were like that. When I was young, no matter what I did, they let me be and do whatever I wanted to do”), he has loving and supporting members - that support system must have helped greatly as he went through his exploration and struggles. He absolutely struggled, and I agree on that, but I think it was easier for him in some ways because of his environment / support system, and who he is personality wise. Jk is a man of action, not as bothered by the opinion of others (again, we can look to his tattoos as a big indicator of this) whereas Tae seeks validation, even this year, from ARMY. Him saying during pride month, after reading the CMBYN monologue “I want to be happy too🥺” to me shows he still struggled with public perception. Personally, based on private talks I don’t want to get into too deeply in this public setting, I think Tae came more to peace with himself this year. But I do personally think Tae had a harder time coming to terms than Jk did (and has alluded as much when he’s mentioned his struggles with school and puberty, plus some of his solo work). Let me be clear, both struggled, and as Sara says both dealt with internalized homophobia, and I don’t think anyone would disagree with that, but Tae’s overall loudness, for me, shows he wants people to know. That’s why he’s loud. Jk not being loud doesn’t mean, to me, he wants to come off straight. Jk has done an amazing job over the years of smashing others’ preconceived masculinity beliefs and he does it comfortably. For me, it shows he’s just not bothered as much by public perception. He is who he is and it doesn’t matter what people see or think. I’ll agree that Tae definitely is the most vocal member, and seeing him happier and appearing at peace makes me happy, and I definitely don’t think he has any issue with people speculating. I really think it’s important to him for us to know, and i think he wants us to know. As an aside, I know I’m just a fan but I'm super happy for Tae seeming to be more accepting of himself. I know a lot of people, including myself, are touched by him, as well as the other members, for the various ways they’ve shown support to the LGBTQ community.

PS - thanks again for being respectful in initiating further discussions on this topic Anon💜sometimes checking the inbox makes me anxious so I immensely appreciate when people can hold a respectful and kind debate on various topics.

[sole-cuore-amore-e-droga]

Bulgaria brings a mentally reassuring anthem to Rotterdam 2021

I’ve said so that VICTORIA herself sort of agreed to have done “Tears Getting Sober” if she was allowed to, but for one I have to thank that EBU said that the artists can’t have their 2020 songs back? You’ll see why when I get to the review after two boring paragraphs of text with technical info, for the country that is Bulgaria!

ARTIST & ENTRY INFO

Victoria Georgieva (or VICTORIA, but I can’t be arsed to continuously capitalize her name so I’ll just say Victoria from now on) was born a singer, for she started to sing at the age 11, went to a specific school of angel voices (no really that’s what it was called), and tried to go to the X Factor while a liiiiiittle too young until realizing that she needed to wait for a few years, and wait a few years she did, and went on to the X Factor again.

She didn’t win, but she still got to sign a contract and sing some stuff in Bulgarian before she decided to rebrand, started singing in English, and completely decided that ballads is her style. She cannot really do upbeat most of the time. So you can’t really have a bop from her in the future. (Well except that there’s a couple of songs in her discography that I personally classify as “bops” but they’re more like... idek sad bops?? but they can be danced to, but I get her, she doesn’t do anything that’s more loud and upbeat and clubby and summery kind of - in short, nothing you can go “YAAASSSS QUEEEEEN” over to.)

The entry she ended up singing, “Growing Up Is Getting Old”, is what I can describe to be about overcoming the emotional twists and turns inside of you as you grow older, because as it turns out, it ain’t what you thought it would be - but if you push just a little further, you realize that if you’re growing up, maybe the life isn’t so bad, afterall - you are able to get up. Somehow. It was written as part of Boris-Milanov-led songwriting camp held during summer, and a lot of people seemed to be a part of it because multiple different folk have songwriting credits on the potential Bulgarian entries this year.

REVIEW

Let’s get this out of the way immediately. I prefer “Growing Up Is Getting Old” to “Tears Getting Sober”. The former sounds a lot less irritatingly underwhelming and a lot more positively overwhelming you with warm emotions and sunglow. “Tears Getting Sober” was a song I could never really connect with - maaaaybe the last chorus is much better on there, but it doesn’t do much for me either, I guess.

Their 2021 forray however is a much different kind of thing - once again, going for lyrical non-cliches, Victoria tells a tale about her inner turmoils and continuing in life, in a way that’s personal to her and also kind of relatable to all of us. We all have these moments of fear and anxiety and nervous systems aching. If only there was someone who’d tell us that we’re worth saving... thanks a lot Victoria, you’re the MVP. Filling in the void that Netherlands from last year had brought us but not anymore - another personal song about getting old and having those kind of feelings inside - and doing a great job at taking the baton in the right way (even with featuring the word “grow” in both of the titles, neat coincidence).

Not only the lyrics feel like a hug, the song just emulates ray of sunshine and golden glitter coming down from the sky, Molly Sanden style. The violins in the G major key playing so precisely, building up momentum throughout the entire song, slowly but surely - starting with the ticking clock in the first verse that may have subtle violin in there; and the first chorus is just so simple piano, and then the second chorus has a tinge of electronic something, and the last chorus goes full in with the backing vocals boosting the song, after Victoria performs the quite magnificent bridge... now I don’t have synesthesia but I associate music keys with colors, and to me G major would always come across as something yellow or orange - “Growing Up Is Getting Old” is a perfect example of why’s that for me. And obviously, Victoria’s love for harmony-humming (even if there’s just one instance of it after she sings “star crossed soul”) complements the song to a T.

And it turned out to be a much better choice than last year’s. Maybe finally a female ballad I am getting behind.

Now I wanna know why the bookies don’t appreciate THIS entry as much as last year?

Granted, now it’s 2021 and the environment is so much different, and the songs have changed, and the dynamics have changed, and now there’s suddenly more competition at stake. And for Bulgaria it fares quite much more underwhelmingly - well, at this moment they’re like 6th, which isn’t bad, but there’s a lack of sung praises coming its way, not quite a feat that “Tears Getting Sober” actually achieved, being the bookies fave right before the cancellation of last year. In general the year has been pretty dry for the previous winner picks like Iceland, Lithuania and this, but I can’t say that the previous winner bets from 2020 are all that dead either? Though I gotta say that Bulgaria wasn’t gonna win 2020 anyway, so it’s a lose-lose in this case.

Also I just can’t at that music video being a little dramatic at the beginning, with the cancellation of Eurovision being presented as if it were a worldwide disaster during which we all shall lock ourselves into bunkers and wait until the better days, eventhough the panini is not war and war supplies kit is not just enough to survive it. But it seems like that the world is quite literally falling apart, as evidenced by Victoria going through all kinds of pathways away from her living room, meeting a  (presumably) mini version of her somewhere in between, and literally surrounded by the shaking environment by the last moments of the song

before we realize it was just reality recursing from the TV’s point of view that Victoria was watching all along, and then she leaves the living room again, but in her world, everything is normal and she could just go wherever she wants by car. Even I can’t come up with a storyline ending that’s somewhat intertwined and all plot-twisty and more confusing than that. But props to her team I guess

Approval factor: Let’s say I somewhat approve this message. Follow-up factor: For the sake of argument let me just say that Bulgaria is moving on a great path, eventhough the former entry leaves me cold, at least the current entry keeps me warm at all times, like a cup of cocoa and a good blanket. Please Bulgaria, never run out of sponsors. Qualification factor: I’ve seen one or two people throw around the “surprise NQ” tag for this song and I don’t get why??? There’s no way that the tense atmosphere of semifinal 2 would sure-fire-ly kill Bulgaria, even if they have a lot less chances to win this year than they had the last one. There can be some shock NQs indeed though, and if there are, I am paging... uhhhhh Finland? Idk why but you might see what I mean if I ever get around to reviewing “Dark Side”. Bulgaria? Never. It may not win the semi but it will cradle around the top 7 somehow.

INTERNAL NF CORNER

That’s right, Bulgaria managed to do both.

At the time when one other of Bulgaria’s songs got released, within the *Special* Eurovision September 1st-onwards range, people naturally succumbed to their primal instinct of asking whether that’s her Eurovision song... only for Vic to probably announce this early on that no, it’s just *one* of potential ESC entries she’s harbouring. And the remaining potential ones were all on her debut EP. Who actually got a more well-orchestrated schedule for everyone to follow, and yet, people were much more keen to cling on the first EP song out of the gate, “Imaginary Friend”. Now I get that the fans of that song were super upset at the revelation that IF is not going, but it is a technically strong song for the sake of being a technically strong song, and I don’t want to think that Victoria is only forced to choose the songs that can win for her, so she’s such a sweetheart for gravitating towards a song she could dearly care about. So props to her team saving the initial winner for last to be revealed, lol.

Though wasn’t her personal favourite a Billie-Eilish-lite-upbeat-kinda-track Phantom Pain?

Which was also my personal favourite?

Look, I know that favouring the only non-ballad in the whole lineup (well “Ugly Cry” is also not quite a ballad but its beat is kinda so-so, so I tend to ignore it) is kinda sus, also, y’all are sick to death to Billie Eilish comparisons, but I do believe that Billie would never be able to do an “Imaginary Friend” while Victoria could do a “Lovely”. This makes me remember the cover art of Billie’s debut album where she sits on her bed, dressed in white, and so is Victoria on this very MV, with strange shit going on behind her in the mirror. To the mirror, her reflection acts creepy, back again.

The other 2 I don’t feel like caring about enough, sure they got their cred, sure there’s one entry properly crediting Milanov (who seems to not have an actual entry this year that’s purely attributed to *him*, as opposed to 3 last year, 2 of which were performed by acts that returned this year????), sure there’s the funny thing about having a funeral song where out of this and Finland only Austria managed to send a quote unquote “funeral” song, but I think the funeral song would’ve sounded better if the pre-section of it on the “Phantom Pain” video was THE “funeral” song itself, and not whatever was that other funeral song.

In between there was a public sort of survey where people could submit feedback and positive words to Vic’s choices to help her decide - I didn’t get to vote but I feel fine with the winner eitherway, and that counts for something! And the end result was revealed at the very end of Victoria’s very own rooftop concert.

The colors on the circle thingy of this, they were meant to symbolize all Bulgarian entries up to Victoria’s 2nd one, in pictograms that kind of reminded me of Coldplay attributing every song on ‘Mylo Xyloto’ its own little symbol.

The concert was not only full of music and also adverts for the inaugural sponsor iCard (that also included some element of foreshadow in between the suspense, you’ll see why), but also the Bulgarian folk talking before each song, saying all the positive nice words they can for Vic; that she’s talented, and that they were so excited that Bulgaria was doing well in the odds last year prior to cancellation, bla bla bla... also some people were proud of voting for Bulgaria outside Bulgaia, and they made puns about the forthcoming songs on the concert that they were introducing, and so on, and there was also someone called Dara, whom I really want to be sent by Bulgaria one day to show off that they’re not afraid of doing trashy-esque bops that don’t necessarily win

Also they reminded me that Lucy from No Angels (aka the sole reason Bulgaria 12′d Germany in 2008) still exists.

Also Azis.

There was also an intermission where Eurovision 2021 acts could say all the nice words to Victoria on their own part. And several artists chose to... how shall I put it... use up their several seconds rather interestingly. Like how The Roop would say something real quick only to delve into more of their usual “let’s dance, let’s discoteque! *hand scissors* ;P” self-promo, and Senhit carelessly being allowed to say whatever she wants in Italian without subtitles <3 Sorry sis, they’re only given to people from another white-green-red flag-color country.

About the iCard foreshadow... so there’s their advert about Victoria waiting in the line to get something in the Soft Vocals Store, and people ahead of her giving her money the standard oldfashioned way, and the old lady at the counter is... slow, to say the least. After a good amount of time spent waffling around, Victoria finally pulls out the iCard application and pays for the imaginary items she wants, then narrates some stuff about said application, and a Eurovision entry of hers plays when the old lady is at home, spending time in front of TV enjoying the music. Before the concert, the song that played was “Tears Getting Sober”. The advert played once more before Victoria’s big entry decision and entry MV reveal, and in place of the 2020 entry, “Growing Up Is Getting Old” was the one that sounded out loud... Now you may think that there were attempts at some sort of spoilage here, but after that ad before the concert EP NF result, there was this other advert starring Victoria that played “Imaginary Friend” at the end, a last-ditch effort to trick viewers into going “see? just because that ad played the chosen song doesn’t mean it’s the chosen song!! this song could as well be a chosen song as well!!” yeah no shut up GUIGO IS the chosen song kthxbyebye.

ANY LAST WORDS?

Having said all that praise, I actually have “Growing Up Is Getting Old” fairly low on my ranking. It’s just because the year is so damn good and I have a lot more songs to care about more than this, but I appreciate the gesture that this singer is sending very much. Good luck on your road to conquer Europe, Victory-ia, I’m sure you get the best of the experience and all, because you would deserve it.

[365days365movies]

March 1, 2021: The Hobbit (1977) (Part 1)

In a hole in the ground, there lived a Hobbit.

When I was 9, my school let us read a very special book, originally meant for kids, but beloved by everyone. My folks and I went to Borders Books (FUCK ME, I miss Borders), and we got an illustrated copy of J.R.R. Tolkien’s The Hobbit. I can’t find that book, but if I ever find it again, Imma buy it IMMEDIATELY, I tell you what. And...oh shit, it’s on Amazon for $12? 

Well. I just made that purchase, I guess. But yeah, I loved that book when I was a kid, and this was during the same year that Peter Jackson’s Lord of the Rings trilogy began, with Fellowship, of course. And I wouldn’t end up watching those until a few years later, but I loved those too when I saw them. And I’ve NEVER seen the abridged version, by the way, I’ve only ever seen the extended editions.

Although, I can’t call myself a hardcore fan. I’ve never read the Silmarillion, for example. Although, weirdly, I wanted it as a kid at some point, so I was almost there. But no, I ended up getting into comic books hardcore instead, so I can’t tell you the history of Tom Bombadil, but I can tell you about at least one of the fuckin’ 87 tieles that the Legion of Super-Heroes has been involved in. I’m not gonna like it though.

...Yes, I will, who am I kidding, I love the Legion. Anyway, I’ve still always been a fan of the franchise, and I was extremely excited when Jackson announced that he’d be doing an adaptation of The Hobbit! Seriously, I WAS FUCKING PUMPED, you have no idea. I re-read the book, I was super-excited...and then Harry Potter changed EVERYTHING. Kind of.

See, Harry Potter’s development as a two films made from one book seemed to kick off a trend. Breaking Dawn and Mockingjay are the two that immediately come to mind, as does this film. However, to be fair...that’s probably a coincidence. Yeah, this film was originally developed as two parts, WAY before Deathly Hallows got that treatment. And even then, Jackson and Del Toro had difficulty breaking it up into two parts, and three ended up being easier. Still...the change from two-to-three does feel a little connected to that trend.

Anyway, in celebration of that decision, I’m gonna break this review into three parts! Yes. Really. I want to see if it works. And so, let’s talk about the other most famous adaptation of this book by talking about its creators.

Yup. Rankin-Bass did 2D-animated cartoons, too! And this was one of their most famous ones, dating back to 1977. But wait! There’s more! This was followed by Ralph Bakshi’s version of Lord of the Rings by a different studio. You know, this one?

Yeah, that one. It was only based on the first two books, Fellowship and Towers. But it was technically unconnected to the Rankin-Bass version. Which is why it was REALLY weird when Rankin-Bass came out with an adaptation of the third book, Return of the King, right afterwards!

BUT WAIT THERE’S MORE. Because both of Rankin-Bass’ specials were animated by a Japanese studio called Topcraft, who’d actually worked with Rankin-Bass for years. But then, they went bankrupt a few years later, and was bought by Isao Takahata, Toshio Suzuki, and...Hayao Miyazaki. And it was renamed as...

So, this is a Hobbit adaptation produced by the Rudolph people and animated by the people who would eventually become Studio Ghibli. Well, uh...holy fucking shit. Let’s DO THIS BABY. SPOILERS AHEAD!!!

Recap (1/3)

As we’re wont to do in this story, we head to Hobbiton in the Shire, where we meet Bilbo Baggins (Orson Bean). A simple Hobbit in a simple home, with a happy and simple life. But one day, he’s approached by Gandalf (John Huston), who seeks a burglar to help with the mission of a group of dwarves, led by Thorin Oakenshield (Hans Conried).

We also immediately start off with two songs from the original book, and I have to say that I like them a but better in the Jackson movies, but they’re still well performed here. Anyway, after dinner, the true goal of their quest is given. Beneath Lonely Mountain, the ancestral home of the Dwarves, there was a kingdom ruled by the King Under the Mountain, Thorin’s grandfather.

Through reading the lyrics of the song “Far over the Misty Mountains,” Thorin tells the tale of the takeover of the Dwarves’ great golden hoard by the dragon Smaug. Bilbo is tasked to help the Dwarves steal back the treasure stolen from them. And, while he’s extremely reluctant to be a part of all this, Gandalf basically forces him to, the pushy bastard. And Bilbo’s Greatest Adventure now lies ahead!

Speaking of, here’s the song “The Greatest Adventure”, sung by Glenn Yarborough, who is the living personification of vibrato. Fuckin’ seriously, this guy’s voice is ridiculous, but I love it so much. As the night passes underneath Glenn Yarborough’s hypnotically shaky voice, and uncertain, Bilbo stares out at the moon. Once it’s over, we’re on our way to the Misty Mountains.

Bilbo’s having a tough time with the long journey and rough weather, and it doesn’t get much better when they encounter a trio of trolls. They send out Bilbo to try and steal some mutton from them, but he’s IMMEDIATELY a failure, and also manages to tell the trolls that the dwarves are present. Nice one, Bilbo. The trolls catch all of the dwarves, although Bilbo manages to escape. 

The trolls argue about how to cook the dwarves, but before they get to do anything, Gandalf shows up and summons the dawn, turning the trolls into stone and saving the dwarves. While they’re initially quite frustrated by Bilbo’s failure, he makes it up by discovering a horde of goods and weapons stolen by the trolls. This is also where Bilbo gets his classic weapon, Sting.

Gandalf, cheeky bastard that he is, suddenly reveals a map that he’s kept secret from Thorin, its rightful owner. Bilbo, a classic cartomaniac, is able to interpret the map. But there are also runes that they can’t quite read. And so, Gandalf brings them to his friend, Elrond (), who’s wearing a sick-ass glittery tiara that’s hovering off his head. How come Hugo Weaving didn’t have that?

Anyway, Elrond identifies the swords that Thorin and Gandalf grabbed as Orcrist, the Goblin-Cleaver and Glamdring, the Foe-Hammer, because FUCK YEAH, BABY, those are some fuckin’ NAMES! WHOOOOOO!

Anyway, he also points them in the direction of the mountain, and shows them hidden features to the map. They head through the mountains after this, and rest in a cave. Unfortunately, this cave is on Goblin territory, and the group (sans Gandalf, who’s disappeared to make out with Cate Blanchett or whatever) is quickly ambushed by a group of now-horned Goblins, who chant their song as they go “Down, Down, to Goblin-Town”. Which is a song that I love, unironically. It compels me to sing along.

The Goblins nearly kill them when they discover Orcrist in Thorin’s possession, but they’re saved by the sudden appearance of Gandalf with the glowing sword Glamdring. He kills the Great Goblin, and the group run out with the Goblins in hot pursuit. Well, except for Bilbo.

Yeah, Bilbo falls into a cavern below the mountain, and the dwarves think him gone for good. However, he’s miraculously safe on the ground, having landed in an underground aquifer, in which lives THE GREATEST CHARACTER IN THE MIDDLE-EARTH FRANCHISE FUCKIN’ AT ME I DARE YOU

And just so we’re clear, I’m not talking about the film version only, I’m talking about Gollum/Smeagol in general. Granted, I don’t want a film starring him or anything (coughCruellacoughcoughMaleficentcoughcoughClaricecoughcough), but I love this dissociative little dude so much. He’s one of my favorite fantasy characters in general, and is also maybe the best example of a sympathetic villain, in film at least.

OK, to be fair, I love Andy Serkis’ version of the character a LOT, like a LOT a lot, and it’s a great version of the character. OK, so what do I think of this version? He’s...interesting, actually. If I’m honest, I kinda like him. This is similar to how I always pictured Gollum when I was a kid.

I mean, listen to this description from the book, yeah?

Deep down here by the dark water lived old Gollum, a small slimy creature. I don't know where he came from, nor who or what he was. He was Gollum - as dark as darkness, except for two big round pale eyes in his thin face...He was looking out of his pale lamp-like eyes for blind fish, which he grabbed with his long fingers as quick as thinking.

I dunno, that does sound more like this version of Gollum to me, just saying. Anyway, while Gollum is off fishing in the water, Bilbo gets up on the shore, where he finds a little golden ring Not important, just a ring, definitely means nothing at all, NOTHING AT ALL, NOTHING TO SEE HERE.

The hungry Gollum (Brother Theodore) happens upon Bilbo, precious, wonders if Bilbo would taste good, and is basically about to kill him for his sweet hobbit meat, before Bilbo takes out Sting. Now afraid, Gollum offers a game of riddles. The two make a deal: if Bilbo wins at a game of riddles, Gollum will show him the  way out. But if Gollum wins, precious will eat him raaaaaaaw and wrrrrrrrrrriggling!

The riddles commence, in a super-fuckin’-classic moment, and also ends with maybe the most bullshit moment in all of fantasy lore. After clever riddles with answers involving eggs, wind, and time, Bilbo’s last riddle is “What’s in my pocket?” The fuck, Bilbo, that’s absolute BULLSHIT!

Not that it matters. Bilbo wins, but Gollum goes to find his ring to show it to Bilbo before he takes him away. Thing is, though, that’s what was in Bilbo’s pocket, which Gollum quickly figures out, my precious. He’s about to kill Bilbo to get back his birthday present, precious, but Bilbo discovers the secret trick of the ring: it turns the wearer invisible, AND THAT WILL NEVER BE A BAD THING EVER.

Gollum thinks that Bilbo’s escaped and runs after him toward the exit. This, of course, leads Bilbo towards the exit inadvertently, and he follows Gollum, then jumps over him to get back. To which Gollum screams the following:

Thief! Thief! Baggins! We hates it! Hates it! Forever!

I hear you, buddy. I hear you. Well, once Bilbo escapes, he reconvenes with the rest, and shares his adventure in the cave, but leaves out the ring. And Gandalf seems to know, based on his dialogue. And I checked, and he figured it out in the book and Jackson movie, too. And I gotta say...WHAT THE FUCK GANDALF

I mean...DUDE. CHECK UP on that shit. Do you wizard job, man! If you’d been like, “Dude...you didn’t find a magic ring that turns you invisible, ight, because we’re FUCKED if you did”, NONE OF THE LORD OF THE RINGS WOULD’VE HAPPENED, AND BOROMIR WOULD STILL BE ALIVE

Everybody talks about the fuckin’ eagles, but WHY DO I NEVER HEAR ANYONE MENTION THIS SHIT? Gandalf the Grey: Middle-Earth’s most irresponsible asshole, I swear...

This seems like a good place to pause, actually. See you in the next part!

[reel-em-in]

Pre-Production:

I feel that the pre-production for Coming Out Country went really well. We researched a few different things in relation to country music, but there was a big focus on the stereotypes held about the genre and those who listen to it, wether country always had ties to conservatism and right-leaning ideals, and examples of country artists that are/were more progressive or queer themselves. I also created a survey during pre-production which I posted in some groups online, as well as sending to people that I know. This was to find out a surface level view of the demographics of people who consider themselves fans of country music and wether these fans feel they had been treated unfairly within the country music fan base due to their identity. It also had a section for people who did not consider themselves fans of the genre, and instead they were asked what their feelings were towards country, if they disliked the genre they could tell me why, and what there stereotypes were about country music fans. This was interesting as something I noticed was that many of the stereotypes had their origins in classism (many felt that country fans were less educated and less progressive and suggested that this was due to their rural/less well-off upbringing).

We also conducted some zoom interviews during pre-production. With the group formulating questions to ask me. This allowed us to get an idea about the sorts of things I would be able to talk about in the film, and what was of interest to the group. This was very useful as country music is a special interest of mine so I would find anything about the topic to be interesting, whereas I understand that to the general populace it probably wouldn’t be that interesting. These interviews fed into the questions that would later be asked during the interviews during production.

I also spent a lot of time collecting the archive photographs. I managed to get a large selection of possible photos, whilst also learning that we have more photographs of agricultural machinery in the house than of me as a child. An amusing fact.

Production:

I feel that for the most part the production of our documentary was successful, though there are definitely a couple of things that I would improve upon.

Production began with me getting the b-roll footage of me working on the farm. This footage worked well within our documentary, though it is also something that I would have done differently had we not been in a pandemic. In a perfect world I would have liked to have had the group (or at least Luke as our DoP) come to the farm and film the b-roll footage properly with a camera. Though due to travel restrictions this was not possible. I had also left my camera in Edinburgh as I was not anticipating being home for so long. This meant that I had to film the b-roll footage on my phone, and ask my mum to be my camerawoman. Telling her what footage I needed, and then getting her to point and shoot. She now knows all about the rule of thirds!

Once I was back in Edinburgh, Luke and I shot the rest of the footage. We spent a few days in my flat filming the interviews as well as some of the songwriting process, and eventually the song. I think this worked really well as due to Luke being a friend of mine I felt much more able to open up in the interviews than I would have if someone I didn’t know that well had been the one asking questions. This meant that our doc took a much more personal direction than it was originally going to.

A lot of the song writing process was also filmed, though much of it wasn’t as it was a long process. I am pleased with the final song, though it was definitely difficult to write. Now that I have proved to myself that I can do it, I plan on writing more of my own music though.

We also recorded the song during this time, something that I think was really well done! I would have liked to record the song in a studio, but unfortunately to to time constraints and Covid restrictions this was not possible. With that being said I think the recording is of a really good quality for being recorded in my room, with sound equipment that Luke had access to.

Post Production:

The post production was also mostly successful, though once again there are a couple of improvements that could be made.

Beth began the editing process, putting together the first cut before I joined her for the rest of the editing process. I spent several days with Beth working on the edit, creating the narrative of the film from things that had been discussed in the interview. This was a difficult process as we had so much footage from the interviews with so many interesting points that deciding was to keep in the film and what to discard was a bit of a nightmare. I feel like what made it into the final cut worked really well though. We were working under more time constraints than initially planned due to other projects we were working on simultaneously, but each day we would send our cut to Sana and Leo for feedback, and act upon that feedback the next day.

One thing I would have done differently though is to have included the sound from the interviews underneath the archive photographs, as the lack of dialogue did impact the flow of the film. I don’t think this was too much of a problem, but having dialogue there would have definitely improved the final film.

Once we had picture lock, we sent everything off to Jess for the sound design. This was also done with more time constraints than we would have liked, but I feel that it was mostly successful. I think that the levels of the mix were great for the most part, and the different audio clips blended into one another nicely. Without any noticeable or jarring cuts. Though Leo mentioned that the water sounds over the archive photograph of me sitting by a pond was somewhat jarring. If we were to revisit the sound design I think that this could be fixed by either bringing it lower in the mix, or by adding similar linking sound effects to the other archive photographs. Or perhaps a mixture of both.

The final step of the post production process was to send it to Luke for colour grading, and for Luke and I to add the titles. The colour grading was really well done, and made the film link together much more than in our non-graded cut. The titles and credits were inspired by westerns, something that I think worked well within our film both through its thematic links to country as well as through the fun and quirky atmosphere it created. We also chose to have the credits appear in time with the final part of the song, and be in the colours of the trans pride flag.

A couple of other things I would have changed during post-production I should have done during this final step. The first is that I would have liked to have added subtitles to the song, as the lyrics draw on a lot of the topics discussed during the film. The use of subtitles would have been a great way to draw attention to this. The second thing I would change is the way that I am credited. I realised after submitting the film that at no point do we introduce the character that is the focus, for all the viewer knows this is just some dude with green hair and no name. Even if I didn’t include a name or anything earlier in the film, it would have been a good idea to have clarity given in the credits by perhaps saying ‘starring and directed by’ or something similar.

Overall:

Overall I feel that Coming Out Country was a success, both in terms of the final film, and the fun that we had making it. It is also a project that I plan to improve by acting on feedback from the crit, as I want to make sure it is as good as it can be and can be added to my portfolio.

Feedback From the Crit:

I know that some of this was covered in the rest of this post, but I have included it anyway :)

Sana:

What Worked Well:

The hand held footage on the farm

The structure

That it took a more personal route than originally intended

What Could Be Improved:

The cutting back and forth between interview, archive, and b-roll didn’t work as well. It would have been nice to remain with the b-roll for longer

It would have been good if my grandfather had been reintroduced into the narrative again, later in the film

The archive photographs could have been used more effectively. Some of them feel as though they were added a bit randomly

Leo:

“This is a really enjoyable film for people who know Tom, and don’t know much about country music. If you touch up the edit a bit it can also be a really enjoyable film for people who don’t know Tom, but enjoy country music.”

What Worked Well:

Fun to watch and listen to

Luke was included as a character (both visually and through audio), but he did not feel overbearing. The choice to not include his face even when he was on screen playing guitar was well made.

The titles

The song was well written and recorded

What Could Be Improved:

Dialogue should have ran under the archive photographs

The water sounds were a bit jarring

The narrative ‘sections’ could have been made to intertwine more, rather than being in distinct blocks

The Class:

What Worked Well:

It was fun to watch

It represented who I was well (it’s just a shame if people didn’t already know me they wouldn’t have known who the person represented was).

What Could Be Improved:

Could have played more on the juxtaposition between the country stereotype of right wing ideologies and my identity

It could have been interesting to have my trans identity act as more of a reveal

[kiarcheo]

It’s All Coming Back to Me Now    5/?

To read on  Ao3 click here

You can read the previous parts on Tumblr click here

‘Does this mean that I’m finally going to see you at home again?’ Catalina asks as they are once again walking back home.

‘Ehh,’ Kat grimaces a bit, ‘I’m helping Anna.’

She knows from their previous life together that Anna never learnt how to play any instrument. She could dance well enough and Kat had fond memories of that, and she had a lovely voice albeit clearly not trained, since she had been raised with the concept that music education was not proper for a noblewoman. Anna didn’t even have to say anything out loud. She just asked her when she was free to meet, the reason implicit yet understood by both.

‘That’s fine.’ Catalina bumps her hip against Kat’s. She doesn’t want her to feel bad for spending time with her friend. Friends. Family. Fellow queens. Whatever. But she misses having her around the house. ‘Just don’t forget about your old mother.’

‘You’re not old!’

Catalina would lie if she said that her heart didn’t skip a beat, dreading the last word would be two instead...my mother.

‘Anyway!’ Catalina knows from the tone that Kat is trying to distract her, probably having noticed her mood falling slightly. Perceptive kids these days!

‘I was talking with Cathy...do you think that us getting a PhD in history, Tudor history, would be cheating?’

‘Cathy, uh?’ Probably not the part Kat wanted her to focus on, but a mother has to take her fun where she can.

‘What?’ Kat is confused at first, before turning her head and seeing the look on the older woman’s face. ‘It's not like that.’

‘Okay.’ Catalina immediately accepts the answer. Not being believed is something that at best deeply upsets Kat and at worst triggers panic attacks. She doesn’t have all the details, Kat is reticent to talk about her life after Catalina’s death if not in broad general terms and Catalina has never forced the issue. She knows Kat would tell her, Kat said it herself. But every time she offers, she looks so dejected that she always refuses. But it doesn’t take a genius to connect the dots and blame Henry. It had been on her mind a lot, especially after Anne’s song and her talk with her. Whether Kat’s experience had been similar to her cousin, besides the ending, or not. Catalina isn’t sure she wants to know, to be honest. ‘But if it was...it’d be okay, you know.’

Kat shrugs, a subtle hunch in her shoulder. That won’t do. Catalina puts an arm around her shoulders and draws her in, kissing her temple. ‘Want to get a slice of cake to celebrate you writing yet another brilliant song?’ She said her piece. Short, sure, but that’s all she wants Kat to know. All the rest doesn’t matter. She’ll be there if Kat will ever want to revisit the topic again.

 .

Right from the start it’s clear that Anna has decided to go for a modern take too. Music is once again streaming from Kat’s laptop, the young queen snapping her fingers as her predecessor sings.

Where my hounds at? Release the bitches (Woof)

Anne claps her hands, howling with laughter at Kat’s first venture into the song, which will also be all the other queens’ part. Jane shakes her head, rolling her eyes. Say one thing once and they will forever use it against you. She is ready to bet that Kat’s song will also include a swear word, just disguised enough that you can argue it’s not really swearing.

Lookin’ cute,

(Das ist gut)

All eyes on me,

(No criticism)

I look more rad than

(Lutheranism)

Dance so hard that I’m causing a sensation.

Okay, ladies, let’s get in reformation.

Anne is hollering, quickly followed by Cathy and, to everyone’s surprise but Kat’s, Catalina. Religion puns and Beyonce reference deserve a holler, queenly composure be damned.

Kat shoots a beaming smile at Anna. The fourth queen had been worried about her song not measuring up to the others, but the reactions are proving her wrong. She actually gets a standing ovation as the last ‘I’m the queen of the castle’ fades away.

‘Have you thought about choreography?’

‘Not really.’

‘Can I?’ Catalina exchanges a look with Anne. ‘Can we?’

Anna looks at the first two queens, both almost vibrating for the excitement. ‘Sure.’

Anne whoops and Catalina looks like she is one step away from doing the same. ‘It’s going to be glorious.’

‘Before we lose those two,’ they do look like they are ready to bolt, eager to start working on Anna’s song, ‘can I point out the,’ Cathy stops to look for the right word, ‘whiplash of going from Jane’s song to this. Both songs are amazing just…quite a different vibe?’

‘What about having an interlude? We would have three songs, well four with the intro. Interlude. Other three songs. Conclusion.’ Catalina proposes, her head seemingly back in the game and not on the dance anymore.

Cathy looks at Kat. They had sort of taken the lead on how to structure the musical…and Kat on writing the songs, having a hand in all of them so far. ‘We can give it a try.’

‘Also,’ Anne seems to be back among them too, ‘was that a Tinder reference?’

‘What’s Tinder?’ Jane sees the mirth on Anne’s face. ‘Wait. Do I actually want to know?’

 .

The whole process is going surprisingly smoothly. Sure, it has been months, but considering they have no experience whatsoever with writing musicals, having 4 songs (out of 8 planned) mostly hashed out is impressive, in Cathy’s humble opinion. And that’s not even taking into consideration them being 16th-century queens reincarnated in the 21st century figuring out the modern world...and how to get along.

Unexpectedly, since she has been the one moving everything along, it’s with Kat’s turn that the smooth process comes to a halt.

‘Why the change? Not that I mind.’ Catalina specifies. Katherine had requested them to show up at a different location instead of the usual one. This one is more like a proper recording studio, with a live room with mics and instruments and a separate control room. ‘You know we have no idea how to use all of this, right?’ she jokes, gesturing to the mixing equipment. She frowns when Kat doesn’t even attempt to give her a smile at that.

‘I need you to be in another room. I know you will hate the song and-’

‘Impossible.’ Catalina scoffs.

‘I’m sure we will love it.’  All the others have joined them, and they chime in, agreeing with Jane. She has helped them all, whether with music or lyrics or both, and it is evident to everyone, even to Cathy, the only who still hasn’t worked with her, that she has a way with music.

‘No, you won’t.’ Kat is not looking for reassurance. She has no doubt about it. ‘It’s already going to be hard. If I have to worry about your reactions too...I can’t do it with you in the room. All of you.’ She had just recently managed to go through the whole song without having a major breakdown before the end.

While the first three queens appear confused, Cathy and Anna share a look. Having lived through Katherine’s reign as queen, they are the only ones with some knowledge about her past. They even had a brief conversation about it, not wanting to betray Kat’s confidence or their ‘vow’ not to look into each other’s past, but also needing to share their thoughts with someone who could understand them. Their conclusion had been easy: even if the charges levied against her had been true, which is not a given, as Anne’s example shows, considering her age she would have been a victim and not the temptress she had been portraited as.

‘Kat.’ Cathy takes a step towards her.

‘Please.’ Kat raises her hands in front of her. ‘Don’t.’

Cathy stops, nodding, slightly dejected, Anna laying a hand on her shoulder.

Catalina had noticed Kat was worried, but she didn’t think it had reached this point. And she doesn’t know what to make of Anna and Cathy’s solemn expressions. ‘Why don’t you show us and let us decide?’ She tries to encourage her daughter with a smile.

So that’s what she does.

All you wanna do All you wanna do, baby And ever since I was a child, I'd make the boys go wild

Kat had decided to use a backing track while playing the keyboard. She hopes that having to focus on playing and singing at the same time (and actually breathing, if things go as they went during her previous practices), she will be physically unable to think about the other queens being on the other side of the glass listening to her song (she angles herself so that her back is to the window and she is also physically unable to see them, even if she were tempted to look).

He just cares so much, he's devoted He says we have a connection

Her voice breaks and by the time she reaches the last chorus she is sobbing and hyperventilating. The effort required to finish the song definitely takes her mind off the others’ reactions…but everything comes crashing down as soon as the last note resonates.

She bows her head, shoulder shaking, hands frozen on the keys. She takes deep breaths, trying to calm down. Once she has it under control, or as much as possible in the situation, she pushes herself up. Time to face the music. Or not. What if she opens the door and they had left? They wouldn’t do that...right? Her...Catalina would not do that, right? She told her she would never be disappointed in Kat…but she never knew the truth...

But what if they are still there and are...disappointed? Angry? Ashamed of her? Would that be better? Or worse? One way or another, she has to know. And regardless, she has to leave the room sooner or later. It would only be delaying the inevitable.

[bronanlynch]

weekly-ish media roundup (I’ve really gotta pick a consistent day for these but unfortunately the days of the week have kind of lost meaning for me, the only time passing I’m aware of is when it’s my turn to cook dinner. it’s been that kind of whatever length of time, y’know?)

listening: since sea shanties are apparently the hot new trend, please appreciate my two favorite variations on Drunken Sailor: Drunken Whaler (from the Dishonored soundtrack), which I love for how incredibly creepy it is, both in sound and lyrics, and Drunk Space Pirate by The Mechanisms, which just absolutely fucking slaps, wow I love The Mechs (sidenote: this recording is from their last-ever liveshow, and I am personally very sad I got into them just too late to ever see them live). whenever I have Drunken Sailor stuck in my head it’s usually some awful mashup of all three versions like. what do we do with a drunk space pirate? feed him to the hungry rats for dinner!

reading: Drowned God by R.F. Kuang (short story about one of the characters of the Poppy War series, which is extremely good like. political intrigue military fantasy, except I know when I say that most people probably imagine some grimdark white dude bullshit but no! this is not that! this is really fucking good and everything the genre can and should be!) it’s a very good short story and it did make me very sad, and also gave me lots of feelings about, specifically, one of the best m/f ships I’ve ever been convinced to care about. love a school rivals to reluctant allies to battle couple to enemies to reluctant allies again to maybe lovers to enemies again. it’s very tasty.

also, The City Unbreachable by Yoon Ha Lee (from the f/f anthology Silk and Steel) which has some incredibly intriguing sci-fi worldbuilding about sentient spaceship-cities and the societies on them and the people who are bonded with them

watching: Rowan Ellis, a video essayist I vaguely follow, made a video about Black Sails, specifically comparing the endings of Black Sails and Game of Thrones to explain like. why the Game of Thrones ending didn’t work, which is a niche that appeals to my personal interests, because when the whole self-congratulatory “storytellers are the most important people ever actually please give us awards” speech in the GoT finale started I was like. you’re not Black Sails you didn’t earn this shut the fuck up. so it’s satisfying to see someone else with an actual platform make those same points.

I don’t agree with everything she says, obviously, because I am opinionated and contrary but I like the way she analyzes things and I do think she makes lots of good points and uses lots of good examples. however, I do find it kinda disappointing that literally everyone who talks about Black Sails in any kind of serious journalistic way talks down the first season. she doesn’t do it as much as most people but I think that season 1 is good and everyone is just unfairly comparing it to season 2, the best season of television ever created, so of course anything else isn’t gonna look great by comparison. like, I do dislike the sexual assault plotline but aside from that, it’s really good?? literally the first episode has the “civilization (derogatory) needs gossip because it reinforces shame” speech. the “and they called me a monster” Moment and Flint’s Odysseus monologue are both season 1! the Max/Eleanor relationship and breakup that underscore the main themes of the show is season 1! season 1 is really good!

playing: more Knife of Dunwall, to the surprise of absolutely no one. I think last time I did one of these I was still stuck in the first mission because turns out sabotaging a factory is hard if you don’t pay for the favor that turns off the alarms, which I didn’t because I spent all my money on sleepdarts and elixirs. I changed my mind about doing the sabotage because I kept getting spotted, but when I went back to find the capitalist who owned the factory so that I could uh. torture the information out of him because that’s the low chaos option apparently, the labor organizer who I’d rescued had killed him. thanks Abigale. you’re so valid but you made my life so much harder. my expert strategy for getting through that level is that you knock everyone out before you fuck with any of the valves, so that when the alarms go off there’s hardly anyone left awake to come after you. also, move all the bodies away from the valves so they don’t die in the explosion. if you still care about getting low chaos despite picking the incredibly high chaos option. which I do lol. but it paid off, I barely killed anyone, I’m still at low chaos, everything is fine except that Billie made fun of me for setting off the alarms because Knife of Dunwall is a game about being disrespected by your own daughter.

anyway. I’m partway through the second mission now so. we’ll see how that goes

making: one of my roommates and I made pierogi from scratch last night which Imo is a little too labor-intensive to be worth it considering that you can also just buy pre-made ones and all you have to do is fry them. but it’s a cool thing to have done.

the thing I actually want to talk about is the lasagna we made today, or like. more generally the red sauce I make from scratch whenever we do pasta with red sauce, because I do not care for store-bought marinara on account of chunks of tomato are not a good texture for me. all of the sauce recipes including the lasagna recipe say to add crushed and/or diced tomato, and one of my favorite things about adulthood is that if you don’t like something, you don’t have to cook with it! so I can ignore those parts of the recipes! I do not actually have a recipe for the sauce the way I make it because I strongly believe that herbs and spices and garlic are measured with the heart, but trust me when I say it fucking slaps.

there’s spinach in there so that we, as a household, eat our vegetables, and the meat is ground turkey because I can’t eat beef

writing: mostly, cover letters. also a few fics with deadlines that I can’t talk about much yet because they’re for events, and then I posted a fic for an exchange centered around women in various MXTX works, which is about soft domesticity and I thought turned out pretty well

[oneweekoneband]

To Leave Or Die In Long Island

Of course, BTMI! was just getting started. Less than a year after the release of the debut, Jeff came out with a second album (well, at 8 songs, it’s more of an EP, or mini-album, or, in Jeff’s words, a digital “10-inch”). Though To Leave Or Die In Long Island is shorter in length than Album Minus Band, that only seems to have helped to focus the sound and songwriting on it. In some ways, it’s more conceptually ambitious, too – the album begins and ends with the same melody in a kind of parallel structure. Almost everything that was great on Album Minus Band is honed to a finer point here. (Strangely, according to this interview, this is apparently Jeff’s least favourite BTMI! album; while I understand his reasoning why, it easily ranks as one of my favourites.) As on that album, for example, Jeff continues to criticize the state of the 2000s punk scene. But instead of simply lashing out at obnoxious trend-chasers, his targets get more specific and his lyrics more potent as a result: opener “Happy Anterrabae Day!!!” takes aim at the overly-violent culture that can still be observed at hardcore shows. Between the first verse to the second, Jeff moves from jeering at the guys who threaten “some fourteen-year-old” to suggesting ways to improve the situation: “If I kissed you on the nose or offered you a hug, / How could you possibly still wanna fight?” He ends with a reminder of the positive possibilities of punk rock: “Think about the reason you went to shows at twelve years old, / We all felt alone, it was not to kick my ass!”

Whether it’s the inside-joke about a bandmate’s ladder-climbing career offer to join a more successful band (that didn’t work out in the end) on “Congratulations, John, On Joining Every Time I Die!” or the under-a-minute hardcore punchline of “Showerbeers!!!”, the album really shines on the lyrical front even when it feels like Jeff isn’t trying (which he admits he wasn’t on “Showerbeers!!!”). Then there’s the more serious stuff: “Dude, Get With The Program” is one of Jeff’s best songs about the paper-thin quality of that bullshit facade upper-management types put on when trying to soothe class antagonisms in their workplaces. Inspired by an experience he had at a job in which a company’s managers started lecturing workers on being part of their “family” right before the paycuts and firings began, he vents his frustrations: “You’re working on your first million, / I’m on my first thousand, / And bills are due tomorrow.” There’s the emptiness of the rhetoric fed to those who get the short end of the stick under capitalism: “You didn’t get fired, you’re ‘laid off.’” The chorus clears it all up: “You could have figured out a way to help us out, / But you just said: / ‘Hey, go ahead and get fucked!’”

By contrast, the less-oppositional “Stand There Until Your Sober” has been a long-running fan favourite possibly due to its confessional quality. It’s a song about drinking too much, feeling like you’ve fallen behind in life, like you’ve missed your chance to grow up, and being generally miserable with nothing to look forward to except the awesome party you have planned for your friends at your funeral (because “mourning is for suckers!”). Over a relatively sparse 3/4 groove with some nice musical flourishes (those backmasked acoustic guitar chords that open the song always get me), Jeff sings about the city’s ambient lights blocking out the stars, making out with a stranger on a boat, and earning only “a hundred and ten bucks for twenty hours” while watching his friends achieve a comfortable stability in life that always seems out of reach for him. It’s the ultimate loser’s anthem, and maybe some of the most poetic stuff to come out of BTMI! Even in the midst of the despair, a ray of positivity breaks through near the end of the song: “You’ll finally know that life’s okay, / Even when the bad things happen.”

The music, too, takes a giant step forward on To Leave Or Die. Though Album Minus Band already showed signs of breaking free from the confines of ska-punk, Jeff signals his ambitions to fuck with the formula as much as possible right off the bat with the cheesy fake-out synth-rock intro to “Happy Anterrabae Day!!!”, gradually revving up the tempo until it reaches the hardcore intensity that kicks off its first verse. Remember what I said about Jeff’s harmonies on Album Minus Band? Here’s the thing: he might not be a great singer (something he’d address directly on the band’s final album), but he sure knows how to layer his voice in his wall-of-sound production to trick you into thinking he is. Of course, he pulls back the curtain at the end and mutes all instruments for the final chorus’s last couple “na-na-na” sections, revealing a chorus of Jeffs screaming vague harmonies and polyphonies at the top of their lungs, barely staying in time with each other, let alone in tune. He knows exactly how absurd it sounds and works that to his advantage perfectly – it never fails to make me laugh out loud. I actually first got my sister into this band by showing her this part of the song, which she couldn’t believe would be left in an actual studio recording. It’s both incredibly funny and incredibly punk; what could be more so than a guy going “Yeah, I can’t sing, but how about I make a whole goddamn choral arrangement out of my voice anyway?”

The peak of the album’s musical ambition arrives at its climax and final song, “Syke! Life Is Awesome!” A tour-de-force of multi-section songwriting, Jeff describes it relatively accurately on Quote Unquote as being composed of “20-second blasts of different genres whether it be alt-country, post-punk, reggae or synth pop.” What that description doesn’t quite capture is the progression of the song, from an acoustic-strummed folk-punk intro into a kind of freak-folk chorus strung out on its own silliness, from there to a classic hardcore punk tempo interspersed with a couple bars of ska, building to an unstoppable outro with a horn section that sounds like a Motown track’s backing dialed up to light-speed. That excellent “na-na-na” vocal melody from “Happy Anterrabae Day!!!” is reprised here through the horns at the end of the song, a motif for the observant listener to enjoy. Lyrically, too, this might be one of my favourite BTMI! songs; Jeff says this one was about a time he got to talk with the lead singer of Squeeze and realized how cool it was that his life had turned out in a way that such a thing could happen. It’s the end of the song that really gets me: sprinting across the album’s final stretch, Jeff begins a long, uninterrupted phrase following an instrumental break that details all the weird things that happened in his life in the chain of events that got him to where he was at the time of writing that song. It evokes a sense of wonder at the simple mechanism of cause-and-effect: “And if I knew how to throw a football, / I would have never played any music, / And if never got my heart broken, / I would sing ‘blah blah fucking nothing.’” It’s a celebration of the uniqueness of the timeline that makes your life unequivocally yours, as it could never be any other way. In philosophy, we might call that a “haecceity.”

[unseeliekey]

Hello gem!! This may seem a little weird, but when you're writing a new fic how much planning do you do in advance for it? Like as an example, You Have The Right, how much of that was carefully planned? Or did you just jump into writing it after coming up with an idea and thinking about how you wanted the story to go? How do you plan out emotional beats and where to plant the symbolism and all that in your fics?

 aha hehe this is truly embarrassing um. putting this under a readmore bc its long and sort of differs from fic to fic!!! ＝(￣□￣;)⇒

when it came to planning you’ve got the right i got. the premise. and then i figured out names for dice. and then i titled it with an owl city song because i thought it was funny.

and then i guessed at the plot of the following chapters going by lyrics from the song:

and i had scenes i knew i wanted- the masked slow dance, the chandelier, the ending, but beyond that i had absolutely ZERO plot until i was about midway through chapter two and realized i was also writing about self-destruction issues and i was like “i can use this (≖ᴗ≖✿)”

calling all cars, there’s an officer down - initial meeting, starting to live together

shot through the heart on a night on the town - at this point they start getting gay

and evidence of your fingerprints was found - cant really remember my plan here but it was basically saihara being more secure in deciding ouma was the thief of cards

and now/you’ve got the right to remain right here with me - i initially planned this to be one chapter bc when i started writing i was like “hm yep 4 is probably enough!” but i ended up splitting it into two. anyway i knew that was the resolution and i knew i wanted a dramatic rooftop confession.

but yeah beyond that absolutely nothing for that one!!!!!!!!!!!!!!!!!! i do. very little shit for my more lighthearted fics. i’ll give you the notes for my recent halloween one, actually! (so. spoilers for that go read it. it’s not good but i DID work too hard on it.)

obviously i ended up shuffling some scenes around a bit and i cut some stuff bc it was getting lengthy but uh. yeah that’s what i started with and tends to be what i generally start with for most stuff!

i don’t write chronologically, though! i write sort of by tone and by mood. usually i’ll start with the first scene in a fic, and then jump down to fill in a few lines later if i’ve thought of some banter/ a good action sequence/some nice description, and then i’ll come back and work around those. i think i plan dramatic beats to some extent? like i usually have a vague idea of my pacing and how long things tend to get, and sort of arrange other stuff appropriately around it. i think writing out of order kind of helps- in the halloween fic, for example, it made it hellish to keep track of injuries but also having most of the final confrontation written fairly early gave me quite a concrete idea of where i was going to end up?

therefore you and me has an eensy bit more planning put into it- again, i plotted that out with lyrics and had a couple more notes for each chapter, but it sort of adapted and morphed as i went! i planned for the ng code/second game thing after about... chapter two, i think. i also had notes on themes/things i wanted to develop as the story progressed from the very start, which i didn’t have for you’ve got the right! yay for improvement?

symbolism in stories is stuff that just pops up from me! i use pinterest to help me out with it sometimes, but often i’ll just get a good visual and then sort of try to implement it in a recurring way- or i’ll find a theme and then try to think of ways to represent it in the story.

for the first example, um- in kattar shuffle the card symbolism was an accident, but i had multiple characters use them in the first chapter and then i started thinking about chance and poker and gambling games that rely on assessing other people and having a dealer and i thought it worked really well, so i’ve sort of rolled with that!

for the second, in you’ve got the right, i really wanted to build sort of a. domestic-y homey  parallel to all the crime and high drama, which is where the coffee comes in! i think making someone coffee is just. so intimate. that’s why it happens so often!

anyway this is all contrary to kattar shuffle, which as a mystery built up of smaller mysteries, has about four physical papers lying around my study rn that all look like this, both for individual ‘arcs’ and for the overall plot and as opposed to me looking like someone who puts zero thought into his writing, makes me look like an insane person ☆*。★ﾟ*♪ヾ(☆ゝз・)ノ

(obviously i cant show the others bc. spoilers.)