#enthused contemporary

[imagining-in-the-margins]

Father Figure (S.R.)

Summary: Spencer discusses daddy issues. His boss, who is also his girlfriend’s father, has a question. Request: Reader is hotch's daughter and after hotch learns that they are dating their interactions are kind of weird in a funny way Couple: Spencer Reid/Fem!Reader Category: Fluff Content Warning: Mild awkwardness Word Count: 900

MASTERLIST

The jet ride to a crime scene is rarely a pleasant experience. Each team member holds their folders filled with horrors, and they display an abject apathy. After all, they are quite familiar with the worst side of humanity. Some days, though, when the worst crimes are still hypothetical and the victims are alive, the team can maintain some semblance of their usual personality.

Spencer is usually the first one to share something interesting about the theoretical or identified unsub. This is because he has a broad knowledge on, well, most things, and he also manages to read through the stack of papers much quicker and with a greater detail than the others.

This day, however, Spencer is silent. And everyone knows why.

Because just one measly week ago, Unit Chief Aaron Hotchner found out that Spencer Reid was dating his daughter.

Beyond the initial, incredibly uncomfortable conversation, Hotch had barely spoken a word about it. A fool might think that meant he has no qualms with it, but Spencer knows him better than that.

No, it is infinitely more likely that Hotch is stewing in his rage about his daughter’s Freudian taste in men. Hotch is just too smart to strike without the possibility of maximal damage.

So, Spencer knows to keep his guard up.

But he never could keep a thought to himself, could he?

Derek lets out a deep breath with a soft whistle before he tosses his folder onto the desk beside him. As the others peek up at him, he shakes his head with an enthused but horrified expression.

“Talk about ‘daddy issues,’” Derek mutters.

The others smirk in response, but they say nothing else.

Until, inevitably, Spencer does.

“The correct term would be ‘father complex,’” he says with an attempt to sound disinterested in one of his favorite philosophers, “It was a shared theory between Freud and Jung, and it’s actually very interesting.”

No one says a word. Spencer does not notice the warnings flashing in their eyes because he is too afraid to accidentally look at Hotch.

They all know what’s coming.

He continues, anyway.

“While Freud was more interested in how men might become distrusting or intimidated by older male authorities, Jung extended his analysis to women with emotionally or physically absent fathers.”

Despite the roaring engines and the full cabin, the jet is silent. If Spencer had looked up then, he would have seen how everyone immediately glances over at Hotch.

Hotch, however, maintains his stoic stare. He is looking directly at Spencer, who is still staring at the document in the folder he has already read several times over.

“There’s a more contemporary term for the phenomenon that would probably be more fitting,” Spencer announces.

“Really?” Emily asks. The rhetorical question is dripping with sarcasm in a final attempt to stop him. 

Spencer is so lost in thought at this point that he does not even notice. Instead, he marches on to his downfall.

“It’s called ‘Father hunger,’” he explains coolly, “and it explains the over-trust in authority figures and the search for an older man that reminds them of the father they never had.”

“Are you talking about yourself or my daughter?”

Every muscle in Spencer’s body seizes at the question. Quickly, he raises his head to find himself trapped in the paralyzing, disapproving stare of Aaron Hotchner.

“What?” he squeaks.

The man does not answer.

“N-No! No, I was just explaining the origins of the term,” he insists.

He tries—but fails—not to think about you. Just one remark, one casual reminder of your existence makes his skin ripple with goosebumps. Overcome with guilt—but never regret—his mind tugs forward every memory shared between the two of you.

The smell of your perfume, the softness of your lips, the comfort he finds in your arms.

His life is flashing before his eyes and every part of it looks like you.

He raises his hands in surrender before he sputters, “I would never—!”

“Reid,” your father commands.

Your boyfriend flinches.

“It’s a joke,” Hotch says just before he smiles.

Immediately, Spencer is surrounded by familiar smiles. He feels the visceral pain of a joke made at his expense while at the same time, he is cloaked with relief.

“Funny joke,” he says under his breath.

Hotch detects the sarcasm but decides to let it go.

He had won the exchange, after all.

Spencer also tries to let it go. Because if this was the height of Hotch’s rage over the ultimate violation of his home life, he’d basically gotten away with murder.

Still, he can’t shake the burning red blush. That and the trembling from the adrenaline felt almost permanent.

Just as the thought occurs to him, Derek takes a seat beside him.

He leans closer even as Spencer leans away.

Then, in the quietest whisper, he asks, “Which one of you does she call daddy?”

Yes, Spencer realizes. The blush is going to be permanent.

“Stop talking,” he orders with a startlingly amount of finality.

From across the table, Emily provides Derek with the audience he wanted. Her giggles alone assuage his desire to make Spencer’s day just a little bit more chaotic.

The two relent. Spencer is alone with his thoughts again, and he wonders whether he will ever feel at home in his new position.

But then he thinks of you, and he knows that he is exactly where he is meant to be.

(Tell me what you thought about this fic here!)

If you're looking for more to read, check out my full-length smut story "My Boss's Daughter," where Reader is Hotch's daughter that is in love with Spencer!

Thanks for reading!

[mybeingthere]

Hybrid marquetry by Alison Elizabeth Taylor, born 1972

lives and works in Brooklyn, NY.

"Marquetry—the age-old technique of applying small pieces of colored wood to create decorative patterns—is a word that conjures up visions of antique stores and auction house catalogues; it feels like a craft enthused over by connoisseurs, not the makings of contemporary art. Brooklyn-based artist Alison Elizabeth Taylor, however, knows otherwise. Over the years the artist has transformed marquetry into something wholly her own in a signature process that incorporates inlaid wood, painting, and collaged textures.

A native Nevadan and a witness to the boom and bust of Las Vegas, Taylor uses marquetry to create poignant scenes filled with the landscapes and misfit characters of the Southwest. A tension exists on the works’ very surface: the intricacy of the marquetry, associated with the decor of upper-class homes, entices the eye to linger on oft-overlooked subjects."

https://news.artnet.com/.../alison-elizabeth-taylor...

[in-death-we-fall]

Murderdolls

Love at First Sight

Metal Edge 48-11, March 2003

By Roger Lotring Photos By Eddie Malluk

(google drive link) Slipknot interview here – Stone Sour interview here

There are probably less than two hundred people at the Webster Theater. It’s Tuesday night in Hartford, CT, and the Murderdolls are in town to tutor a whole new generation on the fundamentalism of real rock ‘n’ roll. Without the vacant hype of Madison Avenue trendiness, their renascent timelessness is lost so far on the youth of a nation. But that’s about to change. They seize the stage with an adrenaline overdose that probably hasn’t happened since Mötley Crüe first molested Hollywood’s Sunset Strip over twenty years ago. The Murderdolls are glorious rock ‘n’ roll sluts in a manner desperately lost from contemporary music, and definitely lost on those two standoffish fuckers provoking the band with drunken taunting. Vocalist Wednesday 13 swings around to leap to the edge of the stage, leaning forward to dare them with confrontation. But they don’t respond—They can’t, even if they had the balls, because the kids are right in their faces. That pissed-off look in those kids’ eyes, their vehement willingness to defend their band, it’s a defining moment that marks this band as something special. For those couple hundred kids here in Hartford on a Tuesday night, they believe in the Murderdolls. Love at first fright, indeed, and it’s only a matter of time before the word spreads.

“There’s nothing better than that first time seeing a band,” enthuses guitarist Joey Jordison, recalling his own formative rock ‘n’ roll indulgences. “It’s so special, when no one else knew who the fuck they were, and they were your fucking band.” The impact of his influences–and those of the whole band, really—are just as prevalent today as they were back then. It’s obvious as the band prepares for the show with their battle cry of KISS Alive II shaking the dressing room walls. KISS, Alice Cooper, Hanoi Rocks, Twisted Sister—That is the essence of the Murderdolls. “We wanted him to come out and do ‘Twist My Sister’ with us,” guitarist Acey Slade says of Dee Snider, disappointed that he is no longer broadcast on Radio 104 WMRQ in Hartford.

Metal Edge sat down with Joey, Wednesday and Acey to discuss the Murderdolls. And while the conversation touched on numerous topics including their Beyond The Valley Of The Murderdolls debut, touring Europe, and drummer The Ghoul’s exhibitionism with two women in a crowded Japanese bar, at the heart of it were rock ‘n’ roll fans sharing their obsession with a sound that the Murderdolls are single-handedly determined to resurrect.

METAL EDGE: Where does a band like the Murderdolls fit within contemporary hard rock? Or is it more important to go against the grain of popularity? JOEY JORDISON: That was our point, exactly what you just said. The whole thing was–especially with me coming out of Slipknot—I did not want to do anything even remotely where music is right now. I wanted to come out completely different, and just create music that’s a little bit more fun, because everything right now is stagnant and stale. I think, really, the nu metal scene, where hard rock is right now, is almost like a dead scene. We wanted to be completely removed, as far as possible, from all that stuff. WEDNESDAY 13: It wasn’t that hard, either, because we really didn’t have to try. We just wrote the songs, recorded them, and didn’t think about anything outside the studio. JJ: What he was doing in the Frankenstein Drag Queens was pretty much a lot of what we’re doing now. Wednesday was one of the only people I saw in the underground scene that was doing what I was doing. That’s cool, because he doesn’t know about many bands that are out right now and really big—All that stuff that Slipknot gets lumped into.

ME: Joey, being the writer, producer, and principal musician on Beyond The Valley Of The Murderdolls, was it hard to be objective toward the songs? JJ: I was having a hard time, like is this even worth putting out or not? That’s why I wanted to get a songwriting partner. I really liked Wednesday’s voice, and the way he looked. His songs were very similar to what I was doing, but had a little darker feel to ‘em, and the sense of humor was a little bit more tongue-in-cheek. If I was not sure on something, he'd give me an opinion. If he wasn't sure on something, I'd give him my opinion. It made it a lot easier for the recording process, for sure.

ME: What's the most surprising reaction so far to the Murderdolls? What have you seen that you just kind of stepped back and said, "I don't believe I just saw that?" W13: We got a human heart given to us by a girl who had all our names carved into her arm—Even the band name. But, with me, she told me, "Well, I couldn't write your whole name, so I put a 'W' and a '13'." JJ: She's like, "I want to give you my heart, 'cause my heart belongs to the Murderdolls. Hold onto it safe, "cause I might need it back someday." And it had a picture of her and me with it in a fucking jar… W13: Floating around in the formaldehyde.

ME: To what degree has there been any moral backlash as a result of misinterpretation of your lyrics? ACEY SLADE: When we were in Germany, there was a Christian group that went around and put Show Cancelled (sic) over the top of our posters, so people won't (sic) show up for the show. I saw the shit [written] in German, and I was like, "Sold out! Right on, that means sold out!" They're like, "No, Show Cancelled (sic)." [Laughter] W13: But nothing really, really good has happened, though. We're still waiting… And hoping, keeping our fingers crossed. [Laughter]

ME: Do you think that will eventually happen? JJ: Most of that backlash stuff is an American thing. Over in Europe—actually, anywhere besides America—is way more open to the fun aspect. They see the humor in what we're doing, especially the U.K. Their type of humor kind of goes along hand-in-hand with our type of lyrics.

ME: It would seem that as far as any controversy, there's been more uproar over the "body snatching,” so to speak, of Acey from Dope. [Acey laughs] It's almost like one of those jokes: How many Dope guitarists does it take to screw in a Murderdolls lightbulb? [Laughter] JJ: Y'know, that's weird, 'cause I liked Dope. I was actually a fan of theirs. I really enjoyed them a lot, [and] thought they were great. And it was never a thing like, "Oh man, I want to get people from that band." I just hit it off well with them. Tripp was a great guy. It just came down to the time when we were going to tour, and he comes up with news that he had to go back to Static-X. Well, that's cool, but he wanted to stay in the band and play some [select] shows. I just didn't want to have a revolving door and confuse the fans. Acey was actually a choice to be in the [pre-Murderdolls] Rejects, as well, just Tripp came into the band first. Me and Acey kept in touch, so the only choice we even considered was Acey. Luckily enough, he came in and did an amazing job. He had like six days rehearsal just before we started our tour. AS: Not even. I came in on a Wednesday or Thursday. We left [the following] Monday. [Laughter] W13: Plus, me and Acey, we used to play in bands together in Philadelphia, before he was in Dope. We knew of each other, so we were into the same kind of music then. I met him back then, then when he was in Dope, I met him again and we started talking. AS: Back in ‘96 or ‘97, we were the only two guys on the East Coast with dreadlocks and eyeliner, so it wasn’t too hard for us to cross paths. So I’ve known him for years and years.

ME: From a musical standpoint, people don’t realize that what the Murderdolls are doing is very fundamental, but it’s a lot harder to learn because there’s a lot of intuitive stuff. AS: The thing is, we all have the same musical roots. For me it was like, “Alright, this part’s kind of like ‘Rock And Roll High School,’ this part’s kind of like Hanoi Rocks’ ‘Mental Beat.’” All three of us have the same point of reference. I think it would probably be a little harder from the nu metal school to come in and learn the stuff, ‘cause it would be so foreign to them.

ME: In a fatalistic kind of way, then, Murderdolls has actually been coming for a long time. JJ: Yeah, there’s been a bunch of links, but it’s not like this was just all of a sudden really formulated. It’s like, everyone knew each other in a weird, different way. We just didn’t all meet as a band until last year. But everyone knew each other through different people.

ME: But isn’t that how it’s theoretically supposed to happen if you’re going to do it right, so it’s not contrived? JJ: Exactly, man. People might think that, all of a sudden, it was just put together really quick, this little project that’s only going to be one album, and that’s it. It’s really not like that.

ME: Media comparisons have been to Mötley Crüe and the Misfits, but there’s so much more going on. Is there a predominant underlying influence behind the Murderdolls that might not be readily apparent? W13: I think we all have our different things. Me, it’s Alice Cooper, totally. And Acey, Hanoi Rocks, and Joey, KISS. I mean, it’s a lot of the same stuff, but I don’t think you can really pinpoint it al.

ME: Similarly, media focus is on Wednesday and Joey—and now Acey, coming from Dope. In all fairness, what do Ben [Graves] and Eric [Griffin] bring to the Murderdolls? AS: Well, first of all, Ben’s not Ben… He’s The Ghoul. [Laughter]

ME: Is that a capital “T” in the word “the”? AS: Yes, The Ghoul. JJ: I had the hardest time finding people that I actually wanted to bring into the band on bass and drums—Especially with drums. It took a really long time, and they just seemed to fit. I can’t really explain, but hey just brought that attitude—I guess the cockiness, in a way. Ben’s like the hardest hitting drummer that I’ve ever seen in my fucking life. He is so fucking loud. W13: I’ve played with some hard-hitting drummers, but he is so loud, and so hard. JJ: And that’s great! I mean, it drives our fucking music.

ME: But you’ve got to have that for this type of music to work. JJ: Exactly! He’s fucking great, man, as far as just slamming it home live. You can feel it. I mean, the energy is amazing that comes off that guy.

ME: Is it harder for him, in the sense that you’re a drummer, and going to be his worst critic? [Laughter] JJ: He’s cool about it. Actually, he doesn’t really even get that nervous. When I was working with him in rehearsal, I did kind of drill him, ya’ know? He did get it worse out of all the guys in the band, for sure. But he just worked his ass off, really, and he pulls it off amazing. W13: And [Eric] brings a lot of hairspray. [Laughter] AS: He brings a lot of hairspray, some good makeup products, and no less thunder. JJ: And tardiness. W13: This guy’s just really got the whole image of the rock ‘n’ roll thing down. AS: It’s kind of funny, how people ask us about the image of the band. To me, if you wake up and look the way you do, then it’s not an image. An image is something that’s formulated and calculated. We don’t have a consultant telling us, “Alright, track suits aren’t in as much as they used to be.” This is just who we are, ya’ know?

ME: But does your look empower you, as far as performing the music? If you think about it, you must feel differently than if you were going onstage wearing sneakers and levis. W13: It definitely turns something on for me when I go onstage. I mean, it definitely helps. It’s like, it turns it on. It’s just a switch.

ME: Being that Joey was responsible for pretty much all the performances on the album, how have the dynamics of these songs changed, now that you’ve got five individuals interpreting them? JJ: The album is really good, [and] I’m very, very proud of it. I think it turned out phenomenal—Actually, better than I expected. It is different, though, much more of a chemistry with the five guys, as opposed to me. Not necessarily completely different, but the vibe of the five different personalities playing some songs.

ME: Almost like the songs taking on a life of their own that they didn’t have before? JJ: Absolutely, yeah. AS: What Joey’s been really cool about is letting it become a chemistry, letting it become the Murderdolls. When I came into it late, I was looking at the CD, going, “Well, Joey played all these guitar parts.” When we sat down in the [rehearsal] room together, I was intimidated! But he was like, “Well, yeah, that’s cool, I like that accent… What do you think?”

ME: So you’ve been able to make your impact on the songs. AS: Yes, but keeping the original continuity. But it’s the same with The Ghoul, or with the other members.

ME: Are the songs continuing to evolve, even after being recorded? Watching you soundcheck “Love At First Fright,” that looked like you just stumbled across something brand new right there. W13: [Laughter] We did! That was the first time we did a different intro.

ME: How different has the reaction been in Europe than here in the United States? W13: We’ve really been touring there a lot, so we’ve built up a thing there—Especially in the U.K., man, it’s just insane. Hundreds and hundreds of kids, and they all look just like us. But we really haven’t worked it here, though, so this is like we’re just starting from the ground up. JJ: But that was kind of what we wanted to do, concentrate on everywhere else in the world first and establish the band. Those people [in Europe] really appreciate when you do that over there. Some bands, like American bands, nu metal bands, wait two years before they even go to Europe. We’re like, fuck that! And it’s already paid off. It’s only now that we are really going to start hitting America.

ME: Does it make it a little more difficult, though, having gotten such a reaction, then coming back to America? You must have known going into it that you are going to be playing to smaller audiences at first. W13: I prepared myself for it. I knew it was going to be hard. I know it’s a lot different, maybe for Joey, who’s in Slipknot. But before this, i was driving ten, twelve hours to play in front of ten people. That’s never going to leave me. I’m always used to that, so I can work an audience, whether it’s ten people, or ten thousand people, it doesn’t really matter. JJ: Doing what I do in the other band that I play in, it’s basically playing in arenas. But it doesn’t matter, man. As long as people appreciate your music, or want to come out and see you, i can still play in front of two people. AS: It’s weird, even though we’ve done dates, i still don’t feel like we’ve done a proper U.S. tour yet. And so, when we do that—probably February—I think all bets are going to be off. It’s gonna be off the hook.

ME: You’re going out with Papa Roach? Or are you going out on your own? JJ: We gotta get a (sic) on a support slot for a band, obviously bigger than us, to take the band out to a little bit wider of an audience. Papa Roach is an option, [and] there’s a couple other things that are in the works.

ME: Do you look forward to the fact that it’s going to be a challenge? If you’re out with a band that isn’t necessarily similar to what you do, you’ve got that challenge of winning over an audience. W13: We did. We did it with Papa Roach in Europe. We toured with them, five, six weeks, [and] every night…

ME: You’re getting the looks on faces, the “What the fuck is that?” look. W13: That’s exactly it. JJ: It was every night. And like, four songs in, they’d be smiling, singing the words, ‘cause our shit’s singalong. It’s so anthemic live, it’s so hard not to get into it. One of the big things about our band is that it’s a fun show. It’s fucking fun again. It’s something that’s been really missing [from music], probably like fifteen years.

ME: From that standpoint, I get it because I remember. But does the 14-year-old kid standing in front of you, wearing the Slipknot shirt get it? JJ: Good question. I think yes, by the end of the set, he does. You don’t have to be a fuckin’ brain surgeon to understand what the fuck we’re doing. But I think that’s what’s great about it. It’s simple, and it’s anthemetic (sic). The lyrics are fucking cool, and it’s not about fucking childhood trauma, or war, politics, or bullshit like that.

[clubdionysus]

[BAD DECISION #53] Imposter Syndrome

warnings: namseok aka the starluvrs biggest supporters!!, gallery date <33 starluvrs playing pretend <333 oh they luv each other soooo much :( disgusting! so lovely!

notes: remains to be one of my fave bd doodles hehe. the is the last chapter tonight bc it leads us into a lil treat tomorrow <3

wc: 5.7K

bd total wc: 540k (ongoing)

AO3 | MASTERLIST | MINORS DNI

So used to chasing stars, Jeongguk had almost forgotten how much he enjoys chasing sunsets, too. Sky clear, save for a few wispy, high-altitude clouds, it fades through blue, clementine, pink - until, eventually, it's overwhelmingly mauve. Has him thinking about that time on your apartment roof.

A few canvases and far too much paint, he remembers it fondly - and knows that you were right to implement that five-date rule, no matter how spectacularly you both failed at it.

"This doesn't feel like home," you say with a coy smile, Jeongguk taking a wrong turn as you enter your city.

Leaving it up to him to implement the bird, you're sort of surprised that he hasn't mentioned it for the entire drive. Hasn't even been a little provocative in his jokes or the placement of his hand on your thigh. Has behaved himself well. 

It's very confusing, by all measures.

"No?" He replies, as if he isn't responsible for it.

"No," you insist. "You never go this way."

You'll still be able to make it home, it just adds a fair distance onto the journey. You live across the other side of the city; Jeongguk centrally. You haven't been out this way since Taehyung's last showing at the Ryu, but you know the area well. All the galleries worth noting in the city are in this district.

"First time for everything," Jeongguk says softly, as if he isn't taking another left turn further away from the roads that would lead you home. It dawns on you that perhaps he has a place in mind to complete the bird - but you know your surroundings. Know that there's one place this particular road leads. Can see it in the distance.

Brutalist in its architecture, the cluster of concrete ahead of you looks out of place and yet totally at home against the striking mountains that shadow your city. Coming into summer, their green leaves obscure the rocky terrain that presents itself during the colder months.

You always thought there was beauty to be found in the brutal. Have had endless discussions about the building and how it's the epitome of what a gallery should be: imposing, unwelcome, and impossible to ignore, no matter how much you dislike it.

The largest gallery in the entire city, it's home to a rotation of exhibitions, hosting both heritage and contemporary showings for local artists, as well as international showcases. That's what really sets it apart. Gets people talking. You've a yearly membership, but haven't been in months. Have been too preoccupied with your own showcase organisations for Taehyung, or busy tending to your origami children with their father.

"Gguk," you gingerly question, glancing across to find a charming smile settling on his pretty lips. "What are we doing here?"

Lights spill from the large glass windows of the entrance lobby, and the parking lot is packed. Unusual for this time of night, for it closes by dusk most evenings. Only ever stays open late for special events - of which working in an art cafe has never provided you with the privilege of attending.

With a shrug of his shoulders, Jeongguk is a terrible, gorgeous liar. "Dunno. Just thought I'd see if anything was going on."

And as you spy an incredibly animated Hoseok enthusing with Namjoon out by the front of the building, dressed far more formally than either you or Jeongguk currently are, you know for certain Jeon Jeongguk will never stop with the white lies - but you also realise that perhaps it's okay to let them slide.

Pulling into a parking spot, Jeongguk's grin persists.

"Your nose'll grow," you tell him of his Pinocchio-adjacent tendencies.

Glancing across to you, Jeongguk licks his lips. "Don't act like you'd hate it if I had a bigger nose."

The way your lips part satisfies Jeongguk like nothing else. Knows he's got you thinking about his nose in a capacity that very few people will ever get to think about his nose in. Knows you're reliving the way it feels. Doesn't help with the way his cock is ready and willing to step into action at any given moment. Has been dying for the entire day.

"I'm not dressed for a gallery," you whisper, looking over to the building, ignoring his suggestive comment.

"I've got a spare blazer in my boot," Jeongguk says. It's on a hanger with a crisp black shirt, of which he knows he'll quickly change into. "And there's like, three pairs of your shoes in there, too. I'm certain there's some heels."

An oversized blazer with heels won't look terrible with the jeans you're wearing, but you're sure it will be far more casual than the rest of the punters.

Twisting his key in his ignition, Jeongguk tells you to wait where you are as he heads out to the boot. Returns quickly with the hanger for his clothes and a pair of heels looped over his fingers.

"Here," he says, passing the shoes over to you, then rids himself of his casual wear. Is thankfully parked far enough away from the gallery that he's obscured in the settling dusk of the evening. Strips the white vest that had been clinging to his skin. Tosses that towards you, too, then begins to thread his arms through the black shirt. "For under the blazer."

Credit where it's due, he really does think about the fine details. Staying in his passenger seat, you're a little restricted, but manage to get out of your sweater and pull the fabric of his vest over your body.

Tight to your chest, it definitely wasn't made for your body, but it's warm, and it smells like him, so you think that perhaps it was. You quickly switch shoes. Are pleasantly surprised, because you've been looking for these heels for weeks, unaware they were hanging out in his boot. Left them there after Pohang. Was worried you'd left them at the vacation house.

Blazer on, as you step out of the car to smooth yourself out, you're pleasantly surprised by the switch-up of your outfit. Make a note to seriously steal his clothes in the future, instead of settling for shirts.

A whistle pierces from Jeongguk's pouty lips. "Damn."

Walking around the car to meet you, he just can't help himself. Hooks an arm around your waist. Pulls you closer to his body, and steals a kiss. Mumbles into your lips. "I changed my mind. Back in the car. You're too hot. Gotta fuck you."

"Mmm, your self-control... so sexy," you joke, so amused with how weak he gets whenever he's a little horny.

"You forget I've seen you naked," he husks. "Self-control around you is impossible."

Gently pushing him away, you glance across to Namjoon and Hoseok, who are pretending like they aren't talking about you, when you know for a fact they most definitely are.

"We've got eyes on us," you say in regard to your friends.

"Good," Jeongguk huffs as you clasp his hand, pulling him towards the gallery. "Maybe they could learn a thing or two."

"Such as?"

"How to stop beating around the bush and actually date."

"Gguk," you can't help but laugh at his sheer audacity. "Took you, like, a year, a million birds, and what? Like, four hundred non-date-dates for you to actually ask me out. And I had to tell you to do it."

"Still did it."

"You're just as bad as they are," you insist. "Worse, even."

"How?!" He protests, quite positively affronted by such a claim.

"You were shagging me for months-"

"That's neither here nor there."

"-and still didn't ask me out."

"You didn't want to be asked out!" He defends himself with a mischievous grin. 

"Doesn't matter!" You laugh. Neither of you are taking this conversation seriously - which is just as well, because you're coming within earshot of your friends.

"What doesn't matter?" Hoseok asks, a brow raised. Dressed in all black, there's a sleekness to his understated formalwear. It's classy. Sophisticated. The slicked-back hair, and menacing grin on his lips, too.

"How I managed to wrangle entry for tonight's exhibition," Jeongguk replies, finally giving you a little context on why you're here, 'cause he knows it'll shut you up.

By the entryway behind Namjoon and Hoseok are vertical banners advertising the seasonal exhibition that launches tomorrow morning. Brilliant and metallic as they flow in the light breeze, the signage reads: Golden Rage - in association with Amsterdam Museum.

Anyone with a pinprick of art history proficiency will understand the reference to the Dutch Golden Age, a term now abandoned by Amsterdam Museum to be more reflective of the darkness surrounding the seventeenth century. Still, the artwork produced at the time tells stories of everyday people often forgotten about in time. Moments of history were captured in a way that reminds you of your photo booth pictures with Jeongguk. Names and identities lost, but evidence of love and desire remaining for centuries.

Namjoon just raises a brow. Smiles. "You didn't wrangle fuck all. You're committing fraud."

"And you're assisting," Jeongguk playfully banters, as Namjoon unclips his PRESS badge from his breast pocket and passes it over to Jeongguk. Hoseok does the same, but his badge simply reads GUEST .

"If anyone asks, you're giving it five stars," Namjoon tells Jeongguk. Had been invited to the exhibition as a member of the press. Mentioned it to Jeongguk in passing, and had subsequently been roped into an elaborate scheme involving identity theft and the need to ask Hoseok to come along, just so he could get a guest pass, too. Swings and roundabouts, Namjoon thought when he agreed to it all. "Don't get me fired."

Jeongguk tells Namjoon to fuck off, but also promises he won't. You bid your friends farewell, smiles all round, and slip into the ease of what it's like to have Jeongguk's hand on the small of your back. Though his blazer obscures the touch and removes some of the intimacy, it doesn't make it any less endearing.

"Head up," he whispers as you stroll past the reception area. "Pretend like we're supposed to be here."

You've badges that prove credentials, and very few people (if any) would even think to check them. You're fine, and you know it, but there is a little adrenaline that comes with sneaking in somewhere you know you shouldn't. It excites you. Makes you feel all giddy, as if you're getting a glimpse into the life you want to build for yourself.

The gallery's white walls and marble flooring are clean and sleek in a way that feels like a far cry from the cafe you work in. The Ryu offers a nice middle ground between the two, admittedly - but you've spent so many hours there now that it doesn't have the same overwhelming essence that the gallery you're in now has.

In fact, you feel somewhat at home at The Ryu.

Jina's assistant, who's filling in for her during her maternity leave, is perfectly nice, but also far too keen on taking the credit for the showcases you plan and prepare for Taehyung. There's another one in the works, two weeks from now.

It's a little different from all the others. There's a lot riding on it. In fact, it's probably the most important and ambitious exhibition you've helped organise so far. Whenever Jeongguk asks about it, you downplay it - but as you glance across to him, and slip your hand into his, you know you need to be honest with him about it all.

And you will be.

Just not tonight.

The world can wait a little longer. You wanna stay in this dream with him while you still can.

"We are supposed to be here," you sweetly hum, playing into the role you're taking on for the night. "What's our story?"

Jeongguk chirps a slight hum of confusion, his warm grip on your hand tightening, then contemplates your question momentarily. Smiles, when he thinks of that first trip to Busan, and how you had decided to be versions of yourselves that don't exist. Realises that you're wanting to do it again; to make some pretend life for yourselves.

It's not 'cause this life isn't satisfying. Quite the opposite.

It's just 'cause you like playing make-believe with the man who makes you feel unreal in the most intrinsic of ways.

He likes it when you're playful. Likes what it leads to, yes, but likes the ridiculousness that comes before it. Safe and secure, he's allowed to be a fool with you without feeling foolish.

Rounding the corner, into the hustle and the bustle of the gallery lobby, he quietly weaves a tall tale of your lives.

"I'm disgraced art critic," he tells you with conviction, and is pleased when you gasp.

The chatter and laughter of galleryists obscures your conversation. Your lowered tones can't be heard above the pianist playing in the corner of the ample open space, champagne flowing and lofty laughter echoing from wall to wall.

You've privacy in the most public of spaces; a shared intimacy never to be shared with anyone else.

"Disgraced?!" You whisper with surprise, playing into his dramatics.

"Disgraced," he confirms with a cloying smile and a thump in his chest. There's an effortlessness to your back and forth; an understanding that you can indulge in such fivotly without fear.

And so you implore a little further. "What did you do?"

"It's not what I did." Jeongguk leans a little closer to your ear, so he can really whisper, "It's what you did."

You gasp, pulling away from him to turn your head in surprise. "Me?!"

"You," he nods, looking down towards with such affection you forget there are other people in the room. Don't care for the art, nor for the networking. You care for him, and little else. The feeling is mutual. "You're an old money heiress. The bird around your neck? Tiffany. The blazer? Gucci."

You're pretty sure it's Uniqlo.

Still, he continues with his lies of such grandeur that anyone would be enthralled to hear him speak. There's a magic to Jeongguk's mayhem, a sparkle in his eyes whenever he indulges in these little fallacies with you. 

He's cosmic in your company.

"You were a muse," he tells you. He thinks it should be true. Thinks artists would be mad to look at you and not paint a masterpiece. "To some of the finest artists of our time. So many of the greats wanted to paint you - and so many did."

There's lore to this little life Jeongguk is making up for you. In his head, you're way back in the Golden Age. The 1600's. Europe, maybe. He's not sure. Has let the banners advertising the exhibition inform his delusions.

You're imagining the 1920s. Opulence and indulgence at the very heart of it all. He'd mentioned Gucci after all - but your art history is far better than your fashion history. You're thinking a good forty-odd years ahead of the first clothing pieces made by the designer brand.

Accuracy isn't important here, though. You're colouring outside the lines, and are damn well having fun doing so.

"So what did I do to disgrace you?"

"Well, I became infatuated," he states all rather plainly, with a simple shrug of his shoulders.

"Dangerous."

"You were too gorgeous," He says, then presses a kiss to your hair. Reinforces, "Too damn pretty. Out of my league and out of my tax bracket. Wouldn't even look in my direction-"

"But what if I did?" You suggest a revision to his story. "But you never noticed because you were always too concerned with other people also admiring the artworks of me?"

"Well, then it proves I was right to be disgraced for my actions," he assures you.

There are large archways around the lobby, all leading off into different exhibition halls. While you could make your way into one of them, you find yourselves walking around the spacious white lobby, weaving in and out of people.

"Tell me what you did," you giggle, your spare hand coming to clasp his wrist. It's an enthusiastic display of affection; reinforcement for the holding of hands. Jeongguk bites down on his bottom lip. Tilts his head to the side and then shakes it gently to rid himself of his giddiness.

"Collected art," he says, still smiling. "So much. I'd put a gallery of this size to shame - but the issue? They were all artworks of you. Lined the walls. Had run out of space. Different angles, different colours, different styles. Had every version of you imaginable. Bordered on perverse, actually."

You picture it now, Jeongguk standing in a gallery full of your reimagined portraits, bereft at the idea of never being able to have you. Perverse in his eyes, but pure in his heart - and you find the scenario far more erotic than you should. The obsession. The yearning. The desire. The make-believe that you know is rooted in something authentic. There's a reason that painting is still up in his living room. He gets off on it. Not sexually, but mentally. His ego inflates when he looks at it.

Admittedly, he does often end up a little horny, but that's thanks to the memories. Thanks to you.

"All portraits?" You clarify.

He nods, continuing to guide you around the room even when you reach your starting point once more. "All until the one that sent me mad."

"Which was?"

"You had a lover," he tells you - and finds that his stomach does a pathetic little churn at the mere thought of it. "Some asshole, sleazebag in the upper classes. A shitty artist, but one that kept getting shows because his daddy had the money to fund it and no fucks to give about his kid."

"Your contempt sounds personal."

And it is.

In Jeongguk's head, this asshole looks a lot like Seokjin. Prick.

"I'm an art critic, baby," he reasons, as if he's not just called you baby outside of the bedroom. Your heart is in your throat. Might just throw it up onto your sleeve. Give it to him. Let him eat it up. "Just being... critical."

"Okay, so go on," you smile. "Why did you hate his work so much?"

"They were sketches," he eventually says. "Charcoal, or something like that. No larger than A4."

"But?"

"But you were nude in every single one of them."

You gasp. "Jeongguk!"

"Hey!" He defends. "Wasn't me. Blame your asshole lover."

"Was it a scandal?" You pout.

"Not really. The sketches weren't known about really, not amongst the wider audience of art appreciators," Jeongguk reassures you. "But within the circles your shitbag lover frequented?"

"Oh, what an asshole," you say, understanding immediately what he's getting at.

An old-fashioned case of revenge porn. A strange thing to think about.

"God, everyone wanted you."

"And so how did it disgrace you?"

"One was delivered to me," he says. "To the place I housed my collection, attached with the note: Look, because you'll never get to touch. I knew the asshole himself must have sent it. Something came over me. A fit of rage. So, I went to his seedy little studio and burnt the place down."

"Jeongguk!"

"What?!" He protests. "I was defending your honour."

"How?!"

"I was burning all of the nudes!"

"Okay, so fast forward," you laugh. "We're here together - how did we get from nude burning to attending galleries together?"

"Well, it caused quite the commotion within the art circles of the time. Everyone knew it was me, but it couldn't be proven at trial, so I went home a free man - and when I arrived home, who was there waiting for me?"

"Me?"

He nods. "You. You were fascinated by my obsession," he says. "As if you're not a totally reasonable obsession to have. Anyways, during the trial, you'd become just as infatuated with me as I was with you, desperately trying to understand my mind."

"Did I ever?"

"In a way, yes," he smiles. "We both just fell into this state of mutual obsession. You were ostracised for associating with me, and ever since, the rooms we walk into fall silent at the mere sight of us."

"Do we care?"

"Not in the slightest," he says. "In fact, we revel in it."

There's a certain truth to this, no matter how absurd and whimsical the story may be. You do like it when people catch glimpses of you and Jeongguk. A woman across the room has turned her head three times within the first fifteen minutes of you entering the building. Likely just checking Jeongguk out - but how can you blame her? Face like an angel, body built for sin.

Much like Jeongguk's fantasy version of himself, you're convinced that the people who gawp at Jeongguk are perverse. That they want in him in the worst of ways. The best of ways, too - though you suppose they're one and the same.

Picking up gallery guide pamphlets as you walk on by the stand, you know that you probably look out of place.

Admittedly, Jeongguk's clothes look effortless on you, thanks to the proportions. The skin-tight vest and the oversized blazer seem intentional. Tucked into your jeans, the white fabric is thick enough not to go entirely sheer over your bra, but you're a little conscious of it regardless.

Jeongguk's black shirt is formal enough for him to blend right in - but you both know you're a little out of place.

Part of him regrets not planning this aspect of his evening - but he also hadn't planned on visiting his parents when setting the wheels in motion. Had forgotten he needed to swing by with the trophies when he'd arranged all this with Namjoon.

Nodding to a dark entrance towards the rear, Jeongguk says, "The exhibition I wanna show you the most is through there."

Dark and imposing, it's a large curved arch that appears almost black beyond it.

"Y'know, we could have just come on the weekend," you say softly, so beautifully in awe of the effort he's gone to.

Sure, it's just a few pulled strings here and there, but you don't think anyone has ever done something so considerate for you. 

Silly as it may be, you feel like an imposter; as if things like this don't happen for people like you. Not that you've done anything not to deserve it, but because you've never really had someone care like this before.

Jeongguk, at the root of your relationship, is your best friend. He knows you like the back of his hand. Every vein. Every freckle. Every scar; what caused them, and what had to be endured in order to heal.

Attentive in his nature, you shouldn't really be surprised by such a gentle act. If you'd have heard a similar story relayed from his time with Jiyeong, and the art gallery was replaced by something she was particularly interested in, you'd have thought: Yes. That sounds like something he'd do.

You've imposter syndrome in the silliest of ways. Feel out of place - but you're surrounded by art. Know you're right at home.

Though if you were to think about it, it's really not the art that makes you feel that way.

Jeon Jeongguk is like the first bite of a strawberry in the chill of winter. 

You wait all year for the mart refrigerators to be lined in pristine punnets of crimson and cadmium. Will pay a small fortune for those early-season pickings. A little underripe, and far too much white beneath the lush green leaves, you don't care for imperfections. 

By the time strawberry season rolls around, you'll have spent so long without the delicacy that every single one of them will be perfect. Bruised skin, blackened seeds, it matters not. The flaws only make them sweeter.

"C'mon," he encourages, a saccharine smile on his soft pink lips, eyes adorned with stars as he looks at you. The warmth of his hand in yours only intensifies. You're not an imposter, his touch whispers. You're right where you're supposed to be. "We'll get distracted and miss it if we don't make the effort to actually go in there."

That's the thing about you and Jeongguk. Time wasted together is never a waste, but letting it slip from you is just so easy. Rough grains of sand; hours, minutes, seconds tumble through your fingers - but just like its honey hue, it'll stick to you, too. Will forever tarnish your skin.

Lasting, is the impact of Jeongguk. On you. On your life. On the very fabric of your world.

"Us?" You grin, taking the lead, pulling on his hand as you head towards the entrance. "Get distracted? Since when have we ever done that?"

"Do you really want me to answer that?"

You say no. There's no need. Will natter about nonsense as you amble over to the archway, instead.

Both laughing, you're in such good spirits that it's hard to remember a time when happiness didn't sit on your shoulders like an old friend; an imp with devilish horns that you know are the result of a clumsily broken halo. No malice, just mischief.

Above the entryway, thick black text boldly declares the intention set out by the curator: Common Skies . A play on the term 'common ground', you raise a brow as you look at Jeongguk. He isn't looking at you, but he is biting down on his bottom lip as if he knows you're putting it all together.

"What?" He sheepishly mumbles through an incredibly pleased, suppressed laugh.

"Skies?" You question the choice of word.

"Common ones, apparently."

Rolling your eyes, you decide to take the plunge and enter the exhibition - and are pouting instantly .

On a central pillar is the focal point of the small gallery room: Verschuier's Tailstar over Rotterdam.

Deep, burnt oranges illuminate a nightscape of the titular city, where townsfolk watch on in awe as the great comet of 1680 passes over it. Though children are crying in the foreground - fear of the unknown, you suppose - the piece has an overwhelming sense of wonder. People stare towards the sky with navigational tools. You wonder what they were aiming for, and decide that maybe it's better not to know.

How human it is, you think, to wonder. To marvel. To fawn and theorise over the things you can't explain, and the possibilities this world could have.

When you glance over to Jeongguk, there's a depletion to your heart rate. A calmness. Contentedness. The promise that for as long as he shall live, you will always have a man who marvels at you like you're a comet worthy of the history books.

Just like the subjects of the painting, he'll fawn and theorise over you. Won't be able to explain a damn thing about you, 'cause he'll spend the entire time fighting smiles and being at war with himself over what to talk about first.

"So," Jeongguk begins, recalling the research he'd done on the topic just so that he could talk you through the exhibition. "In Europe, historically, comets were signs of huge catastrophes. People thought they were a warning. Apocalyptic, kind of."

"Same as here," you muse, connecting the dots together and understanding the concept of the exhibition as a whole. "A common ground."

"Common ground over common skies," Jeongguk smiles with a nod. "This section of the exhibition is all about stars and comets. How different cultures reacted to them. Europe and the Joseon dynasty were worlds apart during the time period, yet they shared the same sentiments. Feared what they didn't understand. Still romanticised it."

Turning on the spot, keeping a tight grip on his hand, your eyes scan over the collection - and sure enough, you're surrounded by celestial events that must have shocked worlds and changed the trajectory of lives.

Despite the volume of work, it's curious how the most stellar depiction of a cosmic entity exists not on parchment nor on canvas. It's not etched into wooden plinths or carefully traced onto ancient moon jars that sit upon them.

Instead, they reside in your eyes and his; beaming at one another like lunar lighthouses in the midst of a tidal storm. The waves glitter and glow around you both, but your light will prevail, always.

Antares, is the way you feel for one another. The heart of the Azure Dragon. A red supergiant. Twenty-five million years in the making.

No piece of art strung up on these walls could ever compare. There are stars in abundance, of oil and acrylic, charcoal and calligraphy ink, but they don't capture the beauty of the sparks that fly whenever Jeongguk is by your side.

Strangers notice it. Do double takes. Whisper to their companions, do we know them? Are they famous? There's something familiar about them...

It won't be until they're on their way home, speckled skies twinkling in delight, that they'll realise they must have seen incarnations of shooting stars with their very own eyes. Manifestations of magic only ever seen in fantasy novels, or whispered around campfires.

Your evening is spent in an amaranthine haze of whimsical stories and unfiltered laughter. There truly is no better person to be around than Jeongguk. From hypothetic stories behind artwork that neither of you recognise, to the genuine, considered thoughts he puts into analysing the works you're keen on with you, he's the best gallery partner you've ever had.

The only one you've had, really. Seokjin never cared much for art, only for the superficial monetary value of mundane canvases. You've had a handful of museum dates over the years, but they were always awkward and forced.

And so galleries have been a place for you to indulge in introversion; a recharge for your batteries.

Something about Jeongguk stems your batteries from ever running low. He's like Duracell bunny. Go, go, go. The conversation never needs to cease - and it doesn't, or at least not until you're back in Jeongguk's car.

He's driven a little further into the city. Parked up at his favourite vantage spot on a small mountain not too far from the centre. The starlovers playlist hums quietly in the background, lights from the city glistening beneath you.

With your back to the door, heels off, your foot rests on the pad of the passenger seat. Anyone else, and he'd tell them off. Say something about how you should be more careful with the upholstery. Would reach over. Knock your foot down.

But he's too dumbstruck to muster any words. Just giggles when he looks at you. Bites his lip. Lets his piercing do the thing. Shakes his head. Eventually, tenderly says, "This is so stupid."

"What is?" You beam right back, so pretty in your shared happiness.

He shrugs. "All of this. You. Me. The fact we're a couple . What we're about to do. So stupid."

Not stupid bad. Not even stupid good. Just stupid in how giddy it makes him feel.

"You're thinking too much," you tell him with unbridled fondness. Know exactly what he means. Feel it too; foolish in the frivolity of it all. "But a word to the wise, Gguk - most girls wouldn't take too kindly to being called stupid."

"You know I didn't mean it like that," he assures you - and he's right. You do know. You just like winding him up.

"Too late," you feign over-dramatic insult. Pout. Wipe away a faux tear from your sparkly cheek. "Can't believe my boyfriend just called me stupid ."

Boyfriend .

Yep. He's still not used to it. Still gets ridiculous butterflies. Confirmed.

"I would never," he protests, reaching out to pull on your wrists. Drags you closer. Ignores the awkwardness of leaning over the centre console, as his hands find your cheeks. Faces no objection when he presses dumb, nonsensical kisses against your lips. Is dopey and obtuse and ever so simple in the way he giggles, even now. Doesn't stop smiling. Not once. "Not stupid."

Deep down, you know you both are, even if just a little bit. It really doesn't matter if you're a bit ditzy in each other's company, for you still managed to work out that all of your puzzle pieces perfectly align. Pretty smart, if you do say so yourself.

"Know what is stupid?" You hum against his lips, not pulling away. He punctuates your question with a tender kiss.

"I'm sure you're gonna tell me."

You smile. Punctuate his sentence, now, with dainty acts of devotion. Whisper, "The fact we're not on the backseats right now."

And while Jeongguk will gladly be a fool for you, he knows better than to keep up the dense facade.

"Well, what are you waiting for?" He smirks, pulling away. Is arrogant as he cocks a brow, back inclined up against his door. He knocks his head to the side, indicating where he wants you. "Ladies first."

"On one condition," you bargain, playing into his flirt. Will give him what he wants, but won't give it to him easily.

"I'm listening."

"Ladies first in all aspects of what we're about to do."

"Is that not always the case?" He ribs, using his tongue to toy with his lip ring. Knows exactly what you're insinuating. "Do I not always make sure ladies come first? In all aspects."

You shrug. Flirt. "Just a friendly reminder."

But Jeongguk has spent a day thinking about all the things he wishes he had done to ruin that damn friendship with you months before he mustered up the courage to actually do so.

"There's nothing friendly about what I'm gonna do to you, B," he assures with a cocky grin, then corrects himself. "Do with you. Now, get that pretty ass of yours in the backseat."

"Say please ."

He shakes his head. Presses his tongue to the inside of his cheek. Smirks. "Don't make me ask again." 

"Say please," you reinforce, just to rile him up a little more.

But Jeongguk is in no mood to let you take control of the situation. You're in his clothes, and he wants to be in you. Thinks it's a fair trade. Knows you'd agree.

"Backseat, baby," he instructs, jaw sharp, eyes dark, determination unwavering - and how can you refuse? "Now."

[rebelsandtherest]

ok so i’m going to preface this ask by saying that the name alfred is given to the first born males on my dads side, so it’s a name near and dear to my heart, that said, there’s an angle i’ve never (or in all likelihood missed) seen between alfred and arthur. and i crave your opinions.

growing up i knew that the name alfred became popular in the victorian period since the english started looking into history and saw king alfred and decided he was pretty great. so i wonder how arthur felt, to see and hear his estranged sons name so often. of course he’s glad that his country’s putting some respect on king alfred, but i can see him calling someone named alfred by their last name to avoid saying it out loud. “alfred, lord tennyson.” “who?” “lord tennyson.” “not a fan.” the man’s conflicted and petty.

or it could be the opposite, it could remind him why he chose the name to begin with. imagine him overhearing a man in a pub proudly boasting about how fast his little alfie is growing, showing off a picture he keeps of the lad. and arthur can’t help but smile to himself and feel a wee bit envious. a few situations like that, and he’s tentatively writing formal letters that go unanswered. a few decades and a great rapprochement later he can finally say alfred out loud without tasting bile.

or he could be so far up his own ass that he doesn’t even notice the trend in names. idk. definitely drunkenly hums ‘what’s it all about (alfie)’ in the 60s.

Ooooh man this is a good question! Thanks for sending in the ask.

This became an immensely long reply with a bad history lesson included (because I'm relying on my ADHD memory and hoping it doesn't scramble itself between my brain and the keyboard), so... sorry about the length.

Anyway.

I think the Victorian revival of "Alfred" as a name would have affected Arthur in a few ways, but within his context, I imagine that those moments would be relative sporadic.

So a few things:

First: The name itself is Anglo Saxon—the original ash (Æ) was replaced with an A to fit contemporary English spelling, and it would have been pronounced a little different obviously, but it is remarkably unchanged for an early medieval name over 1000 years old. So Arthur is probably used to hearing the name at least once in a blue moon, and I doubt anyone was much confused when he gave the name—even if it wasn't in vogue at the time—to his firstborn.

Second: The Victorian age for Arthur was absolutely chock-full of wars, particularly wars overseas. Victoria was called empress for a reason, because she had a penchant for stealing other people's land and sovereignty. So whether Arthur was enthused by the nonstop action or not (I'd wager he was, most of the time), he was incredibly preoccupied and probably didn't have time to mope about his son, so if the name ever made Arthur think about Alfred, it would be a short-lived reverie.

Third: The Victorian era was a historically interesting time for UK-US international relations. Your average USA citizen probably didn't spare much thought for English subjects an ocean away, but, on the whole, white Americans remained enamored with England as the "mother land", were keen on trans-Atlantic commerce, and eager to prove themselves as equals to their allies in Europe. This didn't exactly work.

Even so, Britain and the USA continued to host a bizarre mix of cultural proximity and mutual contempt. Bad blood had gone stale by the beginning of Victoria's reign, but stale blood bred an enduring sense of pettiness, especially on the British side. Though the two nations' diplomatic and economic relationships were strong and well-maintained, events like the USA's rather embarrassing showing at the 1851 Great Exhibition in London were devoured by the British public in a feeding frenzy of schadenfreude that solidified a kind of national desire to dunk on Americans whenever possible.

While Brits still relish dunking on Americans, the early Victorian need to put America down as an economic and cultural peer began to shift, at least in some ways, in the second half of the 19th century. The American Civil War devastated the English economy, particularly of the northern half of the country which depended immensely on American cotton to fuel its textile industry. The entire war, its fallout, and notably the end of slavery in the USA, were all topics that British citizens would have seen daily in their newspapers, a source of interest and immense anxiety. By this point, Britain as a whole had forcibly been made aware of how, like it or not, the state of the USA's government and economy affected their daily life in ways too large to ignore.

Whilst America quite literally murdered itself over the problems it'd decided to ignore for a century, Britain and Europe were all deep in the industrial revolution—hell, it started in England, hence the textile mills. England and the young German Confederation were both heavy hitters in the game, and improvements to seafaring technology as well as Britain's relentless expansion across the globe was continuously bringing in new wares from all around the world for European industrialists to copy and mass produce. European trade and industrial competition was booming.

Meanwhile, America remained intensely focused on itself, and understandably so. With the absolute disaster of Reconstruction, westward expansion, industrial revolution, and lest we forget, a bloody parade of genocides and land wars, the USA had plenty to be worried about within its own (expanding) borders. It was not isolationist in the true sense, but was not exactly competing for European attention at the same levels at it had earlier in the century.

However, when the USA eventually gathered itself to take more of an international presence, it would do so in a way that would take the entire world by storm. The sheer speed, size, and production volume of American industries began to challenge their European competitors. If you were white and well-connected or just immensely lucky, this was the age when the American Dream was born. The US military had undergone immense expansion since the Civil War, and they went from having a young navy only just big enough to form a blockade to having a navy large enough to send a top-of-the-line fleet around the world with literally no other purpose but to flex in front of their allies (and enemies) not even 50 years later.

.....This has been a very long winded way to explain that, while the Victorian Era was the heyday of Arthur's imperialist dreams and victories, it was also the very nascent stages of Alfred coming into his own and more or less forcing himself back into dear old dad's life. Coming hot on the heels of Victoria, The American Gilded Age, the Progressive Era, and the Great Rapprochement were all just around the corner. These shifts of history—to say nothing of the quickly-approaching storm clouds of World War—would bring father and son back together and force them to mend their relationship, at least as much as they could.

I think, in the early Victorian age, when 'Alfred' came into vogue after so many centuries, a part of Arthur would hear it with a sinking feeling in his gut, because he was certainly old enough to have seen the future on the horizon. Maybe it wasn't clear, or concrete, maybe he couldn't put it into words. But he would know, in some instinctual sense, that Alfred's star was rising in more ways than one, and that he'd would need to brace himself and his empire for whatever came next. So sometimes, when he heard the name, some indistinct prophecies would flash before his mind's eye, filling him with ominous dread that he couldn't have named.

Sometimes, if he'd been drinking or just in a sentimental mood, he would hear the name and reminisce on both the King Ælfred, and the golden son who bore his name. He would wax poetic about his firstborn and all that he'd accomplished in his life—daring even, perhaps for the first time in his life, to praise Alfred's tenacity, conviction, and strength during his fight for independence. He would of course be mortified by the drunken memory the next day.

Sometimes, it takes him off guard and he turns his head, fully expecting Alfred himself—a toddler, a child, a teenager, a young man—to step through the door and greet him. It lasts only moments, and the empty feeling that follows usually sends Arthur directly into some mentally or physically taxing task, to avoid uncomfortable emotions.

But I think more than anything, the re-emergence of the name would make Arthur feel old. So very, very old, when he continuously, despite repeated embarrassments, pronounces the name in the way he learned as a boy, with the long-i ash sound that his people forgot to pronounce somewhere along the last century or ten. The very same pronunciation mistake he couldn't seem to stop making all those years ago, when Alfred was small, still learning English and fully convinced a boy could have two versions of a name.

The same pronunciation that, even today, would make Alfred's head twitch up, looking for his father.

[hometoursandotherstuff]

I don't know what to think about this 2001 contemporary home built in Carbondale, Illinois. It has 6bds, 5.5ba, and is listed at $513,500. There isn't much privacy allowed for in the design, and I must wonder what the architect was thinking, since some of it makes me dizzy.

The living room is dramatic, angular, and 2 stories high. It has an interesting assortment of windows with a fireplace built into a corner.

From the living room, you go downstairs to a black & white dining room. Look at the staircase- no railings. This room reminds of Alice in Wonderland, falling down the rabbit hole, for some reason.

Large, spread-out kitchen is off the living room and the cabinets match the blue walls. I'm not too enthused w/the gold walls in here, though. There're spiral stairs in the corner for convenient access to the 2nd fl. (As opposed to going back to the dining room to use the stairs.)

So, the spiral stairs lead up to this wide hallway between the bedrooms and baths.

Overlooking the living room from the balcony. Looks like a toddler or small dog could squeeze thru those glass strips.

The main bd is spacious. There's a whole area the size of another room, plus a wood burning stove and French doors to a deck.

There's a nice skylight over the bed, but the bed is placed right next to an opening over the living room. See what I mean about privacy?

Here's a nice secondary bedroom. It's a good size and would make a perfect guest room.

This space is being used as a children's room, but it looks more like a playroom. There's no privacy at all- there's a mezzanine over it. I was the type of kid who get into that bed via the mezzanine.

Here's a small shower room. I don't like these inexpensive free-standing showers. I had one and it was a bitch to clean.

The deck that the main bedroom has access to.

The house comes with a lot of land, though, 20 acres.

[jessicaminhanh]

Jessica Minh Anh reimagines Paris as the runway

The legendary fashion show producer combined runways, presentations, and campaigns into one unique production at iconic locations during Paris Fashion Week Haute Couture.

Erase any preconceived notions of conventional catwalk presentations from your mind. The eminent fashion show producer, Jessica Minh Anh, has astutely redefined the contemporary fashion showcase. She has seamlessly amalgamated traditional runways, presentations, and campaigns into an unparalleled production, and it unfolded simultaneously at multiple iconic locations throughout Paris during Paris Fashion Week Haute Couture.

Renowned for her historic fashion events at the world's most iconic monuments and sustainable energy sites, Jessica transformed Paris' landmarks on the 25th of January, 2024, into a grand fusion of fashion, architecture, culture, and artistic expression. The event followed Jessica’s Sky-High Ocean Catwalk in Rio de Janeiro just a month earlier. 

This remarkable production featured models elegantly striding against the backdrop of cinematic masterpieces, including the Eiffel Tower, Louvre, Pont Alexandre III, Seine River, and Place Vendome, all on a single day. This strategic feat aimed to showcase creative designs from diverse continents while offering a fresh perspective on the beloved City of Lights.

Romane Ouisse, Event & PR Manager of KEVIN.MURPHY France, enthused, "This event injected unprecedented vibrancy into the fashion industry, and we are immensely proud to have been a part of it. Jessica Minh Anh is not only a visionary with extraordinary concepts but also a masterful executor, turning the seemingly impossible into reality. She makes this collaboration even more challenging and exciting for KEVIN.MURPHY!"

The J Winter Fashion Show 2024 seamlessly blended transparent rooftop buses and iconic locations to unveil a diverse array of collections from Europe, Asia, and the Middle East. With innovative transitions reminiscent of popular social media platforms, Jessica expertly connected with the younger generation. The spectacle featured classic catwalk photography, captivating fashion films, and digital trends, engaging millions of fashion enthusiasts globally.

Vincent Durand, CEO of Bus Toqué Paris, admired the logistical precision required to orchestrate this extraordinary event, stating, "Coordinating such a multifaceted production could have been a logistical challenge, given its complexity. We were thoroughly impressed with Jessica Minh Anh's efficient execution, which brought it all to life within just six hours. We provided two luxury buses to support her production, and we found that Jessica's energy, creativity, and message perfectly aligned with our company's vision to deliver an unforgettable Parisian experience."

The fashion extravaganza showcased the enchanting creations of Chotronette, a Romanian powerhouse renowned for conjuring an imaginative universe inspired by "la vie en rose." Each ensemble was a breathtaking rendition of twentieth-century ball gowns, artfully combining tulle, florals, and vibrant color palettes to create a tapestry of art and cinematic allure.

OTKUTYR Fashion House from Saudi Arabia, a long-time collaborator in Jessica Minh Anh's Catwalk-On-Water series in Paris, captivated the audience with an exceptional pret-a-couture collection. More than a fashion brand, OTKUTYR serves as a collaborative hub committed to eco-friendly techniques such as upcycling, setting a global example for sustainable fashion practices.

The collection harmoniously merged timeless elegance with a contemporary Arab twist, challenging conventional gender norms with tailored men's style suits for women adorned with statement bows. Jessica herself graced the catwalk in a signature maroon body-hugging dress, meticulously hand-embroidered with 100 roses, accentuating the intricacies of the female form.

Making their debut in Jessica's production, Melissia brand from Kuwait presented luxurious abaya designs crafted with premium fabrics and impeccable tailoring. These designs seamlessly blended tradition with contemporary styles, reflecting the rich cultural heritage of the region while catering to modern tastes.

Last but certainly not least, Vietnamese luxury fashion house, Tracy Studio, unveiled a collection named "The Silk Road: From East to West." Tracy Studio's designs epitomized a captivating fusion of craftsmanship and tailoring, portraying confident and elegant women with timeless beauty transcending generations. The collection included strapless dresses, capes, unique necklines, and shoulder pairings, encapsulating the essence of femininity.

Jessica Minh Anh expressed her love for Tracy Studio, saying, "Tracy Studio's unwavering commitment to craftsmanship excellence impressed me. The brand masterfully incorporated embroidery, rhinestones, and beading to create a harmonious fashion symphony." Their modernized rendition of the Vietnamese famous Ao Dai, a sparkling blue structured dress worn by Jessica Minh Anh, not only accentuated her stunning silhouette but also embodied the spirit of cultural exchange and beauty.

Reviving the big frizzy curly fever from the 90s, KEVIN.MURPHY's artistic team was responsible for Jessica Minh Anh's charismatic coiffure. As a hair brand with a strong fashion DNA, this marked the second collaboration between KEVIN.MURPHY and Jessica Minh Anh, following the phenomenal success of J Spring Fashion Show 2022 on the Liquefied Natural Gas cruise ship Costa Toscana in Portofino, Italy.

J Winter Fashion Show 2024 received invaluable support from Paris J'Adore Hotel and IWG group's Spaces Opéra Garnier, where Jessica's dedicated team worked tirelessly around the clock to bring this unique production to life.

Jessica Minh Anh's Winter Fashion Show 2024 transcended the realm of fashion; it was a testament to creativity, diversity, and inclusivity, featuring models and designs from different ethnicities. This milestone event marked Jessica's 30th innovative production since her history-making catwalk on England's iconic London Tower Bridge in 2011.

[mattsirach]

What wallpaper are you especially enthused about these days? What are the more subtle wallpaper qualities I should appreciate?

Call me basic, but I do love me a Morris wallpaper. And not just for the designs (some of whom are magnificent, some of whom are… well, less so) but for the entire philosophy behind them: quality over quantity, recovery of traditional printing methods, sustainable work conditions in an era when that wasn't exactly obvious… Contemporary Scottish company Timorous Beasties made me realize (a good ten years ago) that you can bring a sense of humour and a rebellious streak in a wallpaper design - so I'm always enthusiastic about them - but the last designer to pique my interest was Vienna Secession artist Koloman Moser!

[accidentalspaceexplorer]

2023 Book Reviews: Contemporary Romance, Part 1

Second round-up of 5 books I read this year! This time, we've got five contemporary romances, which I was pretty mixed on. It hasn't been the best contemporary romance year for me so far. We're also starting with my most controversial opinion...

1. Kiss Her Once For Me by Alison Cochrun: 2/5

Pitch: MC gets fired and fake dates her sort of landlord for rent, but his sister turns out to be her big Craigslist missed connection (F/F)

Review: Listen. I absolutely loved this book until I got to page 334 (so the last 12 pages of the book, if you're counting). It was deliciously angsty, and very convoluted but in a fun romcom way, and Ellie's anxiety spirals were very familiar and relatable. AND THEN page 334 happened. The way the final make-up happened between Ellie and Jack totally changed how I thought about their relationship - it made me believe that Jack did not really care about Ellie, or understand her, or respect her choices! Jack was at the very least thoughtless but it felt more like cruel, and it changed how I thought about her and her choices for the entire book. Yes, I am knocking this book down three whole stars because of the last twelve pages, but it single-handedly made me believe that the relationship was flawed and toxic, which has poisoned my enjoyment of the rest of the book. I don't think they should be together, and in my opinion, that means that this book fails as a romance.

Ellie, Jack doesn't deserve you. Go find someone else!!!!

2. Astrid Parker Doesn't Fail by Ashley Herring Blake: 4.5/5

Pitch: interior designer going through a personal crisis falls for the carpenter she keeps butting heads with on her TV show renovation (F/F)

Review: This was pretty cute, and I quite enjoyed reading it - I thought Astrid's realization that she is bisexual was really well done! Her relationship with her mother was expanded on a lot from Delilah's book, and I think it really deepened Astrid's character from what you get in Delilah's book. (I do think Delilah's book still wins though in personal preference.)

3. Royal Holiday by Jasmine Guillory: 2.75/5

Pitch: woman tagging along on her daughter's work trip for English royalty falls for English guy working for the Crown (F/M)

Review: I quite liked some of the earlier books in this series, but this one just didn't do it for me. I enjoyed the representation of older people having a romance in concept, but I found Malcolm and Vivian to both be extremely flat, missing that spark that would make me care about them. I've been less enthused about this series as time goes on, and I think this is the sign that it's time to move on.

4. Priest by Sierra Simone: 3/5

Pitch: erotic romance where priest falls for recent arrival to his parish who is clearly hiding something (F/M)

Review: I'm not immune to checking out a book out of curiosity, although it did not pan out awesome here. The sex was very well-written but I don't think I ever really believed that they were in love.

5. Partners in Crime by Alisha Rai: 4.5/5

Pitch: exes get kidnapped together and then have to go on a heist romp across Las Vegas (F/M)

Review: The concept was amazing, and I've enjoyed Rai's other romances, so this was high on my list this year, and it really didn't disappoint! This was super fun - the romance was well done and believable, the hijinks were such a fun rollercoaster, and the ending twist was ridiculous but perfect.

[answersrolli]

Album or cover steelheart steelheart

#ALBUM OR COVER STEELHEART STEELHEART MOVIE#

#ALBUM OR COVER STEELHEART STEELHEART DOWNLOAD#

Mili recorded eight songs for the movie, three of which appeared on the soundtrack including the single “We All Die Young” from his third album, Wait also produced “Wait” reaching #1 in many Asian countries.

#ALBUM OR COVER STEELHEART STEELHEART MOVIE#

In 2001, Mili recorded the vocals for Mark Wahlberg’s character in the movie Rock Star also starring Jennifer Aniston. While performing “Dancing in the Fire,” Mili decided to climb a lighting truss, which was improperly secured and caused Milli to have a near fatal accident. Steelheart’s next album Tangled in Reins included songs like “Sticky Side Up” to smooth ballads such as “Mama Don’t You Cry.” Nearing the end of the Tangle in Reins Tour, Slaughter asked Steelheart to perform one last show that took place in Denver. The second single “I’ll Never Let You Go (Angel Eyes)” reached #14 on the billboard charts. The ballad “She’s Gone,” showcasing Matijevic’s incredible vocal range, hit #1 on the International Charts, staying there for 17 weeks. It sold 33,000 albums on its first day in Japan alone, and quickly hit platinum status. Steelheart released their self-titled debut album in 1990. Certainly fans of the band’s first three classic albums will be happy to hear those powerful pipes back in action, but fans of modern hard rock acts like Halestorm, Shinedown, Alter Bridge, and other melodic minded rock heavyweights will find much here to love. On Through Worlds Of Stardust, Miljenko has fused his past, present, and future together, creating an undeniable piece of hard rock music. Love you all we look forward to seeing you on the road,” enthuses Miljenko.Īlthough they were lumped in with the glut of long-haired hard rock bands emerging in the early ’90s, the band was always more forward thinking than their peers and the 2017 version of the band has a contemporary and edgy feel, while still retaining the patented powerful vocals of Miljenko. I truly hope you enjoy this album as it was created from the heart and no corners were cut. “I best describe this album as ‘DEEP, SEXY, LOVING, TWISTED, ROMANTIC, and HUNGRY ROCK’N ROLL.’ The record was recorded throughout parts of the world including a live string section recorded in Stockholm Sweden. They have announced the release of their new album, “Through Worlds Of Stardust,” set for September 15th, 2017 via Frontiers Music Srl.

#ALBUM OR COVER STEELHEART STEELHEART DOWNLOAD#

How can I download songs from the album Steelheart ?Īll songs from Steelheart can be downloaded on JioSaavn App.Steelheart is the brainchild of Miljenko (aka Mili) Matijevic whose powerful voice and multi-octave range is the heart and soul of the band. The total playtime duration of Steelheart is 1:01:22 minutes. What is the playtime duration of the album Steelheart ? There are a total of 11 songs in Steelheart. How many songs does the album Steelheart have? The most popular songs from Steelheart are Love Ain't Easy (Album Version), Can't Stop Me Lovin' You, Like Never Before, I'll Never Let You Go, Everybody Loves Eileen, She's Gone (Live), Sheila, Gimme Gimme, Rock 'N Roll (I Just Wanna), She's Gone and Down N' Dirty. What are the most popular songs from Steelheart ? Who is the music director of Steelheart ? Steelheart is a english language album released in 2011. FAQs for Steelheart When was Steelheart released ? Listen to all of Steelheart online on JioSaavn. The songs were composed by Steelheart, a talented musician. Steelheart is and English album released in 2011.

[lizseyi]

London Fashion Week June Set To “Ignite A Cultural Moment” In 2024 - Skywire London

It was in June 2012 that the inaugural London Collections: Men — a series of menswear season shows — took place. The event has since been renamed London Fashion Week Men’s and subsequently London Fashion Week June — but another major change is now afoot. 

The British Fashion Council (BFC), the nonprofit organisation responsible for organising LFW June, has announced that this year’s outing will run from Friday 7th to Sunday 9th June, this time in a new, revamped format intended to “ignite a cultural moment in London”.

As a digital agency in London, we are poised to keep a close eye on this noteworthy development. 

What’s happening with LFW June? 

This year happens to mark the 40th anniversary of London Fashion Week, which was first held in February 1984 and is now classed among the “Big Four” fashion weeks also including New York, Paris, and Milan.

The June arm of LFW has long enabled a wide range of British designers and brands to showcase their latest menswear pieces to a large, fashion-dedicated audience. Now, LFW June is going to draw even more attention to London’s status as a world-renowned cultural powerhouse. 

In a statement, British Fashion Council chief executive Caroline Rush enthused that “we are thrilled to share a new concept for LFW June which will amplify our designers and promote the diverse menswear businesses, from streetwear to Savile Row, as well as retail in the city.”

A breakdown of LFW June’s new concept 

This new concept will include, on the launch date of LFW June, a BFC takeover of the Institute of Contemporary Arts (ICA). At this artistic venue based within Nash House on the UK capital’s The Mall route, an exhibition and panel discussions will spotlight the following three cultures: 

Black culture centred around self-love;

South Asian culture, particularly pattern, textile, and craftsmanship;

Queer culture, especially young creative voices from the trans community.

Rush has elaborated: “We will celebrate and pay homage to some of the cultures which contribute so much to the UK fashion industry, the aim is to build on this with different cultures every year.” 

As part of the 40th-anniversary celebrations (held under the banner of “LFW40”), a retrospective installation will highlight LFW’s history and global influence.

Meanwhile, a “40 for 40” schedule will see 40 activations — including catwalk shows, presentations, and other events — hosted by major British brands and designers across London.

On Sunday 9th June, the last day of LFW June, the BFC will repurpose the Groucho Club — the private members’ club in Soho — as a dynamic activation space for fashion businesses. 

Why is LFW June being overhauled for 2024? 

Rush has explained that the new format is “a direct result of the conversations we are continuously having with the BFC community (designers, media, UK and international retailers).”

She added that the British Fashion Council was striving to recognise its designers’ business needs and provide “a global showcasing platform which is both relevant and beneficial.”

Our digital agency in London routinely takes inspiration from the capital’s aptitude for adapting and changing with the times. To enquire about our service offering and to learn more about how our creative and strategic experts can support your fashion, lifestyle, or luxury business’s growth, please email hello@skywire.co.uk today.

[blogger360ncislarules]

Let the trumpets play that Mouret theme song — we’re rounding up the 15 best Masterpiece series from the half-century-plus history of the PBS drama anthology.

Masterpiece was previously titled Masterpiece Theatre, and as you might deduce from that spelling, the franchise specializes in British imports — usually costume dramas and period mysteries, with contemporary stories thrown in occasionally for good measure.

Of the Masterpiece productions with more than 10,000 user votes on IMDb, here are the top 15, ranked by average user rating.

15

2012–2013

Based on Au Bonheur des Dames by Émile Zola, this series stars Joanna Vanderham as a small-town woman who gets a job at the first English department store in 1875 and falls for its dashing owner. “Witty, moving, adorable, suspenseful, intriguing, and the list goes on,” one viewer said on IMDb. “Hats off — pun intended.”

14

2019–2023

An unfinished Jane Austen manuscript inspired this series about a young woman (played by Rose Williams) who moves to a fishing town that aspires to become a seaside resort. “Yet again the Brits prove that nobody can do a period piece like they can!” one fan raved. “They always have the right balance of love, drama, relatable emotion, scandal, heartbreak, etc.”

13

2014–2023

A series of clergymen (played by James Norton, Tom Brittney, and — soon — Rishi Nair) investigate local crimes with the help of a detective inspector (played by Robson Green) in the titular Cambridgeshire village in this series. “I came to Grantchester after a few seasons of Father Brown,” said one IMDb user. “While another ‘priest plus cop’ series seemed redundant, Grantchester is brilliantly written and acted.”

12

2008

In this adaptation of the classic Austen story — a more overtly sexual one than others, according to screenwriter Andrew Davies — then-newcomers Hattie Morahan and Charity Wakefield played polar-opposite sisters at the start of their 19th-century romantic journeys. “This serial … is my favorite rendition of its novel,” one viewer wrote. “In the first hour, it’s my favorite by far.”

11

2009

Romola Garai, Jonny Lee Miller, and the late Michael Gambon starred in this Austen adaptation, with Garai playing the meddlesome would-be matchmaker (and earning a Golden Globe nomination for her performance). “Everything — the acting, the costumes, storyline, and music — was just so superbly done,” an IMDb user enthused. “This version of Emma far surpasses its predecessors.”

10

2015

Mark Rylance, Damian Lewis, and Claire Foy brought Hilary Mantel’s historical novel to life, with Rylance portraying Thomas Cromwell as the lawyer becomes a close advisor to Henry VIII (Lewis) amid the king’s relationship with Anne Boleyn (Foy). “Mark Rylance was just mesmerizing,” one viewer said. “From the moment he appeared, he held me in thrall.”

9

2016–2019

Jenna Coleman portrayed a young Queen Victoria in this series that tracked the monarch’s ascension to the throne and her marriage to Prince Albert (Tom Hughes). “This has been the most amazing series since Downton Abbey I have watched,” an IMDb user wrote. “I laughed, I cried, I got angry. I felt every emotion humanly possible through watching it.”

8

2016–2019

Simply titled The Durrells across the pond, this comedy-drama follows a widow and her four children as they adapt to life on a Greek isle, taking inspiration from the memoirs of real-life British naturalist Gerard Durrell. “Overall it is just charming, crammed full of dry wit, and a bit of a page-turner, as I can’t wait for the next episode,” one fan opined.

7

2005

Twenty years after giving Masterpiece one Bleak House adaptation, the BBC sent over another, written by Davies, with Gillian Anderson and Carey Mulligan in the cast of a Charles Dickens tale that the network deemed a “passionate indictment” of England’s 19th-century legal system. “450+ minutes of a film is a long time to have your breath taken away,” a viewer said, “but that’s what happened when I first watched this magnificent adaptation.”

6

2006

Before screenwriter Sandy Welch adapted the aforementioned Emma for the BBC, she brought this Charlotte Brontë story to the network, with Ruth Wilson making a breakout turn as the titular governess with a troublesome past. “A lavish production in all the right ways — script, cast, direction, location, details — this is a perfect literary adaptation,” one IMDb user rhapsodized.

5

2007–2009

Judi Dench, Imelda Staunton, and an Emmy-winning Eileen Atkins played village women living on the verge of the Industrial Revolution in this five-part series based on Elizabeth Gaskell novellas. “Not a dry eye in the house as this came to a close last night,” one viewer said. “Absolute perfection.”

4

2015–2019

Aidan Turner gained fans on both sides of the Atlantic with this series about a British Army officer returning to Cornwall after the American Revolution and finding his family home nothing like how he left it. “I use IMDb all the time to look at reviews, but I never leave them,” one user wrote. “I signed up for an account just so I could rate this series because it is that awesome.”

3

2010–2015

A Masterpiece series so popular it inspired two big-screen movies, this upstairs-downstairs drama followed the aristocratic Crawley family and their staff as they navigate the turbulent early 20th century. “Downton Abbey is the embodiment of excellence,” a fan said. “Well written with intelligent and inspiring storylines.”

2

1976

Based on the Robert Graves novel of the same name and its sequel, this miniseries chronicled the early Roman Empire through decades of Claudius’ reign. Derek Jacobi starred as the title emperor, and the supporting cast included a still-up-and-coming Patrick Stewart. “I, Claudius is the ultimate soap opera — vicious, cruel, manipulative — and this famous English miniseries grabs the attention and holds fast throughout the entire length of its complex tale of ancient intrigue,” one viewer said.

1

2010–2017

A modern-day take on the Arthur Conan Doyle’s famous detective, Sherlock stars Benedict Cumberbatch as the title character and Martin Freeman as sidekick Watson, with Andrew Scott stealing scenes as the archenemy Moriarty. “[This] will have Conan Doyle spinning in his grave… with delight,” one fan said. “A brilliantly written, well-acted program. Well done to all concerned.”

[reddyannasblogs]

Reddy Anna Online Cricket is the Ultimate Sporting Experience

Official website:-https://reddyanna-id.in/

Follow us on :- https://www.instagram.com/reddyannabook_id/

Contact no:- 7776907778, 7303721985

Reddy Anna, a passionate cricket enthusiast and avid reader, recently sparked an exciting trend by introducing the Reddy Anna online book club. This unique platform allows members to exchange their Reddy Anna IDs and delve into the world of online cricket. With the Reddy Anna book as their guide, club members can immerse themselves in thrilling match analyses, engaging sports discussions, and exclusive interviews with renowned cricketers. The carefully curated collection in the Reddy Anna book provides unparalleled insights into strategies used by legendary players who have left an indelible mark on this beloved sport. By sharing personal experiences and exchanging ideas within this dynamic community, participants gain valuable knowledge that enhances their overall understanding of cricket tactics and techniques. With each captivating page turn or stimulating digital discussion thread, Reddy Anna continues to foster a vibrant community of fanatical cricketers who connect through their shared passion for both literature and sportsmanship.

In the realm of Reddy Anna book Exchange, avid cricket enthusiasts experience an unparalleled camaraderie as they immerse themselves in the world of sportsmanship and online connectivity. The magnificence lies not only in the prowess displayed on virtual pitches, but also in the exchange of invaluable knowledge and insights shared among members. At its core, Reddy Anna's all-encompassing platform boasts a plethora of resources that revolve around his acclaimed book—a testament to his unwavering passion for cricket. With every page turned, readers are bestowed with a profound understanding of this beloved sport while admiring Reddy Anna's masterful storytelling. As empowered individuals join forces within the esteemed Reddy Anna Club, their collective energy reverberates through forums and discussions dedicated to analyzing match strategies or dissecting players' techniques. However, it is within the confines of virtual spaces where true connections are forged - unique identifiers known as "Reddy Anna IDs" serve as passports into a world brimming with enriching opportunities and like-minded peers united by their unwavering love for this gentleman's game. For it is here that novices can glean wisdom from experts—gathering inspiration from renowned coaches who share exclusive training sessions via video conferences or perhaps even be partaking in exhilarating contests held exclusively amongst club members—an enclave nurturing both skill development and friendship formation amidst an abundance of talent thriving under one digital roof; such is the essence encapsulated within each keystroke bearing witness to countless fond memories etched forevermore thanks to Red

In the ever-growing virtual realm, Reddy book emerged as a distinguished figure, bridging the gap between avid readers and boundless literary pursuits. It was amidst this dynamic setting that Reddy Anna's book club came to life, drawing enthusiasts from all corners of the globe into its digital embrace. The virtual sanctuary boasted an impressive collection of literary treasures covering genres ranging from classics to contemporary works. As members gathered in this cyber haven, they reveled in their shared passion for literature and engaged in scholarly exchanges with like-minded individuals yearning for intellectual stimulation. In this immersive online world, even cricket had found its place within  Reddy Anna club  expansive sphere. With every turn of a page or swing of a bat cursorily captured onscreen through engaging discussions on message boards and comment sections alike, it enthused passionate camaraderie amongst strangers turned confidantes bearing common interests.United by their ardor for both literature and sportsmanship, members soon sought to forge deeper connections through the exchange of personal identifiers - culminating in the coveted "Reddy Anna ID." Symbolic yet practical at its core, these IDs simultaneously represented one's affiliation with Reddy Anna's esteemed community while lending access to exclusive benefits reserved solely for trusted participants. Equipped with said identification prowess granted upon becoming partakers of this captivating universe curated by Reddy Anna himself; newfound friends could readily explore member-only forums brimming with discussions divulging hidden facets within beloved novels or unraveling intricate batting techniques indicative of cricket mastery.The digitized dimension

[ntriani]

OQM Playlist : Life during quarantine #12 Listen to Life during quarantine #12

BEWARE THE SECOND WAVE As we enjoy this heatwave in Finland and relax with each other, literally sharing the same spaces once again, we must realise the temporary nature of our new freedom.

HEADSTART I became an obsessive fan of The Jam at around the age of 13 – I even had a photo book of my favourite press clippings of the band. This love for The Jam also ignited some kind of realisation that political discourse actually exists within the confines of pop music. What was astonishing about records like ‘Going Underground’ or ‘Town Called Malice’ going straight into the #1 spot on the national pop charts was the potent message those singles possessed. Of course, as I got older, I realised a lot of my contemporaries despised The Jam’s Paul Weller, finding his political songs too simplistic and dismissed them as nothing more than sloganeering. For me Weller’s lyrics hit home because I could fully relate.  When singles such as ‘Funeral Pyre’ also went straight in at #1 you had to admire the sheer gall of releasing  such uncommercial music and then seeing it hitting the top of the charts. The Jam remain one of the great British single bands.

CHANGING MAN Once The Jam ended there was a dramatic change from Weller with what came next; The Style Council. In came a mix of cappuccino drinks, Euro Euphoria and a committed  focus on style –  the political intensity and focus on living in Thatcher’s Britain that so defined The Jam disappeared. Weller, always a modernist in the truest sense, was now increasingly becoming a foppish clothes horse, enjoying not being the voice of a generation and even more so enjoying being a pop star and having some fun. It’s astonishing to think that Weller was still only 25 when he formed The Style Council, but the sense of relief from Weller is evident in the freedom of the music The Style Council initially released. One could surmise that Weller had simply had enough carrying that political lyrical torch. It felt like he was more enthused by singing songs relating to matters of the heart and looking good in some sharp vintage threads and tailor made suits (which he still does) than plotting any further political music movement.

I FOUND YOU AGAIN For me,  I lost interest in Weller and his music for a long time after those first couple of Style Council records. The band descended into a bland pastiche of soul and trying to keep up with some notion of modern pop trends, which by the end saw Weller struggle professionally. I was late picking up on Weller’s increasingly successful solo career and kind of resented his honorary status amongst the Britpop community (Weller was always so much better than that.) But then the 22 Dreams album pulled me back into his orbit. Mostly absent was the dad rock replaced by a wide palate that took in a myriad of influences backed by solid songwriting and wilful experimentation. And ever since it’s been mostly great stuff from Weller.  His voice has matured, his records remain eclectic and interesting and his songwriting still delivers. His politics still appear in his music from time to time but it’s more subtle and more grown up. The bright spark of political anger that so defined his youth has mostly gone but musically Weller remains a contender.

[metalhead-brainrot]

[Album of the day] Phantom Spell - Immortal's Requiem

Murcia, Spain // 2022 // Wizard Tower Records / Wizard Tower Recordings

[Genres] classic prog rock

[Themes] immortal wizards have problems too

[FFO] Seven Sisters, Iron Maiden, prog rock/proto metal, chiptune, classic fantasy à la David Eddings.

[Thoughts]

You may have heard of Seven Sisters, a UK-based heavy metal band from that NWOTHM revival in the late 2010s;* Kevin McNeill is the frontman, guitarist, vocalist, and occasional producer. During the depths of COVID, the band (like many) was unable to record, and Kevin McNeill started this personal project, Phantom Spell.

Immortal's Requiem is simply infectious. As prog rock goes, it's not quite interested in playing the technical game, like Rush or Emerson, Lake, and Palmer,** opting instead for a more relaxed approach to progressive (McNeill lists more of his inspirations below).

Contemporary prog rock is a strange and altogether different discussion from its founders. Prog rock founders in the 70s existed in an artistic space predating metal, often cited as the inspirations for bands in the First Wave of heavy metal.*** 70s prog rock was the heaviest music of its time, the most recent innovation from the rock scene. But contemporary prog rock (and hard rock) exists in a world where metal already exists; choosing to make contemporary prog rock isn't part of the innovation game, it's revisiting an older style. And while I spend a lot of time keeping up with the innovations and trends, I think it says more about the artist in particular when they time-travel to a particular era of the past.

Phantom Spell labors over the floor with chalk in hand, taking its time to craft the perfect summoning circle to facilitate your time-travel to an era of the past. The songs are filled with sorcerous inspiration; the dramatic fantasy sung in McNeill's powerful vocals remind me of listening to Seventh Son of a Seventh Son for the first time. "Black Spire Curse" is an instrumental chiptune track (i.e. chiptune methods to prog rock ends) that serves as an ode to another musical trend from the era, shaking hands with the fantasy-focused videogames of yesteryear.

I've pretty mush said enough at this point, but I would like to highlight that when you purchase Immortal's Requiem on Bandcamp, you get access to two hidden tracks: a cover of "Moonchild" by Rory Gallagher (i.e. the greatest guitarist you've never heard of) and an alternate release of Phantom Spell's first track, "Keep On Running" (I prefer the alternate, both are good).

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* If you haven't, go listen. The instrumentation is all solid, the music inspiring, and the album artwork great.

The band name is most likely a reference to the Pleiades, seven stars that, in ancient Greek mythos, were the (cough) companions of Artemis. The Seven Sisters are also referenced as the seventh song on The Sword's 2012 album, Apocryphon.

I somehow missed the Seven Sisters on my big heavy metal kick through the late 2010s, but I'm glad I eventually found my lighted by their stars. It can be difficult to reliably encounter heavy metal of quality; heavy metal junkies seem equally enthused by every heavy metal band, an attitude that does not adequately reflect the variance in musical talent in the genre. I won't punch down on the acts that I think are overrated here (unless you ask, and then I'll share my opinions free of charge), but I'll make an effort to promote acts that should survive the NWOTHM trend.

** Which is where I typically lean within the realms of prog rock, my synaptic pathways having been thoroughly rotted out by technical death metal.

*** To this day, Iron Maiden opens all of their concerts with their cover of UFO's "Doctor Doctor." Phenomenon (1974) has been one of my favorite albums since I was a teen, a statement that is also true for my father. For me, it was the beginning of my exploration into heavy metal; for him, it was the end.

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[From the band/label] Wizard Tower Records / Wizard Tower Recordings

Phantom Spell is the brainchild of Kyle McNeill. Frontman for London based classic metal stalwarts, Seven Sisters. Having established his command of songcraft over several albums with the UK's twin-guitar renegades, McNeill has decided to add a second string to his bow. Delving heart-first into a musical love letter to his favourite prog rock artists of yesteryear. As McNeill elaborates: "Musically, this is an area I've wanted to explore for a very long time. The classic prog records have truly captured my imagination and continue to inspire me. I hope that in some odd way, this can be seen as me trying to repay the favour to those bands for enriching my life – a tribute to the dorkiness and grandeur of prog rock!". A tribute, it may be. However, this is more than a mere copycat experiment. Those who have followed McNeill's work over the years have come to expect a certain level originality and attention to detail. This new project promises to follow in that same tradition. After releasing the single, "Keep On Running", in July 2021 to much praise, the stage is set for Phantom Spell's debut album. Through "Immortal's Requiem", Phantom Spell presents a spellbinding sonic journey. A journey in which fractured thoughts of a deteriorating clairvoyant are given form as cascading guitar harmonies and weaving mellotronic passages. Songs like "Dawn of Mind" and "Seven Sided Mirror" effortlessly navigate shifting sonic textures with purpose and unabashed curiosity. Akin to the theatrical majesty of those dear Kansas and Yes gatefolds tucked away in record collections worldwide. You would be forgiven for thinking this facade of shimmering synthesizers is a means of escapism from what we face in the real world. However, amidst the grandeur is a stark vulnerability on display. The driving electrified rhythms of "Up The Tower" clear the heady smog of spell-craft and make way for a direct message. After all, Phantom Spell was born in isolation. A child of the plague years and a necessary catharsis. As the project creator, Kyle McNeill, explains: "At the core of these songs are insecurities and emotions we'll all encounter in our time. Even if you're an immortal wizard". This sincerity makes for a compelling juxtaposition against the baroque instrumental passages and fleeting guitar work. The album's only instrumental track, "Black Spire Curse" showcases McNeill's aforementioned guitar work perfectly. Navigating complex melodies and Hackett-like dreamscape soloing with equal dexterity. Culminating in a grand cacophony of marching rhythms and hedonistic simplicity before gently easing in to the lull of an acoustic/hammond organ combination. Foreshadowing the awakening that is the slumbering beast, "Blood Becomes Sand". The dynamic peaks and troughs that give the album such life are on full display here. A quality that brings the listener back time and time again. With "Immortal's Requiem", Phantom Spell present a complete work. Rounded and satisfying enough within itself while presenting avenues of exploration for a later date. A fitting opening chapter to a new story!

[realestateprperties]

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