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stevieschrodinger · 9 months

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Baker Steve/Rock Star Eddie wrong number AU

Part One

Part Two

PART THREE

"It's like a TV show, but on YouTube."

"Right," Steve answers, half listening to Dustin's explanation, "so it, like what, has an air time, or whatever?"

"Yeah, like a series."

"And it's just, what, famous people playing dipshits and dickheads?"

"Steeeeeeeeeeeevvvvveeeeeeeeeeee why are you like this?"

"Dunno," Steve shrugs, trying to read a recipe online. Unfortunately that's resulted in his having to scroll past someones entire fucking life story and he's ready to give up and try and work out the dumb Oreo cake recipe himself, "just lucky, I guess."

Dustin drops his head on the kitchen counter like Steve is the greatest difficulty he's ever going to face.

"So why do you need to be here to watch this?"

"Because we all want to watch it together, the guests are Corroded Coffin, they all like, play, the whole band, it's so cool-"

"Corroded Coffin? Playing your nerd game?" Steve's interest leaks through before he can stop it, "I mean, like, I think I've heard of them?" The last thing he needs is the kids finding out he's been kind of friends kind of flirting kind of maybe wants to date the actual Eddie Munson.

Dustin looks at him skeptically, "yeah...so you-"

"You can all watch it here, it's fine...I'll make cookies."

Dustin's completely distracted by his own success, instantly whipping out his phone to inform the other kids. Steve's pretty sure their group chat is called 'No Steve's allowed' but he hasn't actually found out for sure yet.

Steve does bake cookies. All the kids are gathered around his smart TV, absolutely demolishing them while they wait for this thing to start. It's like, an actual channel, with intros and graphics and stuff, a logo that reads 'Final Roll.'

And there's Eddie and the band, sitting around a table with two dudes who must run the channel. They all have the bits of paper and dice and little figures that Steve's used to seeing when the kids commandeer his dining room table.

There's preemptive ramble, and Steve leans forward a little every time Eddie's in shot. He's relieved all the kids are all sitting in front of him and all glued to the TV, so he can ogle in peace. They do introductions, and then everyone introduces their characters.

"May I introduce Sir Steven, the half elf paladin," behind Eddie Gareth rolls his eyes so hard his whole fucking body moves. Steve can see him and Geoff mouthing something to each other. Steve can only assume it's because Eddie has named his character, presumably, after him, "he has a sworn oath to always protect those weaker than himself."

Steve's heart fucking melts.

Steve's phone is buzzing. He's prepared. He knows Eddie's back in the country, they've been talking for months. Steve's kind of done waiting, and he's ready to press his advantage. He's had this set up for a little while, just waiting for the right moment. He presses play, and then answers the phone.

"Hey Stevie how-...are you listening to Corroded Coffin?"

"Yeah, yeah," Steve turns it down, bomb dropped, trap sprung, advantage played, "the kids absolutely love them, they're trying to get me into them even though they're not exactly my thing."

"Right, ah, right, what do you, uhm, think?"

"Yeah. Still not my thing-"

"Oh."

"But I really like it when the lead guy sings."

"...yeah?"

"Yeah, not the like, shouty growly singing, I can't understand a fucking thing he's saying-" Eddie chuckles, "but like, the parts where he properly sings. I think he has a beautiful voice."

"I ah, well, I mean, I bet the, uhm, shouty bits are hard work, you know. I expect that takes a lot of, you know, practice. Hell on the throat. I imagine, I would guess anyway, I don't actually, like know-"

"No no, yeah, well, maybe he should just sing more then, save those vocal chords, or whatever. I'd like that a lot."

"Yeah?" Steve can practically hear Eddie blushing down the phone. Eddie's so cute when he goes shy.

"Yeah." There's a long beat of silence before Steve goes in for the kill, "the kids are trying to get me to go see them. They're in the states now, apparently. Will be playing a gig in Indie."

"Yeah they are- I mean, I assume they are, most bands, uhm, yeah-" And Steve is hardly holding it together, Eddie is such a bad liar, and he's trying so hard not to lie at all. Steve doesn't know how he;s keeping his tone normal and not letting the whole ass cat out of the bag.

"And the kids are absolutely itching to go, you know? But tickets man, they're all doing every chore they can find to get some extra cash, but tickets are pricey, and for eight of us? Because I'll need someone else to help me chaperone and, you know..."

"I. I might...know a guy. Maybe. Like, because of the band I might...know someone who can get you tickets."

"Seriously? Eddie that would be incredible, the kids will absolutely loose their shit."

"Yeah, ah, is your work email cool?"

"Yeah, yeah, of course of course, man, the kids are going to love you for like, forever."

And maybe I will too, Steve just about manages to keep the words inside.

@steves-yellow-cardigin @melodymeddler @pitrsattabhaadmeinjao

@superduckmilkshake @she-collects-smut @paintsplatteredandimperfect @resident-gay-bitch

#eddie munson #stranger things #steve harrington #steddie #my fic writing #fan fic stuff #fic wip #ficlet #rock star eddie munson #baker steve harrington #dungeons and dragons

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dogwholivesontheinternet · 3 months

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Tw for blood, gore, Spoilers for don’t hug me I’m scared kind of, body horror

Dhmis x iots au. Idk what else to say.

Red Guy - Chris Mclean

Duck - Alejandro

Yellow Guy - Sierra

Sketchbook (?) - Heather

Tony the Talking Clock - Noah

Shrignold (how do you spell his name) - Courtney

That unicorn guy - Lindsay

That rabbit guy - Beth

That purple man - Tyler

Furry boi - bird

Special one - Cody but it’s not actually him idk

Idk who Malcom is

I also don’t know who the globe is

I also don’t know who the laptop is

Collin - Harold

Steak - Owen

Spinach - Geoff

Bread - mouse

Fridge - DJ

The can guy - Sadie

Sadie didn’t actually eat Alejandro the wolves did she just watched

Lamp - Ezekiel

Idk who Roy is

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gardenschedule · 3 months

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John not meaning what he says

You know, we all say a lot of things when we don’t know what we’re talking about. I’m probably doing it now, I don’t know what I say. You see, everybody takes you up on the words you said, and I’m just a guy that people ask all about things, and I blab off and some of it makes sense and some of it is bullshit and some of it’s lies and some of it is — God knows what I’m saying. I don’t know what I said about Maharishi, all I know is what we said about Apple, which was worse.

John Lennon: The Rolling Stone Interview, Part One

“It’s sort of complicated but sometimes you say things, but it’s not really what you meant to say. If I say something to you and you hear it different from what I’ve said it, and you answer back and we’re not really getting down to it. I’m really talking like that you know. Like somebody says ‘do you want ice cream?’ and I’ll say no, and actually I meant yes. You find yourself saying the opposite of what you mean. This happens to me quite a lot. I speak a lot, but what I say is not always what I mean.“

John Lennon, 1973.

‘I was told recently by Yoko that one of the things that hurt John over the years was me going off and doing The Family Way,’ Paul says. The filmmaking Boulting brothers had approached him via George Martin. ‘I thought this was a great opportunity. We were all free to do stuff outside the Beatles and we’d each done various little things.’ When he mentioned it to John, Paul said, ‘He would have had his suit of armour on and said: “No, I don’t mind.”

Paul McCartney, c/o Ray Coleman, McCartney: Yesterday and Today. (1995)

But by the time I arrived, an agitated John was deeply involved indeed. More specifically, he was having a row with Paul and George Martin. “We’ve already done the concept album,” he argued, presumably referring to Pepper. “Why do we need to do another one?” “Look, John, we’re just trying to think symphonically,” George replied. “We’re trying to create a complete work out of song fragments.” John was derisive at first, saying, “You’re taking yourselves too seriously,” but when Paul invited him to contribute some compositions of his own to the medley, he seemed to capitulate. “Well, I might have one or two that could fit,” he said sheepishly. I exchanged glances with Paul. I’m sure we were both thinking the same thing: He’s just been waiting to be asked.

Here, There and Everywhere - Geoff Emerick, Howard Massey

SHEFF: But you didn’t compose your stuff separately, as other accounts have said? JOHN: No, no, no. I said that, but I was lying. [Laughs.] By the time I said that, we were so sick of this idea of writing and singing together, especially me, that I started this thing about, “We never wrote together, we were never in the same room.” Which wasn’t true. We wrote a lot of stuff together, one-on-one, eyeball to eyeball.

John Lennon, interview w/ David Sheff for Playboy. (September, 1980)

PLAYBOY: "When you talk about working together on a single lyric like "We Can Work It Out,' it suggests that you and Paul worked a lot more closely than you've admitted in the past. Haven't you said that you wrote most of your songs separately, despite putting both of your names on them?" LENNON: "Yeah, I was lying. (laughs) It was when I felt resentful, so I felt that we did everything apart. But, actually, a lot of the songs we did eyeball to eyeball."

John Lennon, 1980

“No, no, no,” he answered and he meant it. “I’m going to be an ex-Beatle for the rest of my life so I might as well enjoy it, and I’m just getting around to being able to stand back and see what happened. A couple of years ago I might have given everybody the impression I hate it all, but that was then. I was talking when I was straight out of therapy and I’d been mentally stripped bare and I just wanted to shoot my mouth off to clear it all away. Now it’s different. “When I slagged off the Beatle thing in the papers, it was like divorce pangs, and me being me it was blast this and fuck that, and it was just like the old days in the Melody Maker, you know, ‘Lennon Blasts Hollies’ on the back page. You know, I’ve always had a bit of a mouth and I’ve got to live up to it. Daily Mirror: ‘Lennon beats up local DJ at Paul’s 21st birthday party’. Then we had that fight Paul and me had through the Melody Maker, but it was a period I had to go through.

John Lennon, interview w/ Ray Coleman for Melody Maker: Lennon – a night in the life. (September 14th, 1974)

GEORGE: I remember the day when John did an interview with a certain magazine and said certain things, and then I remember the day when he disagreed with what he’d said, but the man who interviewed him denied him the right to change his mind and, even though it was two and a half years, later still went ahead and published something which John said he no longer agreed with himself on. Which means the dream was over, yet certain people wouldn’t allow him to have his dream... over. Nudge nudge wink wink, say no more. [inaudible] JOHN: In other words, imagine if somebody or if you accidentally bang your head and you shout, “Ow!” – that’s the end of it. [self-conscious; laughs] Right? GEORGE: And he said that too. JOHN: I mean, it doesn’t go on for the next five years, right? And we all did that.

December 21st, 1974 (New York)

INT: It seem that you did minimize a little bit, what the, what the effect was on the, value and lifestyle and all that. You said that there was almost nothing left of Beatles. JOHN: Well I get bitter too, you know. And uh, also it was always the insistence that the Beatles led something, you know. And if anything they were figureheads, you know. And, I put it more succinctly later on when I thought about it. When I said those statements A) I was bitter and upset; emotionally upset cause we just split up, you know. I call it a divorce right. But when I think about it, obviously…you know, I can change my mind.

John interviewed by Jean-François Vallée in April 1975.

Underground journalist Felix Dennis watched the session. ‘I remember Ringo getting more and more upset by this… I have a clear memory of him saying, “That’s enough, John.”’ Lennon and Ono competed to come up with the most insulting lines, Dennis said. ‘Some of it was absolutely puerile. Thank God a lot of it never actually got recorded because it was highly, highly personal, like a bunch of schoolboys standing in the lavatory making scatological jokes.’ ‘John would forgive himself, and expect Paul to forgive him,’ Derek Taylor recalled.

Peter Doggett, You Never Give Me Your Money: The Battle for the Soul of the Beatles. (2009)

I went through a period of trying to encourage Paul by writing and saying things that I thought would spur him on. But I think they were misunderstood. That's how "How Do You Sleep?" (on the "Imagine" album) was intended. Although I suppose it was a bit hard on him.

John Lennon Talks To Ray Connolly May 18th 1972 Radio Times

“At the moment he is cut off from the three of us. The last time I saw him was in December.” Asked whether he thought John Lennon’s recent unkind references to Paul on his “Imagine” album, had deepened the rift, George replied: “Maybe John felt like that about Paul at the time he was writing the song, but he doesn’t feel like that all the time. The song doesn’t represent what he really feels. It’s just John – people don’t really understand. “I think John’s record is great – though that track about Paul is a bit hard. But it’s only something felt at the time . . . ”

George Harrison, interviewed by Mike Hennessey for Record Mirror (October 16, 1971)

JOHN: (smiles) You know, I wasn’t really feeling that vicious at the time. But I was using my resentment toward Paul to create a song, let’s put it that way. He saw that it pointedly refers to him, and people kept hounding him about it. But, you know, there were a few digs on his album before mine. He’s so obscure other people didn’t notice them, but I heard them. I thought, Well, I’m not obscure, I just get right down to the nitty-gritty. So he’d done it his way and I did it mine. But as to the line you quoted, yeah, I think Paul died creatively, in a way.

John’s Playboy interview as published in the magazine’s January 1981 issue

He turned to me and told me that he had been equally vicious about Paul during the same period and that Paul had got it right when he had declared that the only person John was hurting with his vitriolic behavior was himself. It was not exactly an apology, more like an explanation.

Glyn Johns, Sound Man: A Life Recording Hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces… (2014)

“I have to ask you, what was all that stuff in the telegraph about?... And he’s gone oh yeah, look, speak to Paul about that, I wasn’t in a good place mentally at the time. Just speak to Paul about it…. I thought it was a real cop out because he had hurt me, he’d said something unfair, and rather than just apologise, what he basically said was I’ve apologised to Paul, and Paul’s accepted my apology for for my behaviour in that period, the immediate aftermath of the Beatles, and therefore speak to him and he will explain to you why you should forgive me”.

I am the EggPod guest Sam Delaney talking about a Get Back screening Q&A with Glynn Johns

“I’m trying to be mad at you, but you’re so nice, it isn’t easy,” Glyn replied. Then he explained that he had been upset by John’s comments about him in the “Lennon Remembers” interviews. John had said that Let It Be, which had been re-mixed by Glyn, had wound up sounding awful, and Glyn, a true professional, had been very offended by John’s comments. John did not remember saying it at all and he was very embarrassed. He explained, “I had just done primal therapy. I was just lettin’ off steam. That interview was just a lot of anger.” Glyn stared at John. John’s words had hurt him, and he had never expected that John would not remember what he had said, nor had he perceived that the comments would be dismissed as “just lettin’ off steam.” Like everyone else, he believed everything the public John said and took him very seriously. John repeatedly apologised to Glyn, and eventually the matter was dropped.

Loving John

“John’s most influential interviews, interviews which people took as gospel truth, were for John occasions to blow off steam and then to forget what he had said.”

May Pang, The Lost Weekend

At the time, we at Apple weren’t feeling good anyway, because Apple had failed; and here was one of our friends telling everyone who reads Rolling Stone that we were bastards. In the end we had to say, ‘Well, we’re not.’ John later retracted some of it, and we became friends again. And I forgave him. He would forget he’d said it, and expect to be forgiven, as he always was.

Derek Taylor, interview w/ Peter Doggett for Record Collector. (August, 1988)

John had gone through a tremendous upheaval in his private life, and he was a very odd person at times; he wasn’t at all himself. There was the famous interview he did for Rolling Stone, which has been reprinted many times, in which he says many unfair and untrue things, slagged everybody off, including me. I took him to task over it later on, asking him, “Why did you say all those things? It wasn’t very nice.” He said, “Oh, I was just stoned out of my head.” That was his only apology, really. Unfortunately, that has become history now; it’s accepted as the Bible.”

George Martin, interview w/ Howard Massey for Musician. (February, 1999)

“If you look at interviews and stuff with John, from around about that time he was in Imagine [documentary] he kind of admits that he’s having problems with himself. So, well, the first thing you do when you’re having problems with yourself is you bitch about someone else. And the closest person was me…He had a real go at me. I personally think it was ‘cause he was trying to clear the decks for Yoko. He’s got a new love, he’s trying to say to her, “Look, baby, I love you. I hate those guys.” And I think—you also have to remember John was going through a lot of problems. And you know, as they say, people, when they’re going through problems, come out with that kind of stuff. You know that, we all know that. When you’re in a bad mood, the first thing you do is badmouth somebody else. You don’t want to badmouth yourself…Some of the times, he was having other sorts of problems…So—like most of what John said, I take it with a pinch of salt. I love him still. I don’t care what he said, you know. Even if he badmouths me, I still know that he was a great guy, and that he loved me.”

Paul McCartney

#the beatles #john lennon #paul mccartney #mclennon

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crepesuzette2023 · 5 months

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Beatles Books as vaguely defined friends and relatives at a party you attend with a new crush, whose name you keep mispronouncing.

The longer you stay, the more trouble you have remembering what the occasion was.

The lights keep changing. Shortly after you arrived, your crush shrunk to the size of a mouse, and scurried away. You’re on your own.

The Beatles (Bob Spitz) greets you, an attractive silver fox who seems to be shunned by most of the others. You wonder why. It’s as easy to imagine him as a crying wreck as it is to imagine him on a golf course. Here, There, and Everywhere (Geoff Emerick) disrupts your musings by pulling tapes from his mouth. Seeing your discomfort, he stops and hands you a photograph of John Lennon and Paul McCartney singing into the same microphone. As he does, his pupils take on the shape of hearts. Someone called George announces his intent to poison him.

Anthology (The Beatles) saunters in, puts eight arms around you, and promises to tell you the whole story. They proceed to speak in tongues, and throw popcorn at you. Stu Sutcliffe jumps from a pendant around their neck, lands on the floor, and scurries after your crush.

“It’s always like this,” says Body Count (Francie Schwartz). “I assume you don’t want to listen to my story about a gifted woman who got locked up for depression? That’s fine, I can also talk about frottage, and a certain man’s curves.”

“Oh, stop it,” says John (Cynthia Lennon). She turns to you. “My advice is: Turn around and run as fast as you can.” She demonstrates what she means by disappearing, leaving behind a purse filled with cheerful letters and drawings of herself getting married and giving birth. Everything smells of olive oil. Francie spots Loving John (May Pang), and rushes to her, greedy for gossip. Loving John (May Pang) is everyone’s favorite, because she doesn’t really know anyone very well, but she knows how to make everyone feel comfortable by saying things that make sense in the moment.

Living the Beatles Legend: The Mal Evans Story (Ken Womack) ends up taking her home; they both live at The Fringes. Her home is a little further than his, which is just this side of Weird whereas she’s all the way in Montauk, but he’ll make sure she gets there safely.

To make up for the disappearance of your crush, Remember (Mike McCartney) cuts your hair. Each snip of the scissors slots a black-and-white picture into your field of vision. Windows in time blow noise and heat in your face, and visions of a screaming band that looks a bit like the young Beatles. Then there’s the quiet heat of summer, towels rippling on the line, and a drain pipe screwed to the wall of a house. He talks about childhood, and you’re almost there, but you never will be, because he won’t let you in. His more verbose twin, The Macs (Mike McCartney), recites letters his brother and John wrote from Hamburg, but you can barely understand what he says, because he stuffed a tissue into his mouth.

“It’s only a story,” says The Lyrics (Paul McCartney). “Pleased to meet you. I’m a storyteller myself.” He sings a love song. “I must have thought about these things when I wrote it,” he muses. “Interesting. What a mind, as Linda used to say.”

He tears a few pages from a diary he kept in Paris in 1961 and hands them to you without comment.

At this point, the party is dissolving. Crocheted furniture floats away and stretches.

“Am I too late?” Skywriting by Word of Mouth (John Lennon) squeezes himself out of the lowest drawer of an antique desk, where, judging from by his crinkly pajamas, he slept. “I’m in pieces. Mend me with glue.”

“I will, I will!” Tune In—All These Years, Vol I (Mark Lewisohn) yells ecstatically. “I’m so glad you could make it Sit down with me and celebrate the heritage of Liverpool.”

Skywriting drapes himself around Tune In, who starts purring and rutting against him.

“Excuse me?” It’s The Fifth Beatle: The Brian Epstein Story (Vivek Tiwary), torero boots clicking on the invisible floor as he strides towards the couch. A spotlight follows him. “I’m managing this show, and I insist on expanding the scene.” Around them, a hotel room forms.

Skywriting lights a cigarette. “Join us in bed, Bri.”

“Yes,” moans Tune In. “I’m so lonely. I’m the oldest of a triplet, or so they say, but the other two haven’t been born yet.”

The Fifth Beatle sits down and observes the unhinged biography losing himself in the friction of rubbing against the shapeshifting Skywriting. Finally, things reach a conclusion.

“And so,” says The Fifth Beatle, “what partially was, finished.”

“Stop repeating lines from a bad movie, Brian," says Skywriting, "you’re better than that.”

As you try to plot ways to escape through the skylight, The McCartney Legacy, Vol 1 (Sinclair & Kozinn) slides out from under the bed, a broad-shouldered lady in a bright red dress. A half-hatched alien with long legs and sunglasses squirms between her breasts, and makes mouth percussion sounds.

“Gentlemen.” The McCartney Legacy retrieves a very, very long rosary from her pocket. “Is anyone interested in an exquisitely crafted, finely wrought chronology?”

At the sound of the word “chronology,” The Beatles (Hunter Davies) crashes through the ceiling.

“Don’t fall for it!” The Beatles snatches the vocalizing baby alien from The McCartney Legacy’s chest, and kills it by wringing its neck. “Time stopped in 1968. The only valid extension are my own salacious additions. Strictly off the record.”

“I’ve been meaning to talk to you about that,” says The Fifth Beatle.

You exchange a glance with Skywriting, who is plucking pieces of Tune In from his body like children snatch pieces of dough, and sticking them in his mouth.

A camera clicks.

“Excellent.”

The Eyes of the Storm (Paul McCartney) lowers the camera, and changes into a suntanned, gleaming likeness of George Harrison. Then he changes into a fish.

“Everyone looking at the pictures will think they know,” the fish says. “They’ll have no idea!”

The floor dissolves under you. You fall into a pool, just in time to save your crush from being sucked into the drain, and after a barely audible edit you find yourself back home, with no memories at all, the taste of chewing gum in your mouth, and wearing matching tops saying, I visited Fellini’s Satyricon, and all I got was this lousy t-shirt. (ETA: I can't believe I forgot about Dreaming the Beatles (Rob Sheffield). I guess I'll have to include him in the inevitable sequel to this...thing, as the +1 of John and Paul: A Love Story in Songs (Ian Leslie).)

#Beatle books #the beatles #just me writing #my fic #(sort of)

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apopcornkernel · 4 months

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some thoughts on jason, post-reread of teen titans #29

the curious thing is that geoff johns writes jason wanting to be remembered, memorialized with the other dead titans—he throws tim into donna's statue, yells, where's MY statue? so i wonder—have i been wrong all this time? would he have actually appreciated bruce's horrific glass case?

another thing. if jason, according to this issue, knows that batman didn't arbitrarily "replace" him, so to speak, then why did he go to all that effort to beat tim up? ... in the comic he says smth about tim being nowhere near good enough to be robin/to measure up to jason's robin... perhaps he was lying to himself and Did feel resentment for the replacement despite his statements to the contrary. and jason notably keeps children away from his gig but perhaps he reasoned with himself that tim was trained by batman ans he could take it. perhaps he just wanted to have an excuse to vent his frustration and anger and grief onto the boy even if he knew it was wrong, even if it went against his moral code. or perhaps (see panel) he was even pulling a leslie and hoped the beatdown would also decommission tim and get him out of the vigilante lifestyle? EDITED TO ADD: im feeling more of the first explanation tbh. i talked about it with a friend and its really so easy to forget how young jason is. i think he was genuinely just very upset and deliberately took it out on tim despite knowing it wasn't exactly tim's fault. hey maybe some selfish part of him wanted bruce to never move on. maybe some part of him recognizes tim as a driving factor for it and resents tim ror that. girl idk. i don't even want to say that this comic is ooc or not because revived jason media is all so wildly varying in characterization so once again this is a reminder that i am simply Working Within The Confines Of The Text

of course, it could always be mischaracterization/shaky writing of character motivation. but i think there's merit in looking at complicated comics and examining the messy dynamics, especially since this issue has been more or less accepted as unmissable canon.

speaking of complicated comics, i actually also have thoughts on dick and jason's dynamic based on how they were written in nightwing: brothers in blood. remind me to crosspost from my private twt acc!

one last thing: i actually love that jason is aware of bruce's "spiral into darkness" and STILL continues to enact his plan. it's the whole false equivalence of "bruce kills the joker == bruce loves me", "bruce doesn't kill the joker == bruce doesn't love me", or at least not enough. he's refusing to accept bruce's grief as penance. jason has already named his price, and he will not recant it. he will accept nothing less than the death of the joker 😋😋😋

#dc #batman #jason todd #tim drake #bruce wayne #chronic blabbermouth sorry!#dcposting

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