#steve's version is sung by

[ereborne]

Song of the Day: April 25

"The Low Spark of High-Heeled Boys" by Traffic

[doyoulikethissong-poll]

Nightwish - The Phantom of the Opera 2002

"The Phantom of the Opera" is a song from the 1986 stage musical of the same name, based on the 1910 French novel of the same name by Gaston Leroux, which tells the tragic story of a beautiful soprano, Christine Daaé, who becomes the obsession of a mysterious, masked musical genius living in the subterranean labyrinth beneath the Paris Opéra House. The song was composed by Andrew Lloyd Webber, with lyrics written by Charles Hart and Richard Stilgoe, and additional lyrics by Mike Batt. The song was originally recorded by Sarah Brightman and Steve Harley, which became a UK hit single in 1986, prior to the musical. Listen to it here! In its theatrical debut, it was sung by Brightman and Michael Crawford in their roles as Christine Daaé and the Phantom. Listen to it here! The Phantom of the Opera was the longest running show in Broadway history, and celebrated its 10,000th performance on February 11, 2012, becoming the first Broadway production in history to do so. It is the second longest-running West End musical, after Les Misérables, and the third longest-running West End show overall, after The Mousetrap. The original West End production at Her Majesty's Theatre, London, ended its run in 2020, its run cut short by the COVID-19 pandemic.

Nightwish is a Finnish symphonic metal band from Kitee. The band was formed in 1996 by lead songwriter and keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and former lead singer Tarja Turunen. The band soon picked up drummer Jukka Nevalainen, and then bassist Sami Vänskä after the release of their debut album, Angels Fall First (1997). In 2001, Vänskä was replaced by Marko Hietala, who also took over the male vocalist role previously filled by Holopainen or guest singers.

In 2002, Nightwish released Century Child, along with the singles "Ever Dream" and "Bless the Child". Century Child was certified gold two hours after its release, and platinum two weeks afterwards. It set a record on the Finnish album charts of most distance between a first place album and the second place. An enduring favorite of fans is the band's version of "The Phantom of the Opera". The song was routinely played in concerts until October 21, 2005, when vocalist Tarja Turunen was fired from the band and later replaced with Anette Olzon, whereupon the band announced that they would never play the song live again. This would hold true for 17 years until November 27 and 28, 2022, when Nightwish was joined by Dutch singer Henk Poort on stage at the Ziggo Dome in Amsterdam to perform the song. Marko Hietala joined Tarja Turunen at a couple of her solo shows in 2023 to sing "The Phantom of the Opera" with her. They are set to tour together in Spring 2024 in Latin America on Tarja's "Living The Dream – The Hits Tour".

"The Phantom of the Opera" recieved a total of 82,7% yes votes!

[steventhusiast]

STWG daily prompt 9/10/23

prompt: balcony

character/pairing(s): steddie

-

When Steve first moved into his apartment, he'd been so upset to discover the balcony situation. He has a balcony, but it's tiny because the balcony is shared with his neighbour. There's a shitty stone partition wall in the middle, and barely enough space to fit a chair out there. His dream for a balcony has always been a simple two chairs and a small table- a perfect space to sit with Robin and watch the city.

But he makes do. All he needs is a place to sit when he smokes so he doesn't stink up his place, so it will do. He's stuck in the lease for at least a year, so. It has to do.

One day, he's sat smoking and looking at the cityscape, when he hears his neighbour's door open and close. It's the first time they've been on the balcony at the same time, and he's curious.

He wonders what he's come out for. The pathetic balcony doesn't have that many uses with the limited space, but there are a few things he could be doing. Maybe his neighbour's a smoker like him. Maybe he's reading a book. Maybe he's out to enjoy the cityscape like Steve.

One thing Steve didn't expect is to hear the gentle strum of an acoustic guitar, followed by a gorgeous hum from a silky smooth voice. It takes Steve a moment to figure out what song is being sung.

"Every breath you take, and every move you make," His stranger of a neighbour sings quietly, and Steve finally realises what song he's singing. A slower version of Every Breath You Take by The Police.

It sounds lovely, and Steve catches himself swaying a little by the time it gets close to the chorus. He almost forgets about the cigarette in his hand, which would have been quite the fire hazard.

Accidentally, Steve huffs out a breathy laugh at that, and the acoustic guitar abruptly stops.

"Hello?" That gorgeous voice asks, somehow even prettier when it's talking rather than singing, and Steve considers his options. He could pretend not to be there. But.. Something in his gut tells him the stranger is someone who's supposed to be in his life.

"Hey, man. Love your rendition of that song." He says after a moment, and hears a laugh in response.

"Thanks. Not, uh. Not my usual style, I promise." The voice says, sounding oddly defensive.

"What is your usual style, then, neighbour?"

"Metal. But. Can't exactly play that on an acoustic and do it justice, so... What about you?"

"Oh. I'm a top 50 kind of guy." For some reason that answer gets an indignant huff from his neighbour.

"That won't do. You busy right now? I got some time to educate you on good music." His neighbour offers.

"Sure." Steve accepts, and he doesn't know it yet, but he's just made the decision to officially meet the love of his life.

And one day, they'll have another shared balcony, this time without the partition in the middle. Perfectly sized for that table and two chairs that Steve's always wanted.

[14carrotghoul]

and you can tell everybody (unplugged)

Hi friends! Do not proceed if you don't want spoilers for my fic, and you can tell everybody! Album notes and extras are below the cut :)

ACD's early career is releasing covers and original songs with June on YouTube and later TikTok. Career takes off his first year of university and the rest of the band joins, agreeing to play for a few years to see what happens.

[unnamed] (2020) [very little info on this besides being very pointedly Mexican-American, but the genre is rock influenced by Mexican music, like Cafe Tacvba? Molotov? but more modern]

tex mex - Lyrical inspiration: "Somos Mas Americanos" by Los Tigres Del Norte

decisions (November 2023) [highly influenced by Omar Apollo, I promise the other albums are very different! I'm shoving him down your throats here and I know it lol]

1 new message - mellow r&b. Have suspected something is wrong, ignored it, and now the impact is hitting full force. Wrongly interpreted as Alex leaving a voicemail for an ex but it is a song written for his past self about missing his ADHD and bisexuality. Sound: "3AM" by Haim

reckless abandon - daddy issues song cowritten with Liam. Bilingual. Sound & lyrically: "Voice Inside My Head" by The Chicks

am I? - 'You raised me to disappoint you bc I could never live up to your expectations'/'It took me too long to find myself bc I've been trying to be who you imagined'. Sound: "Go Away" by Omar Apollo

new year new me - fuck expectations, I'm going to do what I want Sound: "Invincible" by Omar Apollo

very bad things - upbeat hookup song. breaking all his own rules and it feels good. "Mercury" by Steve Lacy

split household - child of divorce anthem. Sound: "Kamikaze" by Omar Apollo

seria una mentira - don't make me choose a side. I love you both and it tears me apart. Pointedly about parents. Sound: "Two of Us" by Omar Apollo

too much - Cumbia version of "Too Much" by Carly Rae Jepsen

never enough - never enough to convince people to stay. Sound: "Pram" by Omar Apollo. Also feel this song's outro is very fitting for this!

a light left on - Platonic June appreciation song about how safe Alex has always felt with her. Sound & lyrically: "Caminar Bonito" by Natalia Lafourcade

Good - First time he is told and BELIEVES he is good. "While U Can" by Omar Apollo

yrs - Dramatic love song. First time Alex uses rain motif. Sound: "Petrified" by Omar Apollo

seria una mentira pt. 2 - it would be a lie to choose something simple over choosing you. Sound: "Two of Us" by Omar Apollo but slowed down and more hopeful

spine/die climbing - vulnerable pillow talk. Sound: "Plane Trees" by Omar Apollo, Mustafa

miel - sacrilege bj song. Catches on with queer Latine audience and is memed similarly to Call me by your name by Lil Nas X. Grows the band's audience. Sound: "Te Mata" by Kali Uchis.

on purpose - I choose to be all the things that I am and am not picking a side. End album on a positive note. Sound:"Done With You" by Omar Apollo

vows (June 2024) [very American sound, dreamier, more optimistic]

no booty calls - voicemail w instrumental. Sound: "All Around Me Now" by Perfume Genius

apricot tarts - honeymoon period of a new relationship. Sound: "Someone to Spend Time With" by Los Retros

in dreams - extended version of Henry's in dreams email set to music. In this universe, they met and kissed on New Years at Pez's party and still did long distance and exchanged emails :) Sound: "In A River (Acoustic)" by Rostam

supersonic - secret, fun ode to karaoke night and letting loose on a night out. Sound: "Runaways" by The Killers

tapestry - thank god I'm bi anthem. Sound: "The Steps" by Haim

lipstick on her neck - sung by June. Essentially the lyrics of lipstick lover by janelle monae but in "ALLIIGATOR TEARS" by Beyonce Americana style.

then have me - tender I'm putting it all out there, all you have to do is take it. Sound: "Solar Pilgrim" by Twain

pride (and prejudice) - purposefully anthemic chorus. about being proud despite prejudice in a red state. Sound: "Delta Dawn" by Tanya Tucker

he is my choice - eloping in the rain. comedic/romantic song about how everything went wrong at a wedding. Sound: "Howling at Nothing" by Nathaniel Rateliff & the Night Sweats

roasting Alex - jam session - the band lovingly roasts Alex. Sound: "Ballad of Hank Williams" by Hank Williams Jr., Don Helms

Not Just Friends - Liam to Spencer. Song about how they're frequently mistaken for just best friends and how happy it makes him to correct that they're more than that. Song chosen so piano and drums play the beats together. Sound: "A Little Honey" by Nathaniel Rateliff & the Night Sweats

Be Cool - Spencer to Liam. Quirky/self-deprecating song about his butterflies about being with someone he's in awe of. Sound: "Heart's Content" by Brandi Carlile

a romantic - June to Nora. Confirms that Nora is aromantic to public. June saying she would never need more from Nora bc she gets to wake up next to her best friend every day. Sound: "Tu" by maye.

bluebonnet - This place (Texas) was never a home to me until you showed me how it was a part of you and now I see you everywhere. Sound & lyrically: "I Think of You" by Rodriguez.

red-blooded (August 2029)

cover: Navy suit w white shirt and American Flag pin on lapel, cropped so only torso is showing

Americana sound again - about 50/50 rock and Americana. Features from Dolly Parton, Orville Peck, and Brandon Flowers

blue blood (August 2029)

cover: red British army dress, cropped so only torso is showing

British glam rock sounds. Features from Elton John, Brian May, and samples David Bowie.

co-written with Henry

-

AND as for where they go from the end of the fic:

Alex becomes a civil rights lawyer in Austin.

Henry's writing career grows but he remains relatively private.

June becomes a music journalist. Eventually ventures into exposes on the industry's shady practices and successfully pivots into investigative journalism

Nora does her own thing.

Liam stays in music industry as a band manager under Zahra's tutelage.

Spencer majored in music production/mixing(?) and gets taken under Pez's wing. Has a smaller solo career and produces for a few indie bands before he settles down and works as a sound mixer in the film industry.

Bea continues to play guitar and flit between collaboration projects.

Zahra is the band's manager and Shaan is Henry's publicist/mentor and they meet while officially strategizing Alex's coming out.

[chthonic-cassandra]

what vampire musicals are there? asking bc of the tag meme you posted a few days(?) ago where you said it was pretty accurate aside from no vampire musicals... i know wildhorn dracula, but what else? (and which are good?)

Thank you for asking a question which allows me to indulge myself by recounting all this. The question of "good," however, is rather fraught, and I ask everyone to remember that these opinions are just my own.

The (probably) first, and the only one to achieve significant success, was Jim Steinman's Tanz der Vampire/Dance of the Vampires, first stage in 1997. Tanz was an adaptation of Roman Polanski's comedic vampire movie The Fearless Vampire Killers, and features "Total Eclipse of the Heart," a song Steinman always intended to be about vampires. Tonally, the musical veers wildly between the broad comedy of the source film and something approaching sincerity and the comedy sections have never really worked for me, but it's certainly the most musically sophisticated of the vampire musicals and at its best, like in the major ballad sung by the lead vampire character about the loves he has killed (here sung by original cast Steve Barton, and here by Drew Sarich, who is in all the major vampire musicals and who we shall have more to say about anon) it's spectacular gothy camp glory.

Tanz was incredibly popular in Austria, where it was first staged, and then throughout Europe and in Japan. However, when it was brought to Broadway it was drastically rewritten, partly at the behest of Michael Crawford, starring in the show and anxious about changes in his body and being compared to his career-making performance in Phantom of the Opera. The comedy was foregrounded and the show was constantly being rewritten, to the point that the actors didn't know how their parts might change performance to performance. I didn't see the Broadway production, but it is accounted by all to be a colossal failure. The show remains popular worldwide to this day, but has not received another major staging in North America.

Next comes the Frank Wildhorn Dracula the Muiscal, which I know you know about, but as it is vital to this narrative I must give some explanation. Wildhorn is a sort of mid-tier musical theater composer, known for melodrama and period pieces. After the popular (though not critical) success of his Jekyll & Hyde musical (1997 on Broadway) he co-wrote Dracula with lyricist Don Black, premiering on Broadway on 2004.

While I maintain that Dracula the Musical has been unjustly maligned by comparison with some other works of musical theater, it is admittedly a mess, and the Broadway production, which was, despite highly publicized special effects, shockingly static, did it no favors. It tries to do far too many things, combining sections of relatively close novel adaptation (Christopher Hampton's book is often quietly strong) with a messily shoehorned Dracula/Mina romance. The score is variable, ranging, even just in Dracula's material, from the rousing "Life After Life" as Dracula welcomes the transformed Lucy, to his cringe-inducing "The Longer I Live". (I still think almost all of the music and lyrics are better than those of Les Miserables but then again I think most things are better than the Les Miserables musical.) The Broadway production had a reasonably strong cast, including Melissa Errico as Mina and Kelli O'Hara as Lucy, but it failed nearly as badly as the American version of Tanz had, if not quite so dramatically.

Wildhorn subsequently brought DtM to Europe, where it enjoyed significantly more success, first in a stripped down modern production in St. Gallen starring Drew Sarich and then in Vienna where the role of Van Helsing was expanded for popular star Uwe Kröger. It's continued to be performed in Europe and Asia, and in some USA community theaters.

Next up was Elton John's Lestat in 2007. One would expect that this musical would have been wonderfully over-the-top glam rock, but somehow Lestat ended up being one of the most staid things I have ever seen. Filled with forgettable music (even if we all do want to see Sam Reid and Jacob Anderson doing "Embrace It". It was further brought down by a lackluster performance of the title character by Hugh Panaro, previously known for his mediocre (sorry Panaro fans!) turn in Phantom. It was enlivened slightly by Carolee Carmello as Gabrielle earning one of the show's only Tony nominations and Drew Sarich (there he is again!) playing a decidedly not book accurate but very entertaining Armand. It also involved a Buddhist monk Marius de Romanus, but I constantly question whether this was a fever dream of mine. Lestat was yet another failure on Broadway and, as far as I can tell, has had no real subsequent afterlife, though I've been wondering if that might change with the IwtV show (and Sam Reid's evident enjoyment of the musical!).

Those are the major vampire musicals, for what they are! But there are also some others which never got even this level of attention, including:

Two dueling French-language Dracula musicals with almost the exact same name, Dracula - L'amour plus fort que la mort and Dracula - Entre l'amour et la mort

A Nosferatu musical which is a strong contender for the worst lyrics I have ever heard but also entertains me

another mysterious Dracula musical made in the UK with songs of wildly varying qualities, but containing the only Mina hero ballad with which I am familiar

There are also edge cases like Bat Boy and Rocky Horror Picture Show, which I would not call vampire musicals but someone else might.

Anyway! Thanks for giving me the opportunity to share some of the truly disproportionate amount of information I have about this topic in my head. I hope this brought some entertainment.

[eliounora]

in light of your latest rb, what is your preferred production of jesus christ superstar?? i've yet to see any but want to have fun with everyone & trust your taste on this :) ty in advance and also! i really love your art ^__^

you have come to the right neighbourhood... *puts on my pharisees hat* I am so happy to answer this question

I recommend you start with the 1996 west end revival (spotify, youtube). the insrumentation is great, the quality of the recording is crisp, and the performers are top-notch. steve balsamo as jesus is definitely the star of this one, his voice is very light and pure but he also portrays the character's inner conflict magnificently.

for comparison, there is also the original 1971 broadway cast recording (spotify, youtube). this is one of my favourite versions!

here is also the original 1972 west end production (youtube). also excellent!!!

if you actually want something to watch, there is the 1973 film (spotify, youtube, I think the film can be rented on YT as well, I borrowed the DVD from my local library haha). the film also has a magnificent cast, many people consider ted neeley the best jesus ever and he has an unique take on the role and a gorgeous voice. carl anderson as judas is also just superb. I think the best word to decribe this version is "raw", it's really haunting.

the original 1970 concept album (spotify, youtube) with ian gillan of deep purple as jesus and murray head as judas is also a must-listen! both singers are just divine, both their performances easily hold up against newer productions with ease, they're just divine.

there is also the 2000 film, watchable on youtube (the album on spotify). jerome pradon plays judas and he is absolutely glorious at it. dude is going absolutely off the rails and his voice is so whiny and he's so deliciously vindicative in the end. I've gotten the impression his performance can be sort of hit-or-miss, but I really like it!

for something more recent, there's also the 2012 arena tour (youtube) with ben forster as jesus and the legendary tim minchin as judas. a lot of people like this one, and while I personally don't like it much, maybe you will! there is also the 2018 live in concert (spotify, youtube). a solid, good production I think.

now I think every song in JCS is a solid banger, but good songs to look out for when listening is

heaven on their minds, sung by judas

everything's alright, sung primarily by mary (in many of the early productions, like the original concept album and the film, mary is played by yvonne elliman) while judas and jesus argue

this jesus must die, includes caiaphas, who has a bass voice, and annas

pilate's dream

I don't know how to love him, mary's ballad

gethsemane (I only wanted to say), jesus's power ballad. look out for his high note at "why should I die" (awesome compilation here)

king herod's song

superstar, judas questioning jesus from beyond the grave

good luck to you superstaring!!! I'm very normal about this musical

[x3no9]

Ever start a fic with the entire thing laid out and then suddenly it turns into a crazy beast and smashes everything you built to the ground?

Anyway that is what happened with my newest Call of Duty fic. It got very dark, major character death and shit. And all I wanted was married couples. Curious thing is, one my mates read it and says that the Makarov x Graves dynamic reminds him of the song, "Wrecking Ball", by Sacha Skarbec.

I looked the lyrics up (I refuse to listen to Miley) and then found a gorgeous cover version sung by James Arthur. I was quite blown away. And YES, thanks, Steve it does illustrate it quite well, going with Graves' perspective, but the curious thing is--it can apply a little to both sides. Anyway they aren't broken up though as the song strongly implies. I think I need to go touch some grass, I am going way too hard on this MakaGraves ship.

Here is the fic link if ya want to go insane...

Also.... the lyrics to ponder...

We clawed, we chained our hearts in vain We jumped never asking why We kissed, I fell under your spell. A love no one could deny

Don't you ever say I just walked away I will always want you I can't live a lie, running for my life I will always want you

I came in like a wrecking ball I never hit so hard in love All I wanted was to break your walls All you ever did was wreck me Yeah, you, you wreck me

I put you high up in the sky And now, you're not coming down It slowly turned, you let me burn And now, we're ashes on the ground

Don't you ever say I just walked away I will always want you I can't live a lie, running for my life I will always want you

I came in like a wrecking ball I never hit so hard in love All I wanted was to break your walls All you ever did was wreck me

I came in like a wrecking ball Yeah, I just closed my eyes and swung Left me crashing in a blazing fall All you ever did was wreck me Yeah, you, you wreck me

I never meant to start a war I just wanted you to let me in And instead of using force I guess I should've let you win I never meant to start a war I just wanted you to let me in I guess I should've let you win

Don't you ever say I just walked away I will always want you

I came in like a wrecking ball I never hit so hard in love All I wanted was to break your walls All you ever did was wreck me

I came in like a wrecking ball Yeah, I just closed my eyes and swung Left me crashing in a blazing fall All you ever did was wreck me Yeah, you, you wreck me Yeah, you, you wreck me

[homiesexual-or-homosexual]

Anthem

Pairing: Eddie Munson x reader

Warnings: kinda fluff ig, you and eddie officially meet for the first time, reader plays guitar, tommy thompson’s singing *muppet sounds*, kinda proofread

Summary: Eddie Munson seeing you play star spangled banner on guitar and slowly growing over Tammy Thompson who no one wants to listen to

———

Another Friday, another after school basketball game.

The younger kiddos of Hellfire had dragged Eddie into the cramped room for “the one night.” Though, Eddie cared a little, but only a little. He didn’t care for sports, but he cared for Lucas, who was recently taken off the bench just before spring break. He knew the kid had potential, so the metalhead was secretly excited to see how good his little sheep played this dumb sport.

Eddie was sat on the outside of the kid’s group next to the band, between Dustin and Steve, as well as Steve’s date. Nancy was there too, armed with a camera, a notebook, and her own little sheep from the hawkins highschool newspaper. They weren’t sat up by the group, but milling around with the crowd below the bleachers. Robin was there as well, she kind of had to be. She was with the band, but not currently. She was down on the floor with Vickie, her “friend”, and another girl.

This other girl wore the same pants and shoes as Robin and Vickie, but wore a loose fitting black long-sleeved shirt, the sleeves pushed up to her elbows. Standing in front of her was a guitar, with a V body shape. The light of the overhead gym lights catch of the thick rings that latch to multiple of her fingers.

A warning double strike of one of the snare drums shock Eddie out of his staring. He watches as Robin and Vickie bid their do’s and make their way up to the band, Robin waving to Eddie when she settles. His eyes land on the girl again. She’s got the guitar settled on her shoulder via strap and she’s turned around, taking to one of the boys behind the cart that hold two more speakers.

The crowd goes quiet as Principle Higgins enters the floor, walking up to the mic. He gives a testing fee taps to the mic and delves into a speech about previous games, the potential of playoffs, and most recent previous accomplishment, thanks to Lucas Sinclair. And to finish his speech off, he announces that Tammy Thompson is to sing the National Anthem.

Beside Eddie, Steve groans.

“What?” Eddie asks, looking over at the boy sat next to him.

“She sung that the last game, the one before spring break,” Steve explained. “Yikes..”

Eddie only nodded, standing along with the crowd.

As Tammy started her singing, or her version at least, you, Robin’s unnamed guitarist friend, played the anthem at a rather low level, for Eddie. Though he noticed something from the sidelines as Tammy reached the middle of the song, Principle Higgins had motioned to the boy controlling the soundboard on the cart that held the two speakers. Slowly, so slowly it was almost unnoticeable, the sound of your guitar grew. And it seemed you noticed, looking to the side before pressing on the pedal in front of you to make the sound more aggressive.

The anthem ended with a ring, the sound of the dirty guitar bouncing around in the enclosed room.

Eddie hadn’t even noticed how his jaw practically dropped until Steve nudged his shoulder with his own. The other boy wore a rather smug look on his face before his attention was captured by Robin tapping his shoulder. She said something to him and Steve and his little date stepped back. Robin made eye contact with Eddie before grabbing his sleeve and dragging him down the bleachers through the crowd. Damn that woman for being so sure-footed when she was on a little mission of going somewhere, and damn himself for being so clumsy and almost falling on his face about five times from tripping over his own feet.

The trio of Robin, Vickie, and Eddie burst through the crowd. Robin and Vickie climbed over the metal railing that kept the crowd up in the bleachers and Eddie followed, feeling like a baby deer walking for the first time.

Robin and Vickie, you, and two other boys gathered up cords and equipment rather quickly as some coach gave a speech. Before Eddie could comprehend what was going on, he was handed the pedal the girl used, along with the cord that was attached. And out the gym they went, through the side door that the basketball players came through.

Taking a moment, Eddie saw one of the boys on the cart, the other on one of the tall speakers that faced the crowd, a teacher on the other, and Robin and Vickie crowding you, blabbering on about something.

“Eddie!” Robin broke away. “Come join us!”

Robin switched to the other side of you, leaning over Vickie to still you. Eddie cautiously joined in, other the empty side of you.

“Y/n, you know Eddie, yeah?” Robin introduced.

“Of course!” You offer a smile, glancing down at the pedal in his hands. “Oh that’s where my pedal went! Okay, that makes me feel better. How’s Hellfire going?”

“You know about Hellfire?” Eddie sputtered.

“Of course, Munson. How could I not? With it being a parent’s number one nightmare, fearing that any of their children may become victim to the satantic rituals that happen every friday night while basketball games happen just above the abandoned theatre room,” You go on, talking like Hellfire wasn’t a bother to you, it wasn’t really.

“Well uh- we took a break over spring break. Just to relax and take a breather. This last session really tired everyone out, now the rest of the campaign will slow down so it can finally end,” Eddie answered.

“Right, ‘Vecna’s Curse’,” You nodded.

“Wha- How do you know??” Eddie asked, his eyes wide.

“I’ve got some eyes on the inside,” You tell him, a little smile on your face.

“Who??”

“Can’t tell,” You tell him, dragging your pinched pointer and thumb over your lips. “Secret’s safe with me.”

Eddie’s eyes only playfully narrowed at you, but he was still suspicious.

You fell into a silence on the rest of the way to the band hall.

Once in the band hall, the equipment was piled into the back of the band hall. The teacher left quickly and the two boys bid their goodbyes. Eddie conversed with Robin and Vickie, watching as you put your guitar in its case and wrapped up your cords before putting all your belongings beside a little black backpack.

“Munson,” You called.

“Yeah?” He sat up.

“Water? It gets kinda toasty in the gym so it’s good to stay hydrated,” You’re standing beside a cooler that’s by the doors to outside from the bandhall.

“Sure!” Eddie smiles.

“Hey, are their capri suns in there?” Vickie asks.

“Yeah, who wants one?”

Everyone says a “me.”

You passed all the requested beverages out and settled on the floor just below the stool that Vickie was settled on.

“So, what brings you to the most boring thing a school can ever host?” You ask, taking a sip from your own capri sun.

“Lucas Sinclair,” Eddie responds, giving you a look of surprise.

“Ah, the freshman. He’s a pretty good. He’ll go far. And I’m impressed the jocks don’t push him around as much as I thought they would,” You notice the look Eddie’s giving you. “What?? Just cause I’m in band doesn’t mean I like sports.”

“Right right-“ Eddie coughs. “I just- I think Lucas doesn’t get pushed around as much as Jason’s put him in this little falsely secure bubble of looking up to the older boys. And since he looks up to them, he’s willing to do whatever they want.”

“Hopefully not ‘whatever’ they want,” You sigh. “He could really hurt people if he’s oblivious like that.”

“He’s not oblivious on purpose,” Eddie defends.

“Of course not,” You’ve obviously hit a spot and try to tone it down a bit. “But I’m just saying, that he’s not looking up to the right person. You’re a lot better role model then Jason Carver. You have Lucas’s best interests in mind. Carver only has his own personal benefits in mind. He’s a good kid. I hope he realizes that before he gets mixed up in the wrong crowd.“

Eddie nods, agreeing with you, “I just don’t wanna be pushy, but I don’t want him to get hurt.”

“Eddie,” you look at him. “You might have to be a little pushy before he gets hurt.”

Eddie nods again, sighing as he takes another drink of his capri sun.

You four finish your capri suns before making your way back down to the gym. Robin and Vickie make their way back up into the mass of band kids. You lead Eddie to settle just beside the band. You two make a bit of small talk, just getting a feel for each other now that you have actual opportunity to talk to one another. The game has disappeared around you. You both trapped in a bubble of your own world.

You, personally, had only seen Eddie from afar. Passing in the halls, across the lunch room, or across the few classrooms you shared. You loved the way he carried himself. Invincible. Incapable of any harm towards him, even if a jock or two got in his face. And you loved how his rings glinted in the florescent lights above, thick and chunky. His hair was another marvel, how it bounced with movement. It was obvious he took great care of it. And now, up close and almost personal, you just can’t help but let your eyes wander.

Eddie knows he’s always liked you. Eyes following you in the halls or admiring you in class, wondering what your eyes looks like up close or what kind of earrings you’re wearing today. You looked great up close, the sparkle in your eyes from the row of lights above. Your hairs looks silky smooth and your skin look soft.

Before you both know it, the night is over. Eddie’s walking you back to the band hall, slinging your guitar case around his shoulders before you can get to it, leaving you with your small backpack that carries guitar supplies (cords, capos, extra picks, etc.) and snacks. And in his gentlemanly way, he walks you out to your car and helps you pack up, guitar settled in the backseats of your car.

“Where’d you park?” You ask, leaning against your closed car door.

“Down in the student parking lot,” Eddie answers, arms crossed in front of him.

He eyes you, taking in that you’ve changed from your band pants and shoes, when you stepped away to the bathroom a few moments before, and into some athletic shorts and some regular old vans tennis shoes. When he eyes trail back up, the boy notices the goosebumps on your arms.

“You cold?” Eddie asks.

You shiver a bit, “Not too bad. I guess it’s just that spring nighttime chill.”

“Well here then,” Eddie peels over his signature leather jacket, his jean vest on top of it, and hands it to you.

“Oh no, Eddie,” You place a hand in front of you. “I can’t take your jacket from you.”

“I insist,” Eddie pushes the jacket into your hand. “I can’t let a lady go cold on my watch.”

“But-“

“Just take it,” Eddie still holds his jacket out towards you. “I’ve got another one at home.”

“Okay okay,” You put Eddie packet on, the smell of cigarettes, weed, cheap cologne, and boy musk rush and crowd your senses, leaving you overwhelmed. “Thank you.”

You too stare at each, for probably the fifth time that night. Eddie’s eyes glance over your face and yours stay trained on his.

“Umm well, I gotta get home, Eddie,” You inform him. “Past my bedtime, y’know?”

There’s a crinkle in the corner of your eyes at your subtle joke.

“Uhh yeah, mine too,” Eddie jokes back. “I’ll let you get home. Drive safe.”

“You too, Munson.”

“I’ll try,” wink.

Eddie walks away when you start getting in your car, but doesn’t let the car leave his sight until your safe and buckled inside. He walks the rest of the way to his car with a huge smile on his face.

[7grandmel]

Todays rip: 01/10/2023

1, 2 Oatmeal (Actual In-Game Version)

Season 3 Featured on: SiIvaGunner's Highest Quality Rips: Volume AI Also on: Dr. Pavel's How the Grinch Took Over SiIvaGunner

Ripped by Smoky

Its officially the spooky month! To celebrate, I've prepared perhaps the spookiest thing a SiIvaGunner viewer could think of - low quality music! :OOO

In all seriousness though - as I've shown before with rips such as dame da nellerman and Sex - Steve Harvey, SiIvaGunner is filled to the brim with content not meant to simply be consumed as everyday listenable music. The aim of the channel, first and foremost, is to make people smile - and it can do so in any number of ways. The power of ironic shitposting is not one to be underestimated - especially when it has a surprising amount of effort actually put into it.

To this day I have no clue what actually led to the creation of 1, 2 Oatmeal, a bizarre and poorly-sung parody cover of Dream Land 64 from the original Super Smash Bros. (Itself an arrangement of Gourmet Race from Kirby Super Star). Its a strange piece of old internet that, thanks to everyone's favorite Super Mario 64 Funnyman - Simpleflips - has now become one of those things that just keeps appearing as donation-submitted music onto livestreams all over. I even have faint recollections of Chaze the Chat, SiIvaGunner channel creator, explicitly saying during Season 2 that he would never feature 1, 2 Oatmeal. Well, less than a year later, and we arrive here - 1, 2 Oatmeal (Actual In-Game Version). There's just something so fascinating about the lengths Smoky went to with this rip - the amount of effort placed to make the Dream Land theme sound exactly as off-key in the exact same places as the original video - without any lyrics to even attempt masking it. When compared side by side, its evident that actual research went into making sure the two lined up perfectly, and yet the end result is flat-out unpleasant to listen to.

Or, well...it *should* be unpleasant to listen to, but its just too god damn funny. Its impossible for me to listen to 1, 2 Oatmeal (Actual In-Game Version) without also thinking of all the hilarious suffering streamers like Simpleflips have gone through to the tune of the song, without picturing Smoky with the biggest smile on their face as they line the pieces together for their dastardly concoction to be released onto the world. Its a high-quality effort that's impossible for me not to appreciate even as I'm internally suffering from having to listen to it - and now I've unleashed the plague unto you folks as well.

[runbyinsomnia]

roulette number #30 - Crossroad Blues

season 2, episode 8. november 16th, 2006.

soundtrack: cross road blues by robert johnson.

written by: sera gamble

directed by: steve boyum

fun fact: the song “crossroad blues”, from which this episode takes its title, is playing when robert johnson makes his deal with the demon at the crossroads. the version used in the episode is actually sung by the real robert johnson and is the only recording ever made of him singing that song.

2/327

sam: i’d be willing to bet that’s graveyard dirt. and a black cat bone.

dean: that’s serious spell work. i mean, that’s deep south hoodoo stuff.

sam: used to summon a demon.

dean: not just summon one. crossroads are where pacts are made. these people are actually making deals with the damn thing. you know, because that always ends good.

- ah, got to draw one of my favourite episodes ever !! and so quickly too, i was amazed. season two is my absolute favourite and i wasn’t quite expecting to draw something from it so soon, given this is just the second comic but wow, i’m so pleased !! i even edited down the brightness and added some noise cuz season two has the beautiful film grit and i wanted that to show so bad. i adore season two so much. even more than i possible adore robert johnson … or, well, a close second. i love robert johnson a lot too, so much in fact that i indeed had my own little supernatural experience while drawing this…

i’m terribly happy with this and can’t wait to draw more from this season also, i love this series !! 🖤

ps - please don’t make deals with demons … unless it’s crowley 😉

[platearmourpiglet]

It just occured to me that while probably everyone in the tumblr Tanz fandom has at least heard of the infamous Broadway version of the musical, maybe not all of you know the English demos sung by Steve Barton?? Or maybe you do and this isn’t new to anyone, but just in case:

Gott ist tot - Original Sin

Totale Finsternis - Total Eclipse of the Heart

Die unstillbare Gier - Endless Appetite

This musical could have been SO GOOD in English and thus much easier to share it with all the vampire fans in the world, but alas...

[doyoulikethissong-poll]

Fatboy Slim - Praise You 1999

"Praise You" is a song by British big beat musician Fatboy Slim, and was released as the third single from his second studio album, You've Come a Long Way, Baby (1998). It reached number one on the UK Singles Chart and in Iceland, number four in Canada, number six in Ireland, and number 36 in the US. A total of six samples are used in the song. The song features a prominent vocal sample from the opening of "Take Yo' Praise" by Camille Yarbrough, as well as a prominent piano sample from the track "Balance and Rehearsal" from a test album entitled Sessions released by audio electronics company JBL in 1973. That recording session was for "Captain America", sung by Hoyt Axton; a snippet of Axton's vocals humming the "Captain America" melody can be heard in the album version of "Praise You." "Praise You" also features a guitar sample from the opening of "It's a Small World" from the Disneyland Records-released album Mickey Mouse Disco, the theme from the cartoon series Fat Albert and the Cosby Kids, the electric piano riff from "Lucky Man" by Steve Miller Band, and the drum beat from "Running Back To Me" by Tom Fogerty. In a 2021 interview with the website WhoSampled, Yarbrough said that she liked "Praise You" and its use of her vocals, feeling that Cook kept the essence of "Take Yo' Praise".

The accompanying video for "Praise You" was directed by Spike Jonze with Roman Coppola. Jonze starred in the film, under the pseudonym Richard Koufey, along with a fictional dance group: The Torrance Community Dance Group. The video intro described it as "A Torrance Public Film Production". The video was shot guerrilla-style – that is, on location without obtaining permission from the owners of the property – in front of puzzled onlookers outside the Fox Bruin Theater in Westwood, Los Angeles, California. In the video, a heavily disguised Jonze and the dance group, acting as a flash mob, dance to "Praise You", much to the chagrin of a theatre employee who turns off their portable stereo.

The video reportedly cost only US$800 to produce. It won three major awards at the 1999 MTV Video Music Awards: Breakthrough Video, Best Direction, and Best Choreography. It was also nominated for, but did not win, Best Dance Video. In 2001, it was voted number one of the 100 best videos of all time, in a poll to mark the 20th anniversary of MTV.

"Praise You" received a total of 80,6% yes votes! Previous Fatboy Slim polls: #12 "Weapon of Choice".

[krispyweiss]

Hardly Strictly Bluegrass Day No. 2, Golden Gate Park, San Francisco, Sept. 30, 2023

Leyla McCalla controls the weather.

An overcast day in San Francisco’s Golden Gate Park suddenly turned sun-soaked when the former Carolina Chocolate Drop sang: My face to the sun as she performed Our Native Daughters’ “I Knew I Could Fly” during her Sept. 30 Hardly Strictly Bluegrass set on the Towers of Gold Stage.

“That’s awesome,” she said mid-verse as the Earth’s star emerged from the afternoon clouds.

Following the electric and steel guitar instrumentals of Hermanos Gutiérrez on the adjacent Swan stage and playing cello, banjo and electric guitar, backed with rhythm section and electric guitar, McCalla covered Kendrick Lamar’s “Crown” and offered a gumbo of New Orleanian, Haitian and American music delivered in English and Haitian Creole while showcasing her the Capitalist Blues and Breaking the Thermometer LPs.

The Sound Biteses’ day had begun in the pre-noon fog with the down-in-the-holler, old-time string music of Dry Branch Fire Squad playing the songs of Gillian Welch, Doc Watson and Bill Monroe on the Banjo stage. Later, it was gospel from the McCrary Sisters, who sung Stevie Wonder’s “Higher Ground,” “Amazing Grace” and other numbers backed by a full band during short, five- to 15-minute sets on the Rooster stage, where Brennan Leigh offered a lunchtime menu of traditional country music.

It was also on the Rooster that Emmylou Harris previewed her Sunday appearance by guesting with Shawn Camp and Verlon Thompson and closing their Doc Watson tribute set with Guy Clark’s “Old Friends.”

Shortly afterward, Bettye LaVette sauntered onstage to deliver her grinding version of Bob Dylan’s “Things Have Changed.” From here, it was an impassioned reading of songs from the Randall Bramblett-written LaVette! album as the singer prowled the stage and proved her 77 years have cost her nothing in vocal prowess and stage presence.

“If I could write, this is what I would have said,” LaVette said in introducing the new songs, which worked better on stage than on wax.

Rickie Lee Jones attracted a ginormous crowd to Banjo - “I haven’t seen so many people in front of me for so long,” she said, soaking it in - and their enthusiasm rubbed off. Jones, whose band included Vilray on guitar and vocals, plus accordion and bass, was animated as she danced around the stage and crooned like a lounge singer when she wasn’t playing guitar, banjo or piano.

Opening with a radically rearranged “Danny’s All-Star Joint” more suited for the streets of New Orleans than the fields of Golden Gate, Jones went on to perform “I Won’t Grow Up” - for the first time, she said - “Last Chance Texaco,” “We Belong Together” and a sinewy rendition of Steely Dan’s “Show Biz Kids” that found Jones lifting her orange sweater to sing of the Rickie Lee T-shirt beneath.

Give RLJ the MVP for turning in HSB No. 2’s No. 1 gig.

Faced with the quintessential festivalgoers’ dilemma, Mr. and Mrs. Sound Bites split the last hour between Steve Earle’s uncharacteristically sleepy solo-acoustic set on the Banjo and Irma Thomas’ barnburner R&B/soul revival at the Rooster.

At 82, Thomas played the day’s most rambunctious set, ripping into “Time is on My Side” and getting the audience bouncing and waving their handkerchiefs on her mashup of “I Done Got Over It” -> “Iko Iko” -> “Hey Pocky Way” -> “I Done Got Over It.” That one might be ringing through Golden Gate’s trees along with the birdsong for some time to come.

Read Sound Bites’ coverage of HSB Day One here.

10/1/23

[my-chaos-radio]

Release: August 8, 1984

Lyrics:

There's a change in pace

Of my fantasy today

Do you like good music?

Yes, I wanna dance

Oh, yeah

Hanging out for a body shot at night

Ain't it strange what they do to feel all right?

Oh, yeah

So, if you should call, I am experienced

Whoa-whoa, yeah, aw!

Face to face and back to back

You see and feel my sex attack

Wanna sing it, yeah

Flesh, flesh for fantasy

We cry

Flesh, flesh for fantasy

It's after midnight

I should be feeling alright

Oh, yeah

Turn out the light, babe

I need someone else tonight, yeah

Neighbour to neighbour, door to door, aw

Oh-oh, yeah, aw

Face to face and back to back

You see and feel my sex attack

Wanna sing it, yeah

Flesh, flesh for fantasy

Yeah-yeah-yeah, we cry

Flesh, flesh for fantasy

Father loved his son

Mother, daughter, too

That's the old, old story

Cries the new world too

Flesh, flesh for fantasy

Yeah-yeah-yeah, we cry

Flesh, flesh for fantasy

We want

Flesh, flesh for fantasy

Do you like good music?

Do you wanna dance?

Oh, yeah

Turn out the light, babe

And be someone else tonight, oh yeah

Neighbour to neighbour, door to door

Flesh, flesh, flesh, flesh

I did my crime, enjoyed my time

Never been having before

Never been nothing before

Flesh, flesh, flesh, flesh

Flesh, flesh, flesh, flesh

Songwriter:

Billy Idol / Steve Stevens

SongFacts:

Flesh for Fantasy is a 1983 song by British rock musician Billy Idol, written with guitarist Steve Stevens. It first appeared on Idol's album Rebel Yell in November 1983 and was released as the third single on September 13, 1984.

Idol and his guitarist Steve Stevens had been working on a song idea, the title of which Idol was inspired by the 1943 film Flesh and Fantasy (German title: The Second Face) starring Barbara Stanwyck and Edward G. Robinson. At that point it was still a fast rock'n'roll song. Idol was not convinced of the merit of their idea, he lacked a solid foundation to complete a full-fledged song. However, Keith Forsey, who worked again as a producer on Idol, saw potential.

The musicians tried a different, slower, syncopated groove, but it still didn't fit, and they stopped working on the song because they were working on several ideas at the same time. Flesh for Fantasy was later completed at Electric Lady Studios, retaining the punky chorus but sung soulfully in the verses.

Flesh for Fantasy was released as the third single from the album Rebel Yell, released on November 10, 1983. The B-side was Blue Highway in Europe and The Dead Next Door in the USA. The maxi single released on the same day contained a 7:00 minute long remix of the song called Below the Belt Mix by Gary Langan as well as the single version of the song and the song Blue Highway.

[fandomfluffandfuck]

I just started the second season of Galavant, (imagine if Monty Python and the Holy Grail was fused with The Greatest Showman) and this song was in the first episode. I think you'll appreciate it. I sure did. Also, I can't help but imagine Bucky in the Queen's place and Steve in Galavant's (the guy who the song is sung too.) -🐍 https://youtu.be/sB6Wu-dwENM?si=VzvteaZW9BxtnCXn

[Link] to a YouTube video showing Kylie Minogue's "Off With His Shirt"

I love being someone who doesn't really watch TV or movies and doesn't have any streaming service subscriptions and in a movie-based fandom because then it creates situations like this where I have no goddamn idea what's happening, lmao. It genuinely is entertaining for me. You just mentioned four movies/shows and I haven't seen a single fucking one of 'em 💀💀

I live under a rock, I know

Anyway--

You trespassed upon my kingdom Now you are in my sway Which basic'ly means as the Queen of all Queens I'm going to make you pay Will we be throwing him in the dungeon? Or tossing him to the Bear? Well, one thing for sure We'll settle the score And trust me it's more than fair Off with his shirt Yeah Strip him down Don't be shy, boys go to town I'll bet that chest is heaven blessed So firm and cut Off with his top Yeah Let it fly Check that six pack It's to die Tell every Lance and Bruce and Curt Off with his shirt Oh this is so fun. I want to fly like her, too. Someone pick me up. Pick me up too. Ooo, so now that you're in my power We'll put you behind these bars There you will stay taking orders all day 'Till Mars is aligned with Mars For our pleasure, we'll keep you waiting We'll adjust how long you serve But baby, you bet You're gonna get The punishment we deserve Off with his shirt Yeah That's the deal You're a beef-cake happy meal Go on you guys Just feast your eyes Until they hurt Off with his shirt Yeah 'Till the dawn Dig that lush pectoral lawn Drink in those lats and traps and delts And after that who knows what else? So save some room boys for dessert Oh, off with his shirt

Oh.

(Throwing him to the bear and then showing just a fucking guy got me, lol)

It's the way she pushes him around for me... the slap... the heel in the middle of his chest... it's giving ✨️submissive✨️

So, fuck yeah, I would love to see a stucky version of that 😏 keep Steve not as a prisoner but as a piece of eye candy. I think he lives not in the dungeon but on a kneeling cushion next to Bucky's thrown, that, or, in Bucky's private chamber probably still on his knees.

Thanks for sharing!

[3pirouette]

Fic: Theater Etiquette (1/1)

Title: Theater Etiquette 

By: TriplePirouette/3Pirouette

Disclaimer: They're not mine.

Distribution: AO3 Anyone else please ask first :) 

Story Summary: Steve and Peggy are in the audience for the first preview of Rogers the Musical. 

A/N: Use your imagination as to how or why they’re there. I picture them young, but you can see them as older.

Thanks to @captainjimothycarter for finding me the full length Disneyland link so I could see this without having to make my way to California. It will help if you’ve seen it, for sure. YouTube has a few versions now.

For Steggy Week 2k23 Day 5: Missing Scenes and Favorite moments

Does this count? Maybe. Rogers the Musical was my FAVORITE part of Hawkeye, so I’m saying it counts.

For the record, I really enjoyed Rogers the Musical for the campy romp it is and I;m very sad I’ll likely not get to see it in person. I fully believe Steve and Peggy would hate it with every fiber of their being. 

~*~

Steve squirmed in his seat as the lights went down and the announcer started talking. 

“I’ve never known you to be so restless,” Peggy muttered, slipping her clutch to her side. “It’s just one performance, then we never have to think of it again.”

“Until they ask me about it in an interview, or it turns into a success and I hear the songs everywhere…” He groaned, dropping his head. “What if they make it into a movie?”

“People deserve to know your story.” Peggy let her hand slip over his, entwining their fingers as the lights started to swirl around the audience. 

“That’s why I wrote a book,” he muttered, “and let the Smithsonian keep half my stuff.”

Peggy rolled her eyes, nudging him with her shoulder. “And what were you going to do with your 70 year old general issue boxer shorts anyway, hum?”

“…the one, the only, Starkettes!”

Steve huffed under his breath. “You’re kidding me. I don’t even get my own singers?”

Peggy squeezed his hand. “You know very well neither Tony nor Howard would have let the chance to name a group of female singers by them.”

“But Tony didn’t write this.”

Peggy shrugged as the stage brightened and the curtains opened, revealing a stylized USO club. “Just… try to enjoy this, can you?” 

“I can’t,” he muttered. “Not when no one gets it. If they did they wouldn’t be stylizing war like this, like some fun, happy time.”

Peggy turned her head. “You know very well this is a musical, and it’s not like life on the home front was Les Miserables, anyway.” She looked him up and down, “Now, just try to be a polite audience, can you?”

He deflated, but nodded. 

They sat quietly as the opening song continued, and Steve only groaned quietly when the setting changed to the Stark Club. 

“This is not factually correct,” Peggy mumbled, eyebrows pinching together as she saw the woman playing her not only be in the scene, but punch a guy in the face. 

Steve squirmed in his seat next to her. “I know.”

“I hadn’t even met you yet.”

“I know, Peg.”

She leaned into his space, whispering into his ear, “How much longer is this?”

Steve just dropped his head, shaking it. “Until intermission, or the end?” 

~*~

Steve huffed. “Oh, Erskine never sounded like that…”

“According to his biography, that actor was last seen in a regional production of Cabaret.” Peggy lifted her eyebrows. “His accent still needs a bit of work…” she listened to the actress playing her introduce herself, “as does hers.”

They both cringed as the lights changed and high notes were sung at the introduction of Steve and Peggy on stage. 

“It wasn’t like that,” Steve muttered quickly. 

“Not at all,” Peggy supplied. 

“You were much more intimidating.”

“And you were much more flustered and adorable.” 

He pecked her on the cheek quickly, then turned back to the stage. “So, they name the Greek chorus after him, but don’t put Stark in this at all? He was a huge part of all this…”

“They’ve also skipped the part where Erskine was murdered in favor of more… spangles, my love.” She squeezed his hand gently. “I told you, not exactly Les Miserables.”

“No, more like propaganda.”

Peggy watched as the USO show morphed into a medley onstage. Streamers fell around them as her character came back on stage to Steve’s excited rant about his performances. 

Peggy leaned into him, laughing into his shoulder. 

“What now?” He asked, nearly exasperated. 

“You were never that confident on stage, my darling.” She looked up at him. “Or as excited about it.”

“No, not in my Dancing Monkey Days.” He shook his head. “I recall that day being much more…”

“Wet,” Peggy supplied, leaning into him. “We were both soaked and muddied up to our shins.”

“Agent Carter, when I return, do you want to go on a date with me?”

Steve sputtered in indignation as Peggy tried to hide her laughter. “Dear lord, they’re butchering this.”

“How did they- why would they-“ 

“Just… try to ignore it, ok?”

Steve did, he watched patiently for a few moments as his life was distilled down into comic book tableaus and silliness. Until he stiffened. 

“Does anyone copy? I’ve successfully taken control of an enemy HYDRA aircraft.”

“No,” he whispered under his breath. 

“Who told them?” Peggy whispered, looking at her avatar on the stage, gripping Steve’s hand tight. “We kept this to ourselves,”

“It’s an Army sanctioned show,” Steve muttered. “This is in the official records. I thought they were classified.”

“Steve? Steve?”

Peggy turned, burying her head in his shoulder. “Of all the things for them to get right…”

Thankfully, Peggy didn’t have time to fall into old memories, because Steve leaned forward as the lights lifted on the stage again. 

“Oh, good lord.” 

“What?” Peggy turned her head, looking back at the stage, where a caricature of Nick Fury was bouncing and singing. 

“He’s not going to be happy about that.”

“Not at all.”

Peggy watched with fascination as the man bounced across the stage in a manner that was so contrary to the man she knew as Fury she couldn’t help but be intrigued. 

“This has to be on purpose,” Steve whispered, entranced. He watched as Fury started introducing Avengers, “I mean, Scott wasn’t even there for that, and we didn’t know about Bucky yet, or Wakanda…” His voice drifted away. 

“How can they get so much wrong,” Peggy mused, shaking her head, “but get Saturday at 8 right?”

It was entrancing, though, and they fell silent as the stage turned into a New York street filled with rubble. Peggy couldn’t help but notice Steve’s foot tapping along to the Act 1 finale.

As the lights came up, Clint turned around in front of them. “You guys are literally the worst, you know that, right?”

Steve and Peggy just eyed him. 

“I had to turn my hearing aid off.” He moved his hand to his ear and flicked t back on. “Chattering away like no one was around you.” He shook his head, standing. “Just because this horrible mess is about you guys doesn’t mean you get to talk through it. Remind me never to go to the movies with you.”