#there is a rhyming version out there. not that one.

[folk-enjoyer]

Song of The Day/history of cotton eyed joe

do you want the history of a folk song? dm me or submit an ask and I'll do a full rundown

"Cotton Eyed Joe" Terry Callier, 1963

As a disclaimer, "Cotton Eyed Joe" is my least favorite American folk song and I'm going to talk about why, and I'm going to talk about why Terry Callier's version is subversive and good.

The Earliest date we have for the song's origins is from 1882 when it was Published in "Diddie, Dumps, and Tot, or, Plantation child-life" by Louise Clark-Pyrnelle. This book is a nostalgic recollection of her childhood as a plantation owner's daughter. She reminisces fondly about slavery, missing the old plantation days. Honestly, some of the quotes within this book are beyond parody, in one sentence she says "... My little book does not pretend to be any defense of slavery" and in the next sentence when referring to the morality of slavery she writes, "there are many pros and cons to that subject", later at the end of the chapter she laments about the forever lost emotional connection between the Masters children and the enslaved people. hate this woman and her little book.

It is also important to note that this book goes out of its way to caricature black people, throughout the book she exaggerates accents and dialects to dehumanize them. This is a recurring theme in early publications of this song. Another early publication of the song comes from Dorothy Scarborough in "On the Trail of negro folk-songs" 1925 who got it from her sister who also learned it on a plantation, in Texas. She writes "This is an authentic slavery-time song" This book, if you can believe it, is remarkably racist and dismissive of black music, even as a more "progressive" songbook of black folk songs.

In 1922, the song's history was documented a bit more extensively by Thomas W. Talley in his book "Negro folk rhymes". He writes that it has "deep roots in black traditional lore". Thomas W. Talley was also just a cool guy in general, this book is one of the first compilations of African American folk songs, and it has been a pioneering book in its field. Even today, this book is still one of the best sources for the history of African American folk songs.

So, this is a black song. This was a black song whose first wave of popularization was through the caricature of black people to be amusing for white folks. Let's move on to its second wave of popularization.

The song was first recorded in 1927 by "Dykes Magic City Trio" (all white band) then about a week later by Fiddlin' John Carson (white performer) then in 1928 by Pope's Arkansas Mountanaineers (all white band) then in 1929 by Carter Brothers and Son (all white band) and then it wasn't really recorded for a while because of the great depression and the war but the times it was recorded, it was by white people. We know this because it was mostly recorded by John Lomax and despite documenting southern folk songs, he almost went out of his way to avoid recording black people singing them. Then, in 1941, it was recorded by Burl Ives (painfully white).also covered by a few white country singers like Adolph hofner bob willis but I think you get the point. It wasn't until later that year that it would be recorded by a black person, performed by josh white in 1944-45, who covered it as a lullaby.

However, it wouldn't be until the 90s, during its 3rd wave of popularization that it became its most grotesque. "cotton eye joe" was recorded and released by Swedish Eurodance band Rednex in 1995 as a, to paraphrase reviews, 'Way to make fun of backwater southerners'. This song became incredibly popular throughout Europe and in the USA as well, charting as a number-one song in several countries, sometimes for weeks. Not only is this song incredibly classist, it is, whether by omission or deliberately, fundamentally racist, adding to the whitewashing of black folk and minstrelsy of black people. The attitude and humor derived from the Swedish version are the same as the version in 1882 when it was a "classic slave song".

So, why is Terry Callier's version important, why talk about it? Terry Callier's version is the first version of the song that I have heard and it is not a comedy. It isn't meant to be funny. It slows the melody down and draws attention to itself. It's almost a ballad, showcasing Joe as a tragic but mysterious hero, maybe a love song. His voice is angelic as well. Terry Callier once again, subverts expectations and creates something beautiful out of a song that has been so whitewashed and appropriated that no one remembers its tragic origins.

Thomas W. Talley

some other versions by black folks Josh white 1944-46 Nina simone 1959 The Ebony Hillbillies 2004 Leon bibb 1962 Ella Jenkins 1960 Josh White Jr 1964 Queen Ida 1985

[woodsteingirl]

hey! do you have a recommended translation of catullus?

hiii! actually i do now! i recommend the Jeannine Diddle Uzzi and Jeffrey Thomson version most of all <3 i feel like they really capture the essence! if you’re looking for more specific ones and not the collection as a whole, anna jackson has some really good ones too. i loveeee her sonnet versions of catullus those are really lovely.

[nat-has-two-girlfriends]

me rn

Episodes come out at 5 am for me so I will be waking up to carnage on the tl/dashboard 😗✌️

[ereborne]

Song of the Day: March 27

"Long Time Gone" by The Chicks

[chiropteracupola]

for interested parties, Here is the song about which I was rambling in the previous post.

[fluentisonus]

Since we've finally gotten there & it's my favorite song in the book!! This is my personal favorite version of the Song of Eärendil/Eärendil Was a Mariner

Lyrics (also in today's newsletter):

that tarried in Arvernien;

Eärendil was a mariner

he built a boat of timber felled

in Nimbrethil to journey in;

her sails he wove of silver fair,

of silver were her lanterns made,

her prow he fashioned like a swan,

and light upon her banners laid.

In panoply of ancient kings,

in chainéd rings he armoured him;

his shining shield was scored with runes

to ward all wounds and harm from him;

his bow was made of dragon-horn,

his arrows shorn of ebony,

of silver was his habergeon,

his scabbard of chalcedony;

his sword of steel was valiant,

of adamant his helmet tall,

an eagle-plume upon his crest,

upon his breast an emerald.

 

Beneath the Moon and under star

he wandered far from northern strands,

bewildered on enchanted ways

beyond the days of mortal lands.

From gnashing of the Narrow Ice

where shadow lies on frozen hills,

from nether heats and burning waste

he turned in haste, and roving still

on starless waters far astray

at last he came to Night of Naught,

and passed, and never sight he saw

of shining shore nor light he sought.

The winds of wrath came driving him,

and blindly in the foam he fled

from west to east, and errandless,

unheralded he homeward sped.

 

There flying Elwing came to him,

and flame was in the darkness lit;

more bright than light of diamond

the fire upon her carcanet.

The Silmaril she bound on him

and crowned him with the living light,

and dauntless then with burning brow

he turned his prow; and in the night

from Otherworld beyond the Sea

there strong and free a storm arose,

a wind of power in Tarmenel;

by paths that seldom mortal goes

his boat it bore with biting breath

as might of death across the grey

and long-forsaken seas distressed:

from east to west he passed away.

Through Evernight he back was borne

on black and roaring waves that ran

o'er leagues unlit and foundered shores

that drowned before the Days began,

until he heard on strands of pearl

where ends the world the music long,

where ever-foaming billows roll

the yellow gold and jewels wan.

He saw the Mountain silent rise

where twilight lies upon the knees

of Valinor, and Eldamar

beheld afar beyond the seas.

A wanderer escaped from night

to haven white he came at last,

to Elvenhome the green and fair

where keen the air, where pale as glass

beneath the Hill of Ilmarin

a-glimmer in a valley sheer

the lamplit towers of Tirion

are mirrored on the Shadowmere.

 

He tarried there from errantry,

and melodies they taught to him,

and sages old him marvels told,

and harps of gold they brought to him.

They clothed him then in elven-white,

and seven lights before him sent,

as through the Calacirian

to hidden land forlorn he went.

He came unto the timeless halls

where shining fall the countless years,

and endless reigns the Elder King

in Ilmarin on Mountain sheer;

and words unheard were spoken then

of folk of Men and Elven-kin,

beyond the world were visions showed

forbid to those that dwell therein.

 

A ship then new they built for him

of mithril and of elven-glass

with shining prow; no shaven oar

nor sail she bore on silver mast:

the Silmaril as lantern light

and banner bright with living flame

to gleam thereon by Elbereth

herself was set, who thither came

and wings immortal made for him,

and laid on him undying doom,

to sail the shoreless skies and come

behind the Sun and light of Moon.

 

From Evereven's lofty hills

where softly silver fountains fall

his wings him bore, a wandering light,

beyond the mighty Mountain Wall.

From World's End then he turned away,

and yearned again to find afar

his home through shadows journeying,

and burning as an island star

on high above the mists he came,

a distant flame before the Sun,

a wonder ere the waking dawn

where grey the Norland waters run.

 

And over Middle-earth he passed

and heard at last the weeping sore

of women and of elven-maids

in Elder Days, in years of yore.

But on him mighty doom was laid,

till Moon should fade, an orbéd star

to pass, and tarry never more

on Hither Shores where mortals are;

for ever still a herald on

an errand that should never rest

to bear his shining lamp afar,

the Flammifer of Westernesse.

[augment-techs]

“But the beast…the beast only needs enough luck to find you ONCE.”

Maybe...... Drakkon/Coinless Jason related.... pleeeaaaassseeee....... lol

"I don't understand how you couldn't expect this, actually."

If Jason was nothing more then the pet that Drakkon sometimes made him feel in the dim hours of his solitary life in that Tower, he might have allowed himself to growl at how... flippant Skull and Adam were being in the face of revelations that spat in the face of the idea of fairness in the world. But he did not allow his hackles to rise, did not allow himself to make a fist and turn to glare at the person, rather than his dim reflection in the one-way glass. He just continued to look in on the mostly dark room, the shell of the man on the bed, the barest traces of illumination from dawn's light passing through the window like a claw. "Expect what; that the Power is dangerous and we'll never fully understand it?" "That most of the Colors are just their own kind of animal that wear the Ranger instead of other way around. And animals are dangerous if you don't fully understand them. And his was a Dragon that was a long time angry and alone. A beast, constantly stalking and waiting...who only needed to catch the right vessel once." "And that is supposed to excuse this...this horrible fucking bullshit? Time and lives that we can never get back?" Eyes closed from where they were reflected in the glass and Jason suddenly felt a vast emptiness and loneliness that he'd been trying to ignore since the surgery he'd sat outside of like the fucking dog Drakkon had always hoped he would be; and the meetings with Interplanetary Defense and SPD, Kim trying to give him space to understand why she'd had to call in the younger Rangers from the dimension next door and why she'd had to follow Eugene's lead without telling her Red Ranger. As angry as Jason was about Kimberly being forced into leading when she didn't want to, he knew he was in no state of mind to take up where they'd left off when they were kids. As much as he wanted to punish an awful number of the sentries that were basically drones or needlessly cruel, he had to have faith that some of them had been granted the presence of the Grid and their Colors and done some right; otherwise Adam would be disappointed in him for not letting SPD do a check of all of them to find the diamonds among the rotted grains. As much as he wanted to place blame on any one single person for taking half of his life and making it a nightmare, a fantasy, a cosmic joke...he sagged at the reality of the situation. He couldn't blame Skull; he'd suffered in Jason's and most everyone else's stead like some omnipresent shadow soaking up darkness and filtered it out again into something that could feed the cause and grow something good. And now he couldn't blame...Tommy...either.

[eyivibyemi]

✧ I won’t really write descriptions for these, but see original post tags for explanation/commentary on the song snippet ✧

[findrahil]

ok so who was gonna tell me that the last part of the german anarchist slogan “kein gott, kein staat” (no god, no state) is “kein fleischsalat” (no meat salad)

[louderfade]

The nursery rhyme bearing her name is actually a slight rewrite of "Eppie Marly", a rhyme which remembers the history surrounding Charles Edward Stuart (1720-1788) and the Jacobites. Kate Greenaway illustrated the updated version in 1881.

George Alexander Stevens is credited as the author of "Ballad of Nancy Dawson" which was a song sung to the tune of the traditional jig "Piss Upon the Grass". In the years following Nancy's celebrity the melody appeared in many collections as a country dance.

[becausegoodheroesdeservekidneys]

The thing with the Mari Lwyd, though, is that it's being... I don't know, 'appropriated' is the wrong word, but certainly turned into something it isn't.

Thing is, this is a folk tradition in the Welsh language, and that's the most important aspect of it. I feel partly responsible for this, because I accidentally became a bit of an expert on the topic of the Mari Lwyd in a post that escaped Tumblr containment, and I clearly didn't stress it strongly enough there (in my defence, I wrote that post for ten likes and some attention); but this is a Welsh language tradition, conducted in Welsh, using Welsh language poetic forms that are older than the entire English language, and also a very specific sung melody (with a very specific first verse; that's Cân y Fari). It is not actually a 'rap battle'. It's not a recited poem. It is not any old rhyme scheme however you want.

It is not in English.

Given the extensive and frankly ongoing attempts by England to wipe out Welsh, and its attendant cultural traditions, the Mari is being revived across Wales as an act of linguistic-cultural defiance. She's a symbol of Welsh language culture, specifically; an icon to remind that we are a distinct people, with our own culture and traditions, and in spite of everyone and everything, we're still here. Separating her from that by removing the Welsh is, to put it mildly, wildly disrespectful.

...but it IS what I'm increasingly seeing, both online and in real world Mari Lwyd festivals. She's gained enormous pop-culture popularity in recent years, which is fantastic; but she's also been reduced from the tradition to just an aesthetic now.

So many people are talking/drawing about her as though she's a cryptid or a mythological figure, rather than the folk practice of shoving a skull on a stick and pretending to be a naughty horse for cheese and drunken larks. And I get it! It's an intriguing visual! Some of the artwork is great! But this is not what she is. She's not a Krampus equivalent for your Dark Christmas aesthetic.

I see people writing their own version of the pwnco (though never called the pwnco; almost always called some variant on 'Mari Lwyd rap battle'), and as fun as these are, they are never even written in the meter and poetic rules of Cân y Fari, much less in Welsh, and they never conclude with the promise to behave before letting the Mari into the house. The pwnco is the central part to the tradition; this is the Welsh language part, the bit that's important and matters.

Mari Lwyd festivals are increasingly just English wassail festivals with a Mari or two present. The Swansea one last weekend didn't even include a Mari trying to break into a building (insert Shrek meme); there was no pwnco at all. Even in the Chepstow ones, they didn't do actual Cân y Fari; just a couple of recited verses. Instead, the Maris are just an aesthetic, a way to make it look a bit more Welsh, without having to commit to the unfashionable inconvenience of actually including Welsh.

And I don't really know what the answers are to these. I can tell you what I'd like - I'd like art to include the Welsh somewhere, maybe incorporating the first line of Cân y Fari like this one did, to keep it connected to the actual Welsh tradition (or other Welsh, if other phrases are preferred). I'd like people who want to write their version of the pwnco to respect the actual tradition of it by using Cân y Fari's meter and rhyme scheme, finishing with the promise to behave, and actually calling it the pwnco rather than a rap battle (and preferably in Welsh, though I do understand that's not always possible lol). I'd like to see the festivals actually observe the tradition, and include a link on the booking website to an audio clip of Cân y Fari and the words to the first verse, so attendees who want to can learn it ahead of time. I don't know how feasible any of that is, of course! But that's what I'd like to see.

I don't know. This is rambly. But it's something I've been thinking about - and increasingly nettled by - for a while. There's was something so affirming and wonderful at first about seeing the Mari's climb into international recognition, but it's very much turned to dismay by now, because she's important to my endangered culture and yet that's the part that everyone apparently wants to drop for being too awkward and ruining the aesthetic. It's very frustrating.

[alteredphoenix]

Been watching raocow play Banjo-Tooie and a bunch of BK/BT speedruns and it's making me yearn for Banjo-Threeie to be an actual thing.

[inkskinned]

yesterday while feverish i wrote about how boats can moor next to each other like pigeons, cooing with the gentle rap of water against their hull. you once said that that the way i see things - birds in the water, feathers in marina paint - was "childish and naive." you said i'd been misdiagnosed - "it can't all be adhd. you might be just kind of stupid and lazy."

i still do certain things like how you taught me - turn the pillow case inside out before putting it on. drive defensively. hate myself entirely.

the prompt for this poem is "mahler's fifth." i wish it wasn't, but mahler's fifth was our song. it ended up in my book. every person that knows your name has promised me they'll give you one swift rabbit punch, right to the face. dean read the book and showed up on my front porch, drenched in sweat from running the 8 miles at 4 in the morning. he was shaking. pacifist and gentle - he works with children - i'd never seen him furious. a punch isn't going to do it, he said, and then said i'm sorry. i had to come to see if you were okay.

mahler's fifth was mine first, like my girlhood. i like the way each movement piles onto the next movement, each instrument bleeding into the next. i like the horn version the best. before i met you, i danced to it on grass still-wet from sprinklers.

later you would tell me that the way you heard it was somehow better. you understood something in it that i couldn't quite wrap my fingers into. once, on our anniversary, you asked the classical music radio station to play it for us. we missed hearing it because we were fighting. one of the things people get wrong about abuse is that sometimes victims are, like, brutally aware of the stupidity of our situation. what do you mean that you thought i wasn't good enough for you? you? you're just... nothing.

sometimes people can pull the poetry out of your life. i watched my words become clothesline, and then thin out into kite twine. i watched you chew through every good syllable of me. so many good songs and places and moments were ruined. i am glad you didn't like most of my music - less to tie back to you.

but still mahler's fifth. the music swells, and i am 21 and throwing up in a bathroom on my birthday. a woman i will later refer to as lesbian jesus runs a cool hand down my back, her perfect pantsuit starch-pressed. she told me to leave you. she said - and this is true, and not an invention of rhyme or fantasy - i'm you from the future.

i am 22, and i got home from an award ceremony, and i remember you telling me - you act so proud of yourself when you're actually so fucking embarrassing. i took you to disney world. you took my virginity. i gave up visiting spain for a week with my family - i instead choose you, to spend the time just-cuddling. you called it "our fuck week." the music swells. it probably should have been a red flag that for about 3 years - i just gave up on crying. my grandfather died and you said nothing. my uncle died and you ghosted me for 3 weeks. you said i need to protect myself from your ongoing tragedy.

every so often i come back to the memory of one of our last afternoons in person. i had just told you that i wasn't going to law school, despite the free ride - i was going to join a creative writing program. master's in fine arts. i was going to finally do it - i was going to follow my dreams. this blog was already internet-famous. however reluctantly, i would occasionally refer to myself as a poet. i got into umass amherst's writing program for fiction authors. it is one of the the top 5 programs in the country.

wait are you seriously considering actually attending that? dumbfounded, you turned completely towards me in your seat. for the 3rd time in our relationship, you almost crashed the car. you actually want to be a writer?

the first time i went viral, it was for a poem i wrote about you:

he wants to say i love you but keeps it to goodnight because love will take some falling and she's afraid of heights.

every time i see that, i want to throw up. you weren't in love with me, you were in love with the control you had over me. a little truth though: i am afraid of heights. you caught a rabbitgirl and skinned her alive.

mahler's fifth still makes me sick.

give me that back. give me back music. give me back everything i had before you. give me back fearlessness. give me back bravery. give me back a scarless body.

give me back what you took from me.

[fingertipsmp3]

My stupid brain will be like “I can’t listen to the audio version of this media because it’s incomplete :( so I guess I won’t be reading/experiencing it at all :(“ like girl only the last few parts are missing and it’s fucking hundreds of hours long. It doesn’t matter if it’s complete or not, you’re not making it to the end either way

[mischievousmoony]

𝚌𝚑𝚎𝚛𝚛𝚒𝚎𝚜

⟢ james potter x reader ⟢ your boyfriend doesn't mind getting his hands a little messy for you ⊹ 794 ⟢ warnings/tags: intoxication, james is taller than reader, knife (used to cut fruit)

── ⋆⋅☆⋅⋆ ──

“Cherries, Jamie!” you cheer, your head popping up from its place in the refrigerator.

James stands behind you, holding the fridge door open as he endearingly watches you stick your head deeper than necessary into the fridge, fitting your face between the shelves, in search of a midnight snack. 

His amused expression falters as you pull out the basket of cherries you bought at the market yesterday. 

James closes his hand over the side of the basket, intent on taking it from you, “Ah, how about we do the raspberries instead, yeah?” 

Your grip tightens on your snack, giving it a futile tug that causes you to stumble back.

After a night out with your friends, you’ve returned to your shared flat, fairly drunk and quite famished, your tastebuds craving something sweet. 

James frowns as images of this drunken version of you clumsily cracking your tooth or choking on a cherry pit swirl around in his mind.

A pout overtakes your lips as you complain, “Don’t want ‘berries, want cherries.” Your downturned lips don’t last long when you suddenly snort at your accidental rhyme, “Berry, cherry,” you repeat, giggling. 

James tries to pry the fruit from you while your distracted, but your grip remains strong as the papery basket bends from your collective tugs in opposite directions.

“Baby, I don’t want you to hurt yourself,” he tries to reason.

“On fruit?” you ask incredulously. 

Maybe it was a little silly, but James’ protective nature knows no bounds. 

“I just want cherrieeees,” you whine and James has never been good at saying no to you.

“Okay," he gives in, "but give them here first.”

“You’re gonna put ‘em where I can’t reach ‘em!" you accuse.

“I'm just gonna wash them for you," James says in a soft, reassuring voice, "Can you let me do that please?”

You squint at him skeptically, but you release your hold. 

James holds the basket in one hand, the other finding its way around you to press against your lower back, guiding you away from the fridge to let it close behind you. 

He sets the cherries on the edge of the sink and you in front of them as he moves to rummage through the cupboards for a colander to rinse the cherries in.

James has to suddenly return to your side, steadying you by your waist when you fail to hoist yourself up onto the counter.

A stressed sigh leaves his lips as he dips his head down so that his eyes are level with yours. "You wanna sit?" he asks, giving your waist a squeeze.

"Mhm."

James lets his forehead tap against yours briefly, a sign of his affection, "Okay, hop up for me."

You jump again and with James' help you land on top of the counter this time. He kisses your temple before resuming his mission to recover the colander.

He's quick to dump the berries from the green fiber basket into the strainer and rinse them in the sink. Once the water is off, you're already reaching for a cherry and he lifts the dripping bowl out of your reach.

You look at him with an expression of utmost betrayal.

"I'm gonna give them to you, baby, just give me a minute. Trust me?"

"Trust you," you grumble a confirmation.

James places the wet colander atop a dishcloth. He keeps a close eye that you don't sneak any bites as he takes out a plastic cutting board and a paring knife.

Soon, James falls into steady a rhythm of plucking stems, depitting little stone fruits, and popping the halves into your mouth as he goes.

It's tedious— slicing the cherries around their pits, twisting the halves apart, and driving out the pits with his thumb. Not to mention, it's messy, and even while applying his most delicate touch, fruit juices are spraying everywhere. On top of that, the stones keep trying to roll onto the floor.

The ordeal has the whites of his nails pink and his fingertips stained red, but the way you giggle happily each time he feeds you another piece makes it all worth it.

Once your sweet tooth is been satisfied, he pecks your crimson stained lips, and rinses excess fruit juice from his hands.

He returns to you, placing his now dry hands atop your knees and he traces little shapes on your skin with the scarlet pads of his thumbs.

You beam up at him, and his chest swells with a profound, all-encompassing love.

"Happy now?" he asks, his eyes lovingly studying the crinkle of your eyes and curl of your lips.

In response, and as a thank you, you scoot closer and press another sweet kiss to his mouth.

He smiles against you and he tastes cherries.

── ⋆⋅☆⋅⋆ ──

[bokutosbabe]

It's Nice to Have a 'Friend'

( soft launching with the haikyuu boys )

a / n — these are fun to make so i thought i'd do one for my favorite boys. find the blue lock version here !!

content — haikyuu characters x gn! reader, takes place during timeskip, fluff, tried to make it as gn! as possible, but the photos have women, lmk if i missed anything!

synopsis — soft launching with the haikyuu boys <3

✿.｡. “ sun sinks down, no curfew, ” .｡.✿

has a great following for being 'aesthetic' even though they rarely try. most things they post have photos of things they've done in the week like pictures of their food or them working.

their followers are used to aesthetic photo dumps with 10 photos each that have no rhyme or reason to them, so when they get online and see a post from their favorite account with only 3 photos and the caption

" my love " with the song 'my love mine all mine' by mitski attached? there was immediate reactions, some trying to find out who this mystery person is while others seemed to be happy with just these little snippets of the relationship.

theyluvmeee: OMG?? anyone know who this is??

↳ anon2001: it's a soft launch for a reason. that's like- common sense i fear.

they don't think of themselves as a 'content creator', they just like posting their photos. however, they did like how much strangers on the internet would stand up for them and your relationship.

°❀⋆.ೃ࿔*:･ AKAASHI KEIJI, ennoshita chikara, ARAN OJIRO, daichi sawamura

has a decent amount of followers, mostly just people they'd known in high school and family, but there were a few hundred people who followed for the cute quotes that they would post before one of their chaotic photo dumps.

their usual feed was filled with the first picture being a quote that really made you think and then the craziest pictures. them face down in a puddle after a night out? yep it's there. pictures of them at a scenic dog park? also there

people began following them for the stark contrast that showed in every post they made, but when they posted something with no quote and it was a soft launch? their fans had immediately blown up the comments.

volleyballfreak: A SOFT LAUNCH? with who? omg.

and they had replied to almost every comment asking just who you were with...

' my lover <3 '

oh he was down bad.

°❀⋆.ೃ࿔*:･ YAMAGUCHI TADASHI, aone takanobu, SUGAWARA KOSHI, osamu miya, NISHINOYA YUU, kita shinsuke, TANAKA RYUNOSUKE

so so so sooo many followers (that came with being a professional volleyball player you supposed) many people who didn't even enjoy volleyball followed them because of the silly stuff they posted.

their fans watched their stories where they would post memes and such, something that many pros didn't do on the daily...because they had a reputation to upkeep. to be fair, all of their followers never knew them to be the brightest, so nothing they posted caused up a stir.

until they posted photos they took with, what was supposed to be, some mystery person with the caption ' a soft launch on MY minecraft server ? '

and it would have been an AMAZING soft launch...if they didn't tag your PERSONAL ACCOUNT on every. single. picture.

you weren't a pro volleyball player, you weren't an actor, you weren't even a manager, nope! you were just some normal person who lives an everyday normal life.

they had the spirit, just not the execution, but that's why their fans (and you) loved them <3

°❀⋆.ೃ࿔*:･BOKUTO KOTARO, atsumu miya, HINATA SHOYO, KANJI KOGANEGAWA

didn't get a chance to soft launch you before the paparazzi put out the tabloids of the both of you. the titles always saying something like "STAR VOLLEYBALL PLAYER WITH MYSTERY LOVER??"

the article was posted ten times over on every single social media platform there was, with many people with many different reactions replying to it

MSBYmomma: ur joking. he's literally mine

goofgoob: thank god one person on this team is in a loyal relationship.

the two of you hadn't even gotten the chance to open your own social medias before hundreds of texts invaded both of your phones. only from the people who knew of your relationship and were worried about the both of you.

so what did they do? reposted the photo on their story with two simple emojis...

"👍❤️"

°❀⋆.ೃ࿔*:･ USHIJIMA WAKATOSHI, kageyama tobio, OIKAWA TORU, sakusa kiyoomi

✿.｡. “ twenty questions, we tell the truth. ” .｡.✿

i love soft launches and haikyuu <3

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