#She bascially said there is no man she would ever marry | Explore Tumblr Posts and Blogs

thetruthaboutlovecomesat3am · 3 years

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Thanks for sharing some headcanons with us, I have many feelings about love like fools as well! Looking forward to reading the Sara and Jay ones and whatever else you want to share.

“Whatever else you want to share” oh if that isn’t dangerous my friend... Here you go, my own personal Saddest Headcanons about the alternate epilogue I mentioned AKA “What if Ava hadn’t walked into Marley’s diner on that faithful day?”

[All “love like fools” heacanons and additional posts are tagged “llf hc” by the way]

- Ava’s 10 year high school reunion happens in May, the very same month and year they get married in the LLF timeline. In the alternate epilogue, they haven’t seen each other in a decade and instead of their wedding they go to a party in a gym (Sara is there with Laurel, who’s convinced a night out is what her sister needs, and seeing some of their old friends will be good).

- So, what would be different for Sara and Jay? Well, first of all, Sara still works at the diner (Ava’s moral support and the fact she was spending time with Jay at the time allowed Sara to do some job searching/interviews she never did); Jay’s attending a private elementary school that Oliver has paid for before disappearing from their lives again when he didn’t just magically turn into the son he wanted (Jay doesn’t like the school, doesn’t like uniforms, doesn’t like the dress code, doesn’t like the teachers); not having attended the charter school, he hasn’t met Lita; not having been friends with Ava’s friends, he’s never met Sandy either and Sara has never met Ray and Nora; Jay isn’t dancing; there is no porch swing in their backyard; Jay doesn’t wear hair clips or nail polish (he will, he’s just not healed from the things Oliver has said to him quite as quickly).

- What would be different in Ava’s life? She came back to SC, she’s worked at Queen Consolidates for a while, then quit when Oliver came back; now she’s at Palmer Tech, there’s no Astra so she works 12 hours a day bascially; she’s bought a house not far from her parents, things with them are still tense, they don’t talk about Ava’s love life or anything like that, but they’re polite and they care, so Ava tries to forgive them for things she isn’t sure they’re sorry for; Ava doesn’t actually have a love life truth be told, but that’s fine: her job’s the love of her life anyway; she got over Sara; she did; no, really, she totally never asks herself what could’ve been if she’d been a little braver; never ever.

- So, they meet again. Laurel and Ava chat until Laurel excuses herself to go “stop Tommy from spiking the punch”. The silence is tense at first.

- I mean, Ava was in love with the man she’s had a kid with, right? And Sara even took him back recently, briefly, before they’ve imploded again and he’s left her and Jay for good (that’s for the better: Sara will never take him back now that he’s rejected her son, at least). Oliver’s told her Ava quit QC when he came back so she probably still has a grudge.

- But with her Ava’s nothing but cordial, she’s polite and softly spoken, there’s no double edge to her words, there’s no edge at all. So Sara indulges the small talk, until Ava asks if she’s a doctor and Sara tells her she dropped out when she got pregnant at 19. Ava is silent, doing the math in her head. So Sara, trying to avoid a scene, tells her: “High school was so long ago. I know you loved him, but-”

- Ava laughs. “I was never into him, he made it up after I rejected him when he tried to kiss me. I’m a lesbian. It was never him I was in love with, and it was so long ago... none of it matters anymore.”

- But obviously it does matter.

- Because that has to mean Ava was in love with her.

- Ava Sharpe. Ava Sharpe was in love with her.

- Ava Sharpe tells her none of it matters anymore.

- Life is okay, you know? They’re both so strong, so indipendent, it was never like they needed each other to survive, Ava even says it in the show. Life is okay. It’s grey. It’s... (Sara says it in chapter 3) an empty spot in her heart meant to be vacant, to be left for someone, but that someone never showed up; it’s an empty chair, someone missing during family brunches, it’s the absence of something she’s never quite able to grasp. It’s the lingering feeling of having forgotten something but you can’t quite place what.

- Until one day, trying to grab a quick lunch while on her break, Ava walks past an old diner she remembers loving in her youth. She gets in, sits down, and Sara Lance brings her coffee. (It plays out quite differently than in LLF, and obviously a lot of the things they got to have there, here they can never quite recover, but they do make it through).

- From then on, life is in technicolor.

#llf hc #love like fools #avalance #headcanons #sorry about this i just had to write it down because im... well evil

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hmel78 · 4 years

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In conversation with Ray Thomas ...

Ray Thomas (29.12.1941 - 04.01.2018)

RAY THOMAS – Founding member of The Moody Blues, admits that success happened quickly for “a bunch of lads from the Midlands who could play a bit”. For Ray himself that musical journey began as a boy – “I always sang, being a Welshman” laughs Thomas “ in school choirs, and the Birmingham youth choir”. Progressing to a one string bass in a skiffle group in the 1950s, Thomas eventually bumped into fellow ‘Moodies’ founding member, Mike Pinder. The two headed to Germany where Ray admits that they were “ripped off”, and returned to Birmingham aged 21, determined to carry on as musicians.

Thomas recalls that what they found on their return to Birmingham, amongst the 250 or so bands on the circuit, was “complete disillusionment! – ‘Brum beat’ wasn’t taking off as the next ‘Mersey beat’ like people had anticipated, and bands were breaking up left right and centre”. Having heard Blues bands touring the circuits in Europe, and in the midst of the scene in Birmingham falling apart, Thomas and Pinder decided that Blues was the way forward. The only other Blues artist in Birmingham at that time was Spencer Davis. Together, Thomas and Pinder approached Denny Laine, who was living with Graeme Edge and his parents; landing Graeme the drum stool on Denny’s recommendation. Disappointingly for the band, John Lodge was not in a position to turn professional musician at the time, and in his place they recruited Clint Warwick. “We Bascially formed a Birmingham supergroup!” exclaims Thomas, “I don’t really think any of us expected the speed at which things took off for us after that”. And it’s true – after only a short spell playing in Clubs around Birmingham, ‘The Moody Blues’ were picked up by a management company, and moved down to London. With the current re-release, marking the 50th Anniversary, of their first album “The Magnificent Moodies” [Cherry Red Records] - I caught up with Ray Thomas for a chat about the beginnings of a Birmingham Blues band, who went on to be considered as global pioneers of progressive and orchestral rock ...

HR : “The Magnificent Moodies” is a very fitting title for a first album, considering the success you went on to have!

RT : We felt, at the time, that it was a bit pretentious to call it that, but management thought it was a good idea!

HR : Do you have any particular memories of recording the album?

RT : It’s been 50 years, and you tend to forget certain things, you know? But I do remember finding “Go Now” ...

We were a working band at the time, just moved down to London, and we’d play anywhere. One night “Manfred Man” pulled out of a show at The Marquee Club, and we stepped in for them, which lead to us being offered our own regular night there. It was a major breakthrough for us in London. The Marquee Club was the place to be seen, and people would queue around the block to see us perform heavy blues. We had talked about putting together an album of songs that we performed live, but Studio time was like gold dust in London at the time and we just couldn’t get in anywhere to start and lay anything down. A friend of the managers from America used to send over boxes of singles and acetates, and one day we came across “Go Now” by Bessie Banks and her brother. It hadn’t been released, but she had laid it down as a demo which was very much lighter and slower than our version, but we loved the song.

At the same time, the Marquee were building a studio at the back of the club. We asked if we could go into the studio and record it. However, the studio was still pretty much a building site, apart from the control room which was almost finished. So we went in there and set up amongst ladders and bags of cement, and recorded “Go Now”. We were the first band to record in Marquee Studios - we were lucky with that. We ended up doing about half the album there – and the other half was recorded at Olympic Studios.

HR : When “The Magnificant Moodies” was released, did you ever imagine what followed?

RT : It was a bit of a shock, because from forming the band to having a number one with “Go Now”, it was a relatively short space of time.

We were all elated , but didn’t realise what a big hit it would be. We were a bit naive really ... It was a massive hit across Europe, especially France. We spent a lot of time touring France, with a lot of the big blues artists. And proof of how naive we were :- We used to stay in Paris – on the West Bank, in the ‘artists’ area. We rented a studio there and recorded a song that Denny wrote called “Boulevard de la Madeline” – he’d seen the signpost on the street and romanticised about it to the point of writing the song, but the Parisian’s ended up in arms about it. When we played it on stage we would silence the audience! What we didn’t realise is that “Boulevard de la Madeline”, was bang in the middle of the red light district! We didn’t know!

We had success in a LOT of countries, incredibly. America loved us, but oddly enough - “Go Now” wasn’t a hit in the states. They released “Tuesday Afternoon” instead, and that did OK.

HR : “The Magnificent Moodies” was the only album that you recorded as that first 1964-66 line-up wasn’t it? Would you have been happy to carry on and record more music in that genre, or were you ready for a change? Did you embrace what came after Denny and Clint left?

RT : The thing was, Clint was married with a couple of kids, and his wife wasn’t happy about the time he was spending on the road , so he went back to Birmingham to run the family business.

Denny left more or less at the same time, to go solo – he fancied trying out songs with a string quartet, which he did, and had a certain amount of success.

I felt like The Moodies were worth the perseverance, despite things having slowed down a bit for us, and had no real issues about carrying on with a change of band members. I’d worked with John Lodge in a band called “Elright and the Rebels” – I was Elright of course – a right a bloody prat! John was actually our first choice of bass player when we formed ‘The Moody Blues’, but his dad wouldn’t let him do it until he’d finished his apprenticeship. Same as my Dad, but I was a year older than John. We all came from working class backgrounds where our parents knew that music was a dodgy game, and wanted us to have a trade to fall back on. In that 12 months whilst John finished his apprenticeship, we’d had a number 1 hit with “Go Now” – so when I called him up, he was down to London like a shot!

I found Justin quite by accident really. I was sitting in a club called the “The Scotch & St James”, which was the meeting place for bands back then, having a drink with Eric Burdon [The Animals] and he was in the throes of putting a new Animals together. I mentioned that I was looking for a new guitarist / singer. Eric had put an anonymous advert in the NME, “Top recording band needs guitarist”, and found who he wanted - so he gave me all of the applications he hadn’t yet gone through, and fate handed me Justin.

And that was the new Moodies.

HR : When you enlisted John and Justin, the band took a different direction musically ... RT : Musically we were moving towards using strings and stuff anyway - If you could have listened to what Mike and Denny were writing towards the end of that time, you could hear that influence creeping in. Justin aided that because he had a much softer voice ...

HR : “Days Of Future Passed” was the first album released with the new line-up; the rhythm and heavy blues, suddenly having been replaced by the orchestral opening of ‘The Day Begins’, and a very different vocal sound ... How was that received?

RT : To tell you the truth, it went down like a cup of cold sick with the record company! [laughs] Before we recorded it – Decca, who we were signed to, had installed this new ‘Deramic’ sound system – best described as Wall to Wall stereo, instead of that old ping pong stereo sound. They wanted us to do a demonstration disc for this sound system, to send out with their reps, and asked us if we would go in and play a couple of standard Rock and Roll numbers; to compliment that, they wanted Peter Knight (composer) to record a couple of classical numbers, and these would become the demo ... but it was going to be rubbish!

So, Tony Clarke - one of Deccas top producers - and Peter Knight put their necks on the line for us at that point. Again - We couldn’t get into the studio to record ‘Days Of Future Passed’, so we approached Tony and Peter with the idea. They liked it, and helped us to record the whole thing in about 8 days - we recorded “Legend Of The Mind” in the same session.

We never actually recorded with the Orchestra ourselves. The roadie would take over what we’d worked on each night, to Peter, and he would then write the bridge for the song. At the very end Peter recorded the orchestra, and then stitched it all together.

We were absolutely bowled over by it. We had achieved exactly what we wanted.

Every Tuesday, Decca would get all of their producers together with what they’d recorded during the week, and the powers that be would sit and listen and decide what they were going to do with it.

Tony played them “Days Of Future Passed” and they said “What the bloody Hell is that?” They didn’t know how to market it because it didn’t fit into any of their pigeon holes. Fortunately for us that afternoon, a chap called Walt Maguire who was over from America - the head of London Records [American Decca] - said “Christ! If you’re not going to release that here, give it to me, I’ll release it in America. It’s fantastic!”

So they decided to give it to him and agreed he could do that, and also decided to release it here. Nobody got into trouble, on our account, and that was the beginning of the new ‘Moodies’, with “Days Of Future Passed”!

We had ‘The Beatles’ come around to our house that night and played it to them ... and they loved it. We were good friends with them, especially George and John. They used to bring stuff for us to listen to too, because they trusted our judgements on it. There was none of that back biting in those days. Everyone was just busy being creative.

We supported them on their last English tour – with Denny and Clint. That was a hoot! I don’t think I dare say too much about what we used to get up to ... But you could see they [The Beatles] weren’t going to do anymore. They were writing some beautiful songs, but you couldn’t hear them. All you could hear was “Ladies and Gentlemen, The B ..” and then there’d just be screaming. The truth is, that they got totally cheesed off with it. They wanted people to listen to what they were doing. The fans were their own worst enemies really ...

HR : Talking of your connection to The Beatles - You were managed by Brian Epstein for a while. Surely that couldn’t have gone better could it?

RT : Well that’s debatable actually. Brian Epstein, was in love with a Bull Fighter in Spain and used to go over there a lot. He had a big organisation by the time he was managing us, but when he wasn’t there, nobody was making any decisions in his absence. We were reliant on all of these people to get us the work, and look after our affairs. They were our agent as well, and things had been quiet for us for a while when a promoter in France contacted Epstein’s team wanting us to tour over there again. So we agreed to it. We touched down at the airport in Paris to crowds of press folks, and screaming fans! We didn’t know that the record company had released “Bye Bye Bird”, and it had been a massive hit there. In short - This promoter had literally paid us peanuts for this tour, and we were a bit pissed off about it all. We went down to see Brian at his house as soon as we got back. There was a bit of a heated debate and I actually said to him “You’re the head of a crap organisation” – so he had a dramatic tantrum, threw us out of his house, and told us to meet him at the office in the morning. When we arrived there, he’d got together all his heads of department and in front of us asked them all about what had happened. He just got blank responses. At which point he stood up and said “You’re right, I am the head of a crap organisation”. Then he asked us what we wanted, and we asked for the contract back. So he sent his legal guy to get the contract, ripped it up into pieces in front of us; told us we were free, wished us luck, and we left the office ...

HR : Well his luck must have rubbed off on you, given the continued success you went on to have. You’ve got a fairly impressive discography there, as proof! RT : Yes I suppose I have really! I’ve lead one hell of a life!! [laughs] I was with ‘The Moody Blues’ for over 40 years, until my health prevented me from carrying on in 2003. It wasn’t a falling out or anything like that, I just had to pack it in. On Doctors orders! I’ve no regrets though. I was approaching 61 years old, had played everywhere I’d ever wanted to - except Sydney Opera house which I would have love to play!

Do you know? We were the first band to play Madison Square Gardens, in New York, twice in the same day, and the City Council put a block on that ever happening again because it brought the traffic in Manhattan to a standstill with everyone trying to get in and out! [laughs]. I went for a walk between shows that day, with our publicist, and thankfully nobody recognised me. We used to get mobbed wherever we went as a group, and to be honest that day I just fancied bit of fresh air and some roasted chestnuts from the street vendor! As we’re standing there, some folks walked up to us asking if we had any tickets – they thought we were ticket touts! It annoyed me even back then, people asking $400 dollars per ticket! So I walked up to one of these touts and asked him how much he wanted for two tickets, and he actually only wanted $200, so I handed it over, and carried on eating my bag of nuts! Next thing, a young couple came up asking for tickets and I said, “I have got some actually” – and gave them to them for free. Our publicist looked at my like I was crazy and said “What the bloody hell did you do that for?” and I said “because I’m going to get one hell of a kick out of knowing that when I walk out on stage later, that that young couple will look up and realise that I’m the bloke who gave them their tickets!”

HR : Do you have a favourite album amongst the 14 that you recorded with the ‘Moodies’?

RT : Well I don’t know really because I always say that they’re all our children. I have different memories of different albums and they all mean something. I love them all. You know, when you start with absolutely nothing and end up with something like “To Our Children’s Children’s Children” – it’s very rewarding. We had a lot of fun playing around with sounds over the years. They were happy days.

HR : And what are you up to these days, post ‘Moody Blues’?

RT : I’m still doing a lot of recording – I’ve never stopped recording really. Solo albums, collaborations and all of that.

Just before Christmas (2014) I was working with John Lodge again. His solo album comes out soon. It was just like old times ...

I’m hoping to record a new solo album this year too – gives me something to do amongst fishing trips! I like to keep busy ...

I’ve just recorded with an Italian ‘Prog’ band, who paid me in Pasta! [laughs] I’m not kidding ... about a month later this huge box of pasta turned up on the doorstep from Naples!

And then I went out to record with a Russian band - the son of a billionaire oil baron, who thought that I was God!

HR : Well You are regarded as a pioneer of progressive and orchestral rock – that’s verging on God-like!

[laughs] At the end of the day - I’m just a guy from Birmingham, with a bit of talent, who got lucky ...

#ray thomas #the moody blues #orchestral rock #the beatles #justin hayward #john lodge #moody blues #flute

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