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asterlark · 3 years

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ok. samwell college of music au. i wrote all four years let's go babey

eric bittle is this lovely southern tenor (sounds kinda like mitch grassi or ben j pierce) who posts covers (& sometimes originals, but always with neutral or no pronouns because he can't post anything that says he or him ☹) on his youtube channel and has major stage fright but is very talented; he also plays ukulele

he got into samwell college of music on a voice scholarship and his dad doesn’t exactly approve but eric was never the 6′2″ masculine football player he wanted anyway so why not go for his dreams

he auditions for the very competitive samwell men’s contemporary chorus (there’s like 20 choirs; chamber choir, jazz choir, a cappella groups (lax bros do a cappella), combined choirs, etc- smcc does contemporary pop/rock music) and while he’s very very nervous and shaky as he auditions, directors hall & murray see a lot of potential in him (with major grumbling from student director jack)

(the rest of this ridiculously long au under the cut)

the group is small, for a chorus, because the point of the group is not a wall of sound but a focus on all of the very talented guys’ voices coming together in these gorgeous harmonies and basically they’re like one of the best choruses on campus and all the male singers want in

so there’s jack zimmermann, who of course eric knows because everyone knows who he is, he’s the son of bob and alicia zimmermann, both incredibly talented and famous musicians, and basically those genes were in his favor because he’s mega fucking talented

(jack was supposed to sign a recording contract to be in a band with his best friend kent parson when he was 17 but something happened between them and the pressure was too much and jack overdosed on something- there’s so many rumors no one knows what’s real- and kent signed solo in LA & went on to win grammys for his albums about a mysterious ex and jack disappeared for a few years to be a counselor at a music camp and reappears at samwell, knocking everyone’s socks off again like he’d never left, except with a renewed vigor and intenseness that freaks everyone out)

jack is a contemporary writing & production major, freaky talented and sings like a modern day frank sinatra, and he plays like 20 instruments and can read music like breathing air and writes songs like if he stopped he’d die; his music is folksy and mournful and he plays all the instruments on his tracks himself- guitar, piano, strings, drums- it sounds like a full band but nope. just jack. he’s intense

“we all get nicknames in this choir,” justin informs eric on his first day, “we’re those kinda guys.” so he’s bitty, which he finds vaguely offensive (bc he’s not that short!) but still cute, & the rest of the group is introduced to him:

“shitty” knight (voice like colyer) is a musical education major and an enigma of a singer with this awesome, earthy, raspy voice that’s really interesting to listen to and a very.... unique style & look; he writes cheesy but shockingly good raps about social justice topics and he will sing-lecture you if you’ve said something offensive (he also plays banjo)

justin “ransom” oluransi is a music business & management major with an angelic voice you can’t help but listen to; he’s sultry and has an incredible range and does runs like nobody’s business (with a voice like daniel caesar or leslie odom jr UGH)

adam “holster” birkholtz is a voice performance major, wants to be on broadway and it’s all he ever goddamn talks about basically, he’s a belter and has a lot of charisma and starpower and he’ll charm the pants off of you within one note; can also play piano and irritates everyone constantly because his regular volume is like a level 11 (voice like the frontman of my brothers and i combined w/ x ambassadors lead singer)

larissa “lardo” duan is at the local art institute because performing arts is not her jam and she’d much rather paint; she’s a barista at annie’s and supervises open mic nights and keeps the annoying choir dudes from driving away all her patrons

“i’m not even in your dumbass choir,” she says when the group gave her her nickname. holster just told her that she was an honorary member and then started sing-shouting a song at her about how good she is

bitty’s first year is hard because he’s talented and he works hard but he shies away when anyone asks him to sing outside the group and like, he can sing to a camera by himself but being on a stage with everyone looking at you and the sole responsibility of the song on your shoulders is terrifying and no thanks

jack does not. understand this. he’s been performing practically since he came out of the womb and he doesn’t really get performance nerves (what he gets is anxiety about how he did after he gets off stage that follows him home and makes it so he can’t sleep) - so he bothers bitty about it constantly like “you just need practice, you just have to sing by yourself a lot and then you’ll get over it” which like.... that’s true but it’s also hella scary and bitty’s like “no thanks!!!!”

but jack’s annoying and intense so he makes bitty do open mic with him every saturday night and it’s going okay and bitty loves his choir and loves his school and these new friends he’s making and he finally feels comfortable enough to come out to them during his second term

then during their spring choral showcase at the end of his freshman year bitty has a solo and he’s worked really hard on it and he’s feeling good- okay he’s completely freaked out but he’s trying to feel good- but when he gets up on stage there’s so many people and the stage lights are so hot on his face and he flips out a little and maybe he passes out from anxiety and stress right on stage and it’s terrible and he’s so embarrassed and ashamed that he ruined their set at the showcase

of course jack blames himself because “we shouldn’t have given you a solo before you were ready, i misjudged it, i’m sorry” - and they all feel kinda bad bc holy fuck they didn’t know his stage fright was that bad like they didn’t know someone could pass out just by being anxious to sing

he practices all the time over the summer and goes to his local open mic at jack’s insistence and it actually helps a lot because instead of a sea of strangers judging him it’s a bunch of people he knows and they’re all smiling at him and when he finishes his song they cheer for him and it boosts his self-confidence a lot

his sophomore year they have three new members- chris ”chowder” chow (voice like ieuan), an excitable music education major with impressive rapping skills, derek "nursey" nurse (frank ocean or leon bridges type), a songwriting major who can also play violin and guitar, and will ”dex” poindexter (like tom west), a production & engineering major who tried out with chowder bc he needed moral support and didn't expect to get in but impressed the directors with his voice

the year’s going pretty good, bitty’s still pretty scared of singing alone but more confident now and the open mic nights with jack haven’t stopped, so he’s getting better. and one night they’re hanging out at annie’s after closing waiting for lardo to be done so they can walk her home, and bitty suggests that jack sing with him one of these nights, and jack says he doesn’t know any of bitty’s songs and bitty says they can write one together half jokingly but then jack is like “yes.” with that Intense Look

SO they get together a couple days later in jack’s room at the house they all live in together (bitty moved in at the beginning of the year after previous smcc member john johnson called him- how’d he get his number?- and told him he could take his room if he wanted), jack with his guitar and bitty with his ukulele, and it’s a little awkward until bitty says jack should play him one of his songs

and, okay, he doesn’t really know what to expect because the only music jack ever released to the public was that one single he did with kent parson when they were 17 so bitty doesn’t even know if he has anything to play him, but he does- he starts playing these soft, sad notes on the guitar and opens his mouth and sings about being lonely and scared and unsure, about false starts and shaky ground and not knowing where you stand with someone, about expectations and lying awake at night and wishing so hard you were someone else, and bitty watches him sing and just kind of... realizes he’s head over heels for this boy and internally Freaks Out a little

he tries to put that aside and they start to write this song, at first it’s weird because jack’s like “all your songs are love songs i can’t really relate to happy love songs” and bitty’s like “listen... i’ve never even had a boyfriend i just write a bunch of sappy love stuff because it’s not about me it’s about whoever’s listening to it, they’re gonna project their own experiences on my music anyway so it doesn’t matter if it’s my real life or not” and jack’s like “alright while fake af that’s smart and i respect you” (what bitty doesn't say is that he writes about what he really wants which is to fall in love & be in a happy relationship)

they say they’re just gonna write this kinda vague sad song but they both secretly write lines about their actual lives so it ends up being really personal and real and raw for the both of them

they sing the song at open mic that saturday and the crowd at annie’s is never that big but they’ve never got a standing ovation here before, and some girl shouts “MAKE AN ALBUM” (it may or may not be lardo) and they both blush furiously and bitty’s like “... that was really nice, jack” and jack’s like “... yeah it was good good job you’re really getting some confidence out there nice work” (bitty: “THAT’S NOT WHAT I MEANT AAAAH”)

around this time jack’s really thinking about what he’s gonna do when he’s done at samwell, talking with his parents and his agent and looking into different record companies and deciding if he wants to sign with anyone or possibly start his own company- the head of a small company called falcon records in rhode island has been talking to him a lot, and jack talks to bitty about how he thinks it’d be nice to start small, and the record exec georgia and the producer marty had both been really nice and welcoming, and bitty’s so happy for him but also just... sad that he won’t be around jack every day after he graduates

THEN at a haus party celebrating their win of a local choral competition, who shows up but none other than pop star kent parson to Ruin The Fun

bitty sees the way jack pales when kent walks in, notices them disappear upstairs together and feels a little sick worrying about jack but chalks it up to the highly alcoholic concoction shitty and lardo had cooked up but nonetheless decides he’s sick of the party and goes up to his room and hears.... a little too much

and YIKES he’s standing right there and kent parson, pop star, two-time grammy winner, is looking a little rumpled and staring right at him and he puts his hat on and clears his throat and snaps at jack- “hey. well. call me if you reconsider. but good luck with rhode island. ...i’m sure that’ll make your parents proud.” and jack’s shaking, and bitty doesn’t know what to do but jack goes back into his room and bitty’s just kind of standing there like What The Fuck

so.... he kind of stews over winter break but tries not to think about it too much and he and jack text a bit and jack tells him to practice and bitty’s like “oh, you” and jack’s like “im serious” and bitty’s like “>:( it’s christmas”

spring semester starts and they're doing well in competitions and they go to semifinals and then finals for a prestigious collegiate choir competition and the pressure is mounting but they all are so optimistic and really feel like they're on the same page and bitty’s confidence is better than ever and then.... they don't win

jack especially takes it very hard, but then he also has signing to worry about, which everyone helps him with and he decides to sign with falcon records and start work on an album after graduation

speaking of graduation, shitty and jack graduate and it's hard for them but harder for bitty who feels like he's losing jack in a way, he knows how intense jack gets when he's making music and it doesn't feel like he'll have any time for bitty anymore so when they say goodbye bitty goes back to the haus and listens to his and jack's song and just cries

but, like in canon, dadbob has words of wisdom to impart and jack has an "oh" moment and races across campus to kiss bitty

they get together and the next few months are spent with jack working nonstop on his album (which tbh, he'd had many of the songs written already so it's mostly recording and producing) and texting bitty constantly and coming to visit him and playing him demos of all the songs

jack also asks bitty if they can record the song they wrote together & have it as a bonus track on his album & bitty says of course, so when jack visits they set up an impromptu studio and record vocals in the guest bedroom and this deeply personal song they wrote before they were ever together means so much more to them now

and bitty is so happy but so scared and sad too because jack is playing him these songs telling him "they're all for you bits, & a lot of them are about you" and he just doesn't know how he's going to keep all this love inside even though it feels like jack's career is at stake

he tries to shove it down and stay strong though, especially since he's now an upperclassman and they're taking on new members- connor "whiskey" whisk (voice like finneas or the male singer in valley), a music business/ management major who seems to hate bitty's guts and tony "tango" tangredi (like chaz cardigan), a jazz composition major who astounds everybody with his endless questions but also his ridiculously impressive composition skills & naturally perfect pitch (he can also play saxophone??)

i want ford in this au so fuck it she is a composition major with dreams to write scores for musicals and she stars training as a barista at annie's (aka training to corral the smcc)

the pressure of it all proves to be a lot and bitty and jack have their hi, honey moment where bitty's like i can't be this deep in the closet!!! and so they tell the smcc and also jack's label that they're together and that eases things a bit

jack's album comes out to much critical acclaim and shouting in the groupchat ("#1 ON ITUNES BRAHHHHH!!!!!!!!") and several months later, when smcc has already been eliminated from choral competition in an earlier round, jack is nominated for SEVERAL grammys including best album, song of the year, and best new artist

when the time comes he takes his parents and bitty on the red carpet which, everyone keeps being like "who are you here with jack?" and he's like "my family and my good friend :)" and yes it is awkward

jack wins... all three awards. it's the comeback everyone is stoked to see and when his third win is announced, he and bitty are so elated that they kiss before he goes to accept the award

his speech is basically just "um... wow. thank you. i just kissed my boyfriend on live tv. this is amazing and i'm so humbled. i'd like to thank my boyfriend and georgia and marty and my parents and my friends and my boyfriend"

obviously the press has a FIELD DAY with this but bitty & jack are honestly vibing and so happy that it doesn't matter untiiiillll bitty's mom calls and he has to tell her "mama i'm gay and i'm going on tour with jack this summer okloveyoubye"

the last few months of bitty's junior year pass quickly and he's voted student director which is a huge honor considering how much he struggled with stage fright and confidence & how he'll now be stepping into ransom & holster's shoes

r&h and lardo all graduate (the smcc basically crashes the art school graduation and all scream when lardo gets her diploma lmao), which is a bittersweet occasion and they all do a bit of tearing up

that summer bitty goes on tour across the u.s. & canada with jack and his touring band (snowy is a bassist, tater is a drummer and poots does backing guitar, he also brings nursey to play violin on a few songs) as well as georgia who's there to manage logistics

and tour is so fun & chaotic with many bi and rainbow flags in the audience that end up thrown on stage and draped around jack's neck and they spend so many nights in the bus drinking and laughing and fooling around on the guitars and bitty's uke and exploring new cities bitty has never been to before and it's the freest bitty has felt in a long time

summer ends though, and jack leaves for the uk/europe leg of the tour, and with the new school year brings a few new members- river "bully" bullard (voice like gregory alan isakov), a music therapy major who draws his own cover art for his songs, lukas "louis" landmann (like jr jr), an electronic production and design major with a penchant for EDM, and johnathan "hops" hopper (like keiynan lonsdale), a film scoring major who wants to write music for movies and video games

bitty meets and befriends some of the other student directors- shruti, sd of the women’s contemporary chorus; sharon, sd of the chamber choir; and edgar, sd of jazz ensemble (even chad l., sd of the all-male a cappella group)

senior year passes similarly to the comic; coach visits and sees one of bitty’s competitions, jack comes to madison for christmas, smcc does well in competition and goes to regionals etc

however… bitty keeps putting off and putting off gathering the songs for his senior recital

he has a hard time doing that because he’s so focused on the group and making sure they’re performing well and as they advance in competition, everything else starts to fall away

eventually the rest of the smcc has to lock away his uke and change his youtube password and FORCE him to choose songs for it and start preparing because he cannot graduate without doing this recital and doing well on it

he chooses (of course) a beyonce song, a few of his own songs, an ellie goulding song, and an adele song

with all that his breath hitches and his hands shake before he goes on stage, he does really well and his voice instructor prof atley tears up a little in the audience as does his mom

meanwhile smcc goes to semifinals, then finals, of the national collegiate choral competition they participate in

and i imagine bitty faces somewhat less homophobia in this au because i mean, he’s in the performing arts, but i think it’s still there and he also faces a good amount of classism from richer students and performers who think they’re better because they had the resources and money to be performing professionally from a very young age, and he has been practicing via filming himself on a shitty camcorder and posting it to youtube

but they still get there! and the national finals are fucking HUGE and a big deal and a little overwhelming

bitty’s stage fright is Present because this is the biggest stage and the biggest stakes he's ever had and he has a big solo in one of their songs so if he fucks up, he fucks up a national championship for his whole group and school

luckily though, when he steps on the stage with his best friends and sees his boyfriend and family and smcc alums in the audience and they perform their first song, a high-energy pop medley that always gets the crowd going, everything seems to melt away and it's just him living in this moment and singing his heart out

when it gets to the next song and his solo, he forgets to be nervous and belts it out, getting screams of approval from the audience when he finishes

(dex and nursey do have a duet together that they had to practice for many long nights in the practice rooms alone but that's neither here nor there)

their time on stage seems to last both hours and no time at all and then they're done, the crowd gives them a standing ovation and it's at least 30% r&h & shitty's hooting and hollering and jack's enthusiastic clapping that makes bitty & the others beam with pride

then it's just waiting, giddy and nervous beyond belief in their green room, for the judging to be over

after what feels like forever they're back on stage, arms linked together waiting and hoping for their name to be called and it is, they win and it feels like years have built up to this moment, and bitty tears up because years ago when he was fainting from anxiety at having to perform in front of people he never could've imagined that he'd do this, that he'd be the student director that led them to a championship

they get the trophy and a ridiculous amount of flowers from their loved ones and they all are just in giddy disbelief that this is happening, they're national champs!!! they are the best choir boys in the nation!!

they come home and the rest of the school year passes by so quickly that it's very suddenly graduation and bitty can't believe his college career at samwell is over 😢

(he and ollie and wicky take pictures together, o&w talk about how excited they are to devote full time attention to their band & wedding planning and bitty's just like wait you're gay??)

bitty got plenty of offers from record companies but he likes his freedom of creativity and he has a built in fanbase from doing youtube all these years so he decides to make an album independently (jack helps him produce & master it 🥰)

when bitty's album comes out about a year later, full of bops about being gay and in love and having struggled but come out the other side more confident than ever, it doesn't get any grammy nominations- and he didn't expect or need that.

what it does do is it resonates. it makes the rounds in youtube and queer internet circles; people his age reach out to him saying this is the music they wish they had as a kid and kids reach out to him saying he's a role model and they're so glad to have his music to listen to. his album is written about as an underrated gem that shines with queer brilliance and is sure to start a party when it comes on.

his parents may not fully understand the road he's chosen for himself but they're still so proud and promote the album as hard as any of his loyal fans (especially the one country-inspired song on the album that he wrote and dedicated to them).

and jack, jack who saw this album from its infancy to its release date, who took the film photo that ended up being the album cover, who worked with bitty to make sure his vision was realized exactly how he wanted it to be, is proud beyond words.

jack starts using his semi-abandoned twitter again to tweet "stream [album name]" every day and bitty retweets them sometimes, with just a "this boy. ❤"

and they're happy. they're good. they have come so far and they are reaping the rewards of all the hard work they put in to make the music that they truly love.

the end :)

#check please #omgcp #samwell college of music au #mine #my writing #eric bittle #jack zimmermann #omgcp fic #check please fic #zimbits #uhh idk what else to tag #this fucking thing is like 4.1k words i'm-#i hope you enjoy it (and reblog it!) bc i've been working on this for literal years #i know i'll never actually write it as a longform fic so here's a bullet pt fic instead #pls let me know your thoughts i have so many things to say about this au

249 notes · View notes

rumblelibrary · 3 years

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Kinky stuff you said?

so... i have this idea

I know we all collectively as a fandom have decided that Andrea is a fluff ball lmao

but I'm rooting for him because...I don't know, like when he got angry when he found out about the letter and started to play the violin all annoyed and how he raised his voice and there is also the look that he gave Olga he gives me the feelings like~

Andrea spank me with that violin bow (we can buy a new one later)

Something like Teach me a lesson sweet boy

Dancing the dance [Andrea Marowski x Reader]

Word count: 2k

Warnings: Smut (fingering, spanking, mentions of cheating)

Author’s note: Do I have to say something? I mean the request is amazing enough

It was just a day like any other in the little village, you opened your bookshop, a small little thing that your uncle run and you were proud to call it your precious jewel.

You worked hard to keep it afloat, you went by bicycle to the bigger cities nearby to get the best books yourself or the classics, you were determined not to let it die on you, but it was every day harder.

It was almost the end of your day when you saw Mr Barnes come inside, he was a war veteran that suffered terrible injuries, but also an avid reader who would come even twice a week.

“Don’t you tell me you have already finished it, James”

You smiled at him and he shrugged, his playful smirk running over his lips. “I like this Agatha Christie author and her Belgian detective, what can I say?”

He was a player, you knew it and didn’t expect anything less from him, he is handsome and he knows it. But you never took him seriously and even less since a certain shipwrecked violinist made his way to your heart, but truth to be told, you indulged him. Sure, he was a passionate reader, but he loved to come and flirt with you and you need him and his coins to call it a day.

“Well, what’s next then?”

“I don’t know, you tell me, you’re the bookworm, aren’t you?”

His smirk was playful but you ignored it and smiled only moving away from the counter, making your away around the books to try the one you were meaning to offer him next. You always planned one in advance, or even two, just to make sure to give him enough attention but not too much.

“What about…” you begun, your tongue sticking a little put as you’re focused, eyebrows furrowed as you read the titles.

“You’d look even more the part with glasses” he interrupted you and you chuckled

“I know, I know, I should wear them but..”

“No, I mean that you’d look even more attractive with them on”

You kept quiet as he moved closer, his arm leaning against the shelf in front of you as you mumbled a thank you.

He stared at you following your every move, your hand picking a thin book and handing it to him.

“The Great Gatsby” he read out loud “Is it new?” “No, just American, it was published in 1925”

He nodded looking at it as he moved page after page, his lips pursed in concentration as you tried to move past him, but he just stood still and board in front of you.

“What do you do after work?”

“Oh, well I have some chores to do at home, study new purchases for the shop”

“You always do” he said closing the book with a loud snap making you jolt in your spot

“Let’s have a date night, we could dine at the tavern and you can tell me more about those orders you always have to do” he said taking a step forward as you mimicked him taking a step back.

“Y/N” he murmured “we are dancing this dance from a long time, don’t you think?”

“I don’t know what you mean”

You replied only as you tried to move past him

“You’re very attractive, still unmarried, incredibly tempting for every man in town, you should expect it”

The truth was that you weren’t completely far from anything love related, but Dr Mead advised you to keep your little ‘entanglement’ with Andrea s secret for the time being. Most people still didn’t get the difference of him being Polish and not German and it would only make your life harder for no reason. So you obliged, you closed the curtains at night when he sneaked into your room, you visited him often with the excuse of bringing him books, you pretend not to wish his touch on you every time of the day.

“I said I can’t already”

You took the chance to move past James and take the broom to clean.

He took a deep breath, gritting his teeth as his eyes travelled on you. He was patient, but not that patient, nevertheless you were a delicious eye candy to his eyes. He put his hand to his pocket still holding the book into the other one. He pulled out some coins and left them on the table, there was also a tip from you.

“I like this game Y/N” he said bluntly to you and he looked at the book “also. such a small book makes me think you want me to come back soon”

You looked at him, you matched his smirk, oh he loved to be kept on the edge, didn’t he?

“See you next week” you only said and he gave you a light military salutation to you saying something about being at your orders.

You smirked biting the inside of your cheek as you enjoyed the game for sure, or the dance as he called it, but you were realising how you had to probably tone it down. He was liking it a bit too much and going over the simple play, plus you were losing the plot of it since Andrea came into the picture.

After you closed the day, recorded all the sells and cleaned the shop you wrapped yourself up in a coat, taking an easy children book for Andrea to practice with. On your way out you noticed some scattered flowers on the ground, but you didn’t pay much attention to it.

You made your way to Ursula and Janet’s house, the violin being played out loud, a very dramatic and strong melody going off, almost violent.

As you knocked at the door Janet welcomed you quickly.

“Oh Y/N, please try to talk to him, at least you know German” she said and you looked at her confused “he went out for a walk and came back so angry, he shouted at poor Ursula, she is so bumped, I can’t look after the two of them” Janet said in her own way that made it sound almost funny, if not sarcastic.

You nodded taking off your coat and hat, you walked upstairs holding the book with you, the music getting louder as you took the stairs until his room, you got inside without knocking because it would be impossible for him to hear anyway. The first thing you noticed was his back wrapped in that white shirt and the pants kept up by his suspenders. You still remember vividly the first time you pulled those suspenders off his shoulders, it is still one of your favourite things to do as a prelude of what is about to come.

“Andrea” you called him as you closed the door behind your back, locking it just because you know how much Ursula likes to peak in.

He turned around suddenly, almost scaring you off as he held his violin in one hand and the thin bow into his other hand, his eyes on fire, jaw clenched and his back straight like a soldier.

“You bezwstydny” he shouted at you and you looked at him even more confused “schamlos” he said then in German.

“Shameless? Why?” You asked frowning, you had the luck to know German because your family immigrated to Cornwall before the WWI to join your uncle’s business, but that didn’t help when Andrea was so mad to decide not to tolerate any other language by his own like now.

“I saw you” he said spitting venom “You think funny?”

“But what?”

“You with that man in bookshop!” He growled putting down the violin because it was at serious risk of being thrown on the floor.

You parted your lips in shock as he said that, so those flowers were his?

“Did you come to pick me up?”

He nodded but his lips pressed against each other in disgust.

“Andrea, don’t make that face, he is just a client acting up”

“You act up”

You looked at him shaking your head “you don’t understand” you said.

He raised his eyebrows.

“oh no, I do understand”

His voice was different, his accent thicker than ever, there was no trace of the usual sweet smile, almost mischievous, that he always had on his lips.

He sat down on the chair were Ursula watched him for nights on “on my lap”

You frowned “no”

He raised his eyebrows “I think you not understand” he said threateningly “Are you playing with two men?”

You shook your head vehemently “You know it is not like this” you stated “I want only you”

He didn’t seem impressed, he pursed his lips in disbelief and let out a sarcastic chuckle twirling the bow between his fingers.

“Then prove it”

His accent hitting you again, you loved it, but the way he said it, that didn’t feel comforting.

You stared at him, you didn’t want to argue with him, he was already too mad and to hold a conversation was to ask too much.

So you obliged leaving the book aside and making your way to his lap sitting on it.

“No this way” he said wiggling underneath you to make you stand up

“gebückt” he said in German waving the bow to you. Oh, so he wanted you bent over it?

You stood uncomfortable for a moment but then you nodded again, you needed to get past this crisis, no?

So you moved your dress a bit to make your way onto his lap, you wanted to ask what now but then you felt distinctively the way he pulled your skirts up.

“Andrea” you hissed at him but by now he held you in that position pushing your panties down, the cold air hitting your bum, your cheeks bringing from embarrassment.

“You like play, so you get to be punish like little kid”

You blushed even more if possible, you wiggled but he held you down firmly until you stopped struggling and settled in the position he wanted.

“Repeat numbers in English for me” he said and you whimpered as he smacked that bow onto your ass earning a gasp, your shoulders trembled inward as it was more painful than expected.

“Number?”

“One” you replied immediately, how much do you have to count, you wondered.

You whimpered as other two snaps to the stick followed very quick together

“Andrea, please stop” “If you wanted me to stop you’d not act to earn it” his words an hiss between his teeth “we begin again now, you didn’t count”

You groaned but another slap reduced you to a forced obedience “one”

He smirked widely as he twirled the bow in his hand, you could’t see him but you could ear the way it cut the air around.

You obeyed and counted all the three snaps that followed, your breath itching and your hands trying to reach out to the floor to gain some advantage in the positioning, which still felt too embarrassing, the constrictive exposure of your bottom making you feel uneasy.

Andrea saw that movement and he reached down with his free hand clasping onto your jaw making you look up like some animal in need to be tamed. Another whip hit you.

“Five” you groaned as now your position felt even more humiliating, you shivered as he chuckled

“Now you will be good during more strokes, if you manage to come to dziesięć then you’ll be free”

You groaned, how much is that? The confusion in you was showing as your body stiffened. The unknown scaring you, your core clenched shamelessly, your wetness revealing a pleasure that was evident, a dirtiness of your own that you didn’t expect to meet.

“Only five more”

He whispered and smacked your ass again, you whined squeezing your eyes

“Six”

Oh, to see you so obedient.

“You like to be a tease, don’t you? You love it, showing off like a whore to that man, to all the men, you sell them the whole experience for few coins? You make them believe they can fuck you?”

He smirked hitting your ass again, your hips buckling against his leg as you were looking for relief from that desire

“Seven”

“You love it, you love to be desired by many don’t you?”

“Eight”

“You want them to dream of you at night, to desire to fuck you and smack your ass like I am doing now, these skirts only making them dream more”

“Nine”

You were sobbing by now, his hand on your jaw making it hard to breathe and speak

“Who is a whore?” “I am”

“Who is my whore?

“I am”

He smirked, he was pleased giving you one last whip, the hair of the bow falling down as some of them broke, oh you know too well how much that will cost you, Andrea wasn’t one to easily ruin something like that.

“Ten!”

You almost shouted it, your thighs trembling and knees kept closing and parting trying to find some relief.

Andrea leaned down kissing the back of your neck as he gave you time to calm down, let the humiliation sink in.

“Andrea” Ursula’s voice rang from behind the door “Are you quite alright? Dinner is almost ready”

“I am! Y/N and I need a moment” he said, his voice completely different and far from the dark threatening voice that poured over you a second before “We will be down in ten!” As he spoke he touched over your wet slit, how shamelessly you were patching his pants with all that excitement, so slowly began playing with you, you winced biting on the fabric of his tailored cloths trying to hold back any sound while those skilled violist fingers kept scissoring inside of you. “We haven’t done yet”

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melisa-may-taylor72 · 3 years

Photo

QUEEN BEFORE QUEEN

THE 1960s RECORDINGS

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PART 4:

THE OPPOSITION

JOHN DEACON WAS THE QUIETEST MEMBER OF A MIDLAND-BASED FIVE-PIECE WHOSE GREATEST AMBITION WAS TO PLAY ANOTHER GIG.

Initial research John S. Stuart. Additional research and text: Andy Davis.

John Deacon was the fourth and final member to join Queen. He became part of that regal household 25 years ago this month, enrolling as the band’s permanent bassist in February 1971. His acceptance marked the culmination of a six-year ‘career’ in music, much of which he spent in an amateur, Leicestershire covers band called the Opposition.

From 1965 until 1969, Deacon and his schoolmates ploughed a humble, local furrow in and around their Midlands hometown, reflecting the decade’s mercurial moodswing with a series of names, images and styles of music. The most remarkable fact about the Opposition was just how unremarkable the group actually was.

Collectively, they were an unambitious crew: undertaking precisely no trips down to London to woo A&R men; winning only one notable support slot for the army of chart bands who visited Leicester in the ‘60s (opening for Reperata & the Delrons in Melton Mowbray in 1968); and managing even to miss out on the option of sending a demo tape to any of the nation’s record labels. The band’s saving grace is its solé recorded legacy: a three-track acetate — although even this was done for purely private consumption, and has rarely been aired outside the confines of their inner circle.

It is perhaps indicative of the Opposition’s modest outlook that their most promising bid for stardom, a beat contest, was called off before they had the chance to play in the finals. For John Deacon and friends, it seems, merely being in a band was reward enough.

Considering of all of this, it’s easy to imagine the response to the following story, related in the ‘60s to one of the Opposition’s guitarists, Ronald Chester:...[ ]

...[ ] “There was a teacher who worked at Beauchamp School, which John attended, who told fortunes. They went to see her one Saturday and were told, ‘John Deacon is going to be world famous and very, very rich. Of course, they all fell about laughing. She was determined that this was going to happen. But they all thought it was a joke."

What particularly amused Deacon’s colleagues was the unlikeliness of this scenario, given the plain facts of his demeanour. John was born in Leicester in 1951, the product of affluent, middle-class, middle England. As a youngster, he was known to his friends as ‘Deaks’ and grew up to be quiet and reserved, what Mark Hodkinson referred to in ‘Queen — ‘The Early Years’ as “a ghost of a boy".

“He is basically shy,” confirms Richard Young, the Opposition’s first guitarist/vocalist, and later keyboardist. “I suppose he was quieter than the rest of us — but he was fairly static with Queen if you look at him on stage.”

Ron Chester agrees: “John was quiet by nature. His sister, Julie, was the same. Once he got going, though, he wasn’t any different from anybody else. But on first approach, you really had to coax him out of his shell. We’d have to pick him up. He couldn’t walk down the road to meet us."

CONFIDENT

Despite any lack of personal dynamics, Deacon was a capable teenager: “He was very confident," recalls another of the band’s guitarists, David Williams. “But in a laidback sort of way. He didn’t have a problem with anything. ‘Yeah, I can do that’, he’d say. We used to call him ‘Easy Deacon’, not because of any sexual preferences, but because he’d say something was easy without it sounding big-headed. I remember saying to him once, I’m going to have to knock off the gigs a bit to revise for my ‘A’ levels. What about you?’ ‘No’, he said, ‘I don’t need to. I’ve never failed an exam yet, and I’ve never revised for one’. Ultimately, he was just confident, with a phenomenally logical mind. If he couldn’t remember something, he could work it out. And, of course, he got stunning results.”

John’s earliest interest was electronics, which he studied into adulthood. He also went fishing, trainspotting even, with his father. Then music took over. After dispensing with a ‘Tommy Steele’ toy guitar, John used the proceeds from his paper round to buy his first proper instrument, an acoustic, when he was about twelve. An early musical collaborator was a school mate called Roger Ogden, who like Roger Taylor down in Cornwall, was nicknamed ‘Splodge’. But his best friend was the Opposition’s future drummer, Nigel Bullen.

“I’d first got to know John at Langmore Junior School in Oadby, just outside Leicester, in either 1957 or 1958,’' recalls Nigel. “We were both the quiet ones. We started playing music together at Gartree High School, when we were about thirteen. We were inspired by the Beatles — they made everybody want to be in a group. John was originally going to be the band’s electrician, as he called it. He used to build his own radios, before we had any amps, and he fathomed a way of plugging his guitar into his reel-to-reel tape recorder. He was always the electrical boffin."

The prime mover in the formation of the group was another Oadby boy they met on nearby Uplands Park, Richard Young. “Richard was at boarding school," recalls Nigel Bullen. “He was always the kid with the expensive bike. He played guitar, and what’s more had a proper electric, with an amplifier. He instigated getting the band together. Initially, we rehearsed in my garage, and then anywhere we could. John played rhythm to begin with. He was a chord man, the John Lennon of the group, if you like."

SWITCH

Despite his later switch to the bass, Deacon’s technique on the guitar also developed, as Dave Williams reveals: “Later on, I remember he could play ‘Classical Gas’ on an acoustic, which was a finger-picking execise and no mean feat. It’s a bit like ‘McArthur Park’, a fantastic piece of music, and when I heard it, I thought, ‘Bloody hell. You dark horse!’ Because he never showed off."

The Opposition’s first bassist was another school friend of John’s called Clive Castledine. In fact, the group made its debut at a party at Castledine’s ouse on 25th September, 1965 (their first public performance took place the...[ ]

...[ ] following month at Gartree’s school hall). Clive looked good and appreciated the kudos of being in a group, but he wasn’t up to even the Opposition’s schoolboy standards. “I was the least proficient, to put it mildly,” he admitted to Mark Hodkinson.“His enthusiasm was 100%,” adds Richard Young, “but his actual playing ability was null, so we had a meeting and got rid of him.” Deacon took over, initially playing on his regular guitar, using the bottom strings. “John was good,” Young continues. “It was no problem for him to switch to bass. He hit the right notes at the beginning of the bar, and we were a better band for it. Whereas Clive made us sound woolly, as anyone who just plonked away on any old note would, John was solid.”

DIARY

Young turned out to be the Opposition’s archivist, keeping a diary of each gig played, the equipment used, and the amounts of money earned (as indeed did John Deacon). Richard’s diary documented the day Deacon — now, of course, bassist in one of the world’s most famous groups — first picked up his chosen instrument. “In an entry for 2nd April, 1966,” says Young, “it reads, ‘We threw Clive out on the Saturday afternoon. Had a practice in Deaks’ kitchen, and Deaks went on bass. Played much better.’ John didn’t have a bass, so we went down to Cox’s music shop in King Street in Leicester, and bought him an EKO bass for £60. I paid for it, but I think he paid me back eventually.”

“John’s bass style with the Opposition was the same as with Queen,” reckons Nigel Bullen. “He never used to play with a plectrum, which was unusual, but with his fingers, which meant that his right hand is drooped over the top of the guitar. Also, he plays in an upward fashion, which I’d never seen before, certainly when we were in Leicester. Over the years, I’ve watched many bass players adopt that style. I’d say he has been copied a lot. I’ve mentioned this to him, but he doesn’t agree.”

Clive Castledine wasn’t the last member of the band to be dismissed. “The vocal and lead guitar side of the Opposition was changing all the while,” recalls Nigel. “Myself, John, and Richard Young were always there — as were Dave Williams and Ron Chester later on �� but we had a succession of other musicians who I can hardly remember now. There was a guy called Richard Frew in the very early days, and a young lad called Carl, but he didn’t fit in. After we began playing proper gigs, Richard decided he wasn’t happy with his singing and wanted to move onto keyboards, so we brought in Pete Bart (formerly with another local band, the Rapids Rave) as a guitarist and vocalist. He was good, but again, didn’t last long.”

“Bart was a bit of a rocker, while we were all mods,” remarks Dave Williams. “We were impressed by mod bands like the Small Faces and the original Who. Bart seemed to come from a different era altogether.”

“Deaks had the Parka with the fur collar,” remembers Ron Chester. “And short hair, a crew cut. Mirrors on his scooter.” Richard Young agrees: “John was more of a mod than us. But you couldn’t really pigeonhole the band, because our music went right across the board”.

”Buying Deacon his bass was no one-off, and Richard Young is remembered as the group’s benefactor. Being older than the others, he had a steady job working for his father’s electronics company in Leicester, which brought him a regular, and by all accounts, generous wage. He rarely thought twice before splashing out on equipment for the other members.

RECEIPTS

“Richard bought me a P.A.,” recalls David Williams. “But he didn’t ask, he used to think that the group needed it. He’d buy it and then say, ‘You owe me this’. My mum used to get really annoyed. She’d was at that going- through-my-pockets stage, probably looking for contraceptives. She once found a receipt from Moore and Stanworth’s, a local music shop. It was for a Beyer microphone, which cost about £30. I was still at school, getting pocket money, and my mum said, ‘What on earth is this?!’ Receipts on the Sunday dinner table, that sort of thing. It was good, though. The group needed it.”

“I was dead serious about the band,” claims Young, who switched to organ with the arrival of Williams in July 1966. “Perhaps more so than anybody else. I could see it going nowhere if money wasn’t pumped into it.”

“Dick Young was an accomplished organ player,” adds Dave, “and he improved the group quite a lot. He always had plenty of dosh, and a car. But he was totally mad, a crazy bloke. He’d come round with an organ one week, then next week, he’d have a better one. He ended up with a Farfisa, with one keyboard on it, then one with two keyboards — one above the other. Then he had a Hammond, an L 100. which was really heavy. Then he had a ‘B’ series one. The ‘L’ was top-of-the-range and he sawed it in half to make it easier to carry!”

Dave Williams helped to improve the group as well. “He was at school with us,” says Nigel Bullen, “but in another band, who we always looked up to.” That band was the Leeds-based Outer Limits (who went on to issue several singles — without Dave — in the late ‘60s). “I joined the Opposition after they asked me to watch them and tell them what I thought,” recounts Dave. “The Outer Limits were older lads, all mods, but I was after something a bit more easy going, and the Opposition were my own age. They were okay, but I first saw them at John’s house, when they were still practising in bedrooms, and they were absolutely awful. I said, ‘Have you thought of tuning up?’ They said they had. But it sounded like they were playing in different keys — totally horrendous. It was so funny. They were so conscientious, they’d all learned their bits, but hadn't tuned up to each other. That was my first tip.”

“Our first proper gig was supporting a local band, the Rapids Rave, at Enderby Coop Hall,” recalls Nigel Bullen. “They used to play at this village hall every week. and then we ended up doing it every week for quite some time.” Richard’s diary records the Opposition’s debut taking place on 4th December 1965, and that the band’s fee was £2. Thereafter, they began to offer their Services in the local ‘Oadby & Wigston Advertiser’, which led to bookings in youth clubs and village halls in local hot-spots like Kibworth, Houghton-on- the-Hill, Thurlaston and Great Glen.

SCHOOL WORK

By spring 1966, the Opposition were playing every weekend, school work permitting. The peaks and troughs of their career are illustrated by the following memorable gigs: one at St. George’s Ballroom, Hinckley, on 23rd June 1967, when just two people turned up and the band went home after a couple of numbers; and a September appearance in a series of shows at U.S. Airforce Bases in the Midlands, at which they were required to play for four-and-half hours with just two twenty-minute breaks. It was nothing if not diverse.

“It didn’t seem to matter what you played,” says Dave. “People would clap simply because you were making music. They never said, ‘Do you do Motown, or soul stuff?’ ” The band’s repertoire initially consisted of chart sounds and the poppier end of the R&B spectrum. “Although we were inspired by the Beatles, we never did any of their songs,” claims Nigel. “But we covered the Kinks, the Yardbirds, and things like Them’s ‘Gloria’, and the Zombies’ ‘She’s Not There’.

They also altered their name slightly to the New Opposition, which they unveiled at the Enderby Coop Hall. “The name-change was decided overnight, when John moved from rhythm to bass guitar,” recounts Richard, whose diary records the date of the transition as 29th April 1966. Interestingly, though, it makes no mention of another local group also called the Opposition, long thought to have been the reason for Deacon’s crew adopting the ‘New’. The change did act as an impetus for further development, however, instigated by Dave Williams, who soon took over as the group’s lead vocalist.

“When I joined they were doing all Beach Boys stuff,” he recalls, “and I think I may have brought in a little credibility. In the Outer Limits, I’d been playing John Mayall, the Yardbirds, that sort of thing, plus that group was into really good soul like the Impressions, and fantastic vocal bands from the States. So I had a broad musical knowledge by then, whereas the Opposition had been a bit poppy.” Appropriately, the words “Tamla” and “Soul” were now added to the Opposition’s ads and calling cards.

Towards the end of 1966, the New Opposition were enhanced further by the arrival of Ron Chester, who’d previously played with Dave Williams in the Outer Limits, as well as in an earlier band, the Deerstalkers. “Ron Chester was a bit eccentric,” claims Richard Young. “He never used to go anywhere without his deerstalker. He was a really good guitarist (“stunning”, adds Dave Williams). We were probably at our best when Ron was in the band.”

On 23rd October 1966, the New Opposition entered the local Midland Beat Contest. They won their heat, landing themselves a place in the semifinals on 29th January 1967. They won this, too, and steeled themselves for the finals, which were due to be held on 3rd March 1967, when they were to be pitched against...[ ]

...[ ] an act called Keny. The stars of the show would have been the nearest the Opposition came to having a rival: an outfit called Legay. (A year later, incidentally, this band issued a now collectable single, “No One” (Fontana TF 904,£80J.) Unfortunately, for all concerned, however, the contest never took place. “That was a fiasco,'' laughs Ron. “Somehow we won those heats, but in fact, I don’t remember seeing anybody else playing. I don’t know whether we won by default or not. After that, they pulled the plug on the competition — probably because they knew we’d be playing again!”.

CASINO

“The heats took place in a club in Leicester called the Casino, which was the place to play,” adds Nigel. “The guy who ran the competition was an agent for the club. His company was called Penguin (or P.S) Promotions and he walked like a penguin too, with his feet sticking out. The final was going to be held in the De Montford Hall, which is still the main venue in Leicester. We thought, ‘Crumbs, this is it, perhaps we might make the big time.’ But the guy did a runner with all the money — people had to pay to come to the heats. So the final was called off.”

David Williams wasn’t too fussed, as he scored another prize that night: “I remember taking a girl back to Dick’s car on the strength of us winning our heat. I said, ‘Can I borrow your keys, Dick? He said, ‘What for? You can’t drive!’ “

Were the New Opposition — or the Opposition, as they dropped the ‘New’ again in early 1967 — left in limbo by the cancellation of the Beat Contest? Having achieved the most public recognition of their talents so far, were they disappointed with the loss of the chance to prove themselves further?

“No. It was almost insignificant,” reckons Ron. “We didn’t really look upon it as a stairway to stardom.” And what would John Deacon have thought? “Nothing really,” suggests Chester. “ ‘It’s cancelled. What are we doing next, then?’ That would have been about the depth of it. We were a village band, all gathering at the church hall to try and improve our abilities. The financial aspect of it wasn’t in the forefront of our minds. We were more concerned with our music, and if we could get a booking doing it as well, to pay off some of the equipment, then that was a real bonus. Three bookings a week was enough for us while we were working or still at school.” Despite any dodgy dealings, history does have the Penguin promoter to thank for the only professionally-taken photograph of the Opposition. (“We didn’t go much on photos in the band,” remembers Dave Williams.) On Tuesday, 31st January 1967, two days after winning the semi-finals, the ‘Leicester Mercury’ dispatched a staff photographer over to Richard Young’s parents’ house in Oadby. Here, the group lined-up in the front room, looking more like refugees from 1964, rather than 1967. The only indications of the actual date are perhaps Ron Chester’s deerstalker hat and the ridiculous length of David Williams’ shirt collars — seven inches, no less, from neck to nipple.

“Dave was very extrovert,” recalls Nigel. “But we all had those silk shirts with the great long collars made by our mums and grandmas for our stage gear.” Dave admits: “Our clothes were all a bit mixed up. We had silk shirts with tweed jackets — which were fashionable for a while — and bell-bottoms. Musically, we were pretty good, better than...[ ]

...[ ] most of the local bands around that time, but we had this squeaky-clean, schoolboy image which let us down. I used to get frustrated when we were billed with other bands, and they’d all play with so many wrong chords but had a better image and still the punters applauded. Were they stupid? We were still at school — we didn’t leave until we were eighteen — and weren’t allowed to grow our hair long”.

“After the mod thing,” he continues, “long hair became really important. Bands were growing their hair right down their backs. I remember getting to one gig with John and Nigel a year or so later, and the other group were already on. And when they saw us they turned round and said, ‘Look! They’ve got no hair!’. We were quite upset about that”.

“We also went through the flower-power look,” Dave adds. “And then we got into those little jumpers without any sleeves that Paul McCartney used to wear, the ones so small that half your stomach showed. And then it was grandad shirts without the collars and flares.” Ron Chester: “The flowery shirts and flared trousers were everywhere. We looked like a right shower of poofters. But so did everybody else. You stood out if you didn’t wear them.”

1967 also heralded the arrival of an additional attraction to the Opposition’s stage show: two go-go dancers. At least, it did if the existing literature on the subject is to be believed. “I vaguely remember it,” admits Richard, “but speaking to Nig, neither of us can recal who those dancers were”.

Dave Williams throws some light on the subject: “They were the jet-set girls of the sixth form, they came from the big houses. They came to a couple of gigs and just started dancing. Somebody who booked us for the following week actually advertised us ‘with go-go girls’. But they were never really part of the show.”

ART

On 16th March, 1968 for a gig at Gartree School, the Opposition changed their name once again. “We called ourselves Art,” reveals Nigel, “because Dave was arty, that is, he was training as an artist. It was as simple as that.” Dave agrees: “It was my idea, because I’d been doing art at school.” Nigel Bullen was aware of another band using that name around the same time (the pre-Spooky Tooth outfit), but assuming them to be American, reckoned they’d be no confusion. As the Leicester-based Art never made it to London, there wasn’t.

Despite wording like “A time to touch and feel, to taste and experience, to hear and understand” appearing on the group’s tickets, Richard maintains that Art was “just the same band” as before. “Nothing changed."

“It was mutton dressed up as lamb, really,” admits Ron Chester. “We thought if we were called something different, people might come because they were curious. But it didn’t make a lot of difference. The audiences were captive at the places we played anyway. There was nowhere else to go on a Friday or Saturday night. Everyone used to roll up to see whoever was on, whether they’d heard of them or not.”

1968 was the year psychedelia caught up with many provincial British bands. The Art were no different, but their acknowledgement of what had been last year’s scene in London was via sight rather than sound. Their light shows seem to have been particularly memorable, as Dave Williams explains: “They were brilliant. We used the projectors from school, filled medicine bottles with water and oil, and projected through them to get this lovely golden, amber backdrop. As the image came out upside down, when we poured in some Fairy Liquid, it dropped straight through in a blob, but came out on the wall like a giant green mushroom cloud. It was amazing, and we had about four of them at the back, projecting over the band.”

John Deacon was party to another of Dave’s exploits. “One day,” recalls Williams, “John and I bought a 100-watt P.A. — which was pretty big for those days — and took it into the lecture theatre full of kids at Beauchamp School (which Deacon had attended since September 1966) for our version of Arthur Brown’s ‘Fire’. We cranked it up as loud as we could, put the light show on, and let off these smoke bombs, which were DDT pellets we’d got from the chemist. All the kids started choking, and then the headmaster walked in...[ ]

...[ ] with a load of governors. You could see the fury in his face. One of the governors asked what we were doing. ‘It’s a demonstration in sound and light, sir,’ I said. ‘We’re using these ink bottles turned upside down, but we’re a bit worried about these DDT pellets so we might knock the smoke on the head, but we’re still experimenting.’ And he fell for it!”.

INFLUENTIAL

Towards the end of 1968, a crop of new groups began to have a profound effect on the maturing schoolboys: Jethro Tull, the Nice, Taste, and in particular Deep Purple. Ron: “We used to buy Purple records and learn to play them. We’d seen John Mayall’s Bluesbreakers and the Downliners’ Sect in Leicester, the Nice, King Crimson. These sort of groups. We learned a lot from just watching them. They were influential. There was always a big discussion in the band as to whether we should do a particular song. Once we’d decided that, there’d be another big discussion as to how we should do it. Everybody had their say.”

Hair, too, had finally began to grow: “John grew his quite long,” recalls Ron. “We all had longish hair, but not shoulder length. We couldn’t look too unkempt for the normal side of life, but we didn’t want to be too prissy for the other end of the spectrum. That was when we started playing universities, and we went a bit heavier. The audiences were far more serious minded about music and more enthusiastic. In some of the youth clubs we’d been playing, the audience would be moving around on roller skates, or peeling bananas all over the place, things like that”.

“We felt we were making an impression towards the last year or two of the band,” he continues. But it went no further: “We were at school, some of us had jobs, and there was an element of common sense overriding what we would have liked to have done. None of us wanted to chuck in our apprenticeships or courses. If we’d had a flair for writing our own material, we might have taken off. But we just played what was popular, nothing different from most other groups. That wasn’t a basis on which to launch ourselves. So it never happened."

“We didn’t think that far ahead,” admits Richard Young. “I just thought of playing and getting repeat bookings. John was probably the least ambitious of all of us, to be honest. I think he felt that there was no mileage in what we were doing, although it was good fun. I think he had the impression that this was a hobby, a phase he was going through.”

Sometime in the Sixties, possibly 1969, but maybe earlier, Art recorded an acetate. Whatever the date, the crucial point is that John Deacon was present at the session. “We weren't asked to do it,” recalls Nigel. “We just wanted to make a disc. I think it cost us about five shillings.”

The venue was Beck’s studio, thirty miles south east of Oadby in Wellingborough, Northamptonshire. “I’d never been in a studio before and it seemed awesome, really,” recalls Dave Williams. “It was a fairly decent-sized room for acoustics. It was all nicely low-lit, with lots of screens. The guy knew what he was doing.” Richard Young was less impressed, though: I’ve been in studios all my life,” he says. “That was just another session. Nothing about it stood out.”

The “guy” Dave remembered was engineer Derek Tomkins, who informed the group that they could record three tracks in the time allotted. “We’d only gone in there with two, ‘Sunny’ and ‘Vehicle’,” says Nigel, “and we didn’t want to waste the opportunity, so Richard knocked up a little instrumental called Transit 3’ — named after our new van, the third one — right there in the studio. Although we were purely a covers band, everybody had a bash at writing, but we never did anything of our own on stage. The exception was Transit 3’, which was incorporated into the set after this session.”

“ Transit 3’ was about about the only track we ever wrote," reckons Richard Young (“Heart Full Of Soul”, as reported in ‘As It Began’, is in fact a Graham Gouldman nurnber). “I initially had the idea, but I can’t really remember anything about it. It’s very basic. It wouldn’t take a great deal of effort to write something like that.” To the objective observer, “Transit 3”, taped in mono but well recorded, is a fairly uncomplicated, organ-led scale- hopper, reminiscent of Booker T & the MGs.

“Everybody was listening to ‘Green Onions’,” confirms Nigel, “so Booker T would have been an influence there.” But for all that, it’s well- played, with memorable lead and twangy, wah-wah guitar passages courtesy of Dave Williams. And, crucially, John Deacon’s thumping bass is plainly audible throughout. On this evidence, the Opposition were clearly a tight, confident outfit. “Transit 3” could have been incorporated into any swinging ‘60s film soundtrack, and no one would have jumped up shouting, “Amateurs”!.

UNFAMILIAR

The other two tracks, covers of Bobby Hebb’s ‘Sunny' and the more obscure, soul- tinged ‘Vehicle’ (later a hit for the Ides of March), featured a vocalist, but an unfamiliar one: another of the Opposition’s fleeting frontmen. “We had a singer for a while called Alan Brown,” recalls Nigel. “He came and went fairly quickly. He was good, really good. Too good for us, I think. That wasn’t him saying that. We just knew it.”

On both songs, Brown is in deep, soulful voice, sounding not unlike a cross between Tom Jones and the early Van Morrison — if such an amalgam can be imagined. The Art’s reading of “Vehicle” is edgy and robust, dominated by Richard Young’s distinctive keyboards and Nigel Bullen��s bustling drum work. Dave Williams is again in fine form, delivering more sparkling wah-wah guitar, while on the cassette copy taped from Nigel Bullen’s acetate, at least, John’s bass is very prominent, over-recorded in fact, booming in the mix.

“Sunny” goes one better, breaking into jazzy 3/4 time halfway through, before slotting back into the more traditional 4/4. It’s an imaginative arrangement, with alternate soloing from both Dave and Richard, while the whole track is underpinned by swirls of Hammond organ and John Deacon’s pounding bass.

“We did ‘Sunny’ as part of our stage set,” says Nigel, “but I don’t recall us ever going into the jazzy bit. That’s quite interesting. We might have talked about that before we went into the studio, but I think it was just for this session. Dave had two guitars, a six-string and a twelve-string, or it could even have been twin-necked. I still quite like the wah-wah he played on that track. By this time Richard would have been onto his second or third organ — he was heavily into Hammonds and Leslies."

Operating as they did in a fairly ambition- free zone, and having prepared the listener for a mundane set of recordings with their trademark laid-back approach, Art’s acetate comes as something of a revelation. Let any bunch of today’s schoolboys loose in a studio for an afternoon and defy them to come up with something half as good!

Just two copies of the Art disc are known to have survived. John Deacon’s mother is believed to own one and Nigel Bullen has the other. “I’d forgotten all about this record,” admits Nigel. “We know that one copy was converted to an ashtray!. We stubbed out cigarettes on Richards at rehearsal one night.” Although treated with anything but respect at the time, the importance of the disc is now apparent to Nigel Bullen: “This is probably John Deacon’s first recording, apart from tracks he did in his bedroom on his reel-to-...[ ]

...[ ] reel, which are probably long gone. Although, knowing John, they’re probably not!”

The beginning of the end for Art came in June 1969, when John Deacon left Beauchamp. With a college course lined up in London, his days with the band were obviously numbered. He played his final gig with the group on 29th August at a familiar venue, Great Glen Youth and Sports Centre Club. By October, he’d moved to London to study electronics at Chelsea College of Technology, part of the University of London.

Another blow was dealt in November, when the band's lynchpin, Richard Young, left to join popular local musician Steve Fearn in Fearn’s Brass Foundry.

“They were a Blood, Sweat and Tears-type of group,” recalls Richard, “and paid better money than I’d been used to. I was out five nights a week, on about £3 per night, against an average of about £10 between us.” The previous year, Richard had played session keyboards on the Foundry’s two Decca singles: “Don’t Change It” (F 12721, January 1968, £10) and “Now I Taste The Tears” (F 12835. September 1968, £8).

SAVAGE

Ron Chester departed shortly afterwards, and gave up music: “I left in the early 70s, after John Deacon moved to London. John was replaced by a bass player was called John Savage, who unsettled me. He had different tastes and drove us a bit hard. His approach was totally different from Deaks's, and he was much more interested in the financial side of things. We’d all been mates before, we didn't just knock about for the band. It just wasn’t the same.”

Nigel, Richard and Dave pushed on into 1970 with the new bassist, changing the band’s name again, this time to Silky Way. They returned to Beck’s studio to record a cover of Free’s “Loosen Up” with another vocalist, Bill Gardener, but that was the band’s last effort. Dave left after falling into Nigel’s drumkit, drunk on stage at a private party one Christmas. “I waited for them to pick me up the next day,” he recalls sheepishly, “but they never carne.”

Richard and Nigel moved into a dinner- dance type outfit called the Lady Jane Trio — “Corny, or what!”, laughs Bullen — but Nigel left music altogether soon afterwards to concentrate on his college work. Richard turned professional, moving into cabaret with the Steve Fearn-less Brass Foundry, before forming a trio called Rio, finding regular work on the holiday camp and overseas cruise circuit. In the late ‘70s, he joined a touring version of the Love Affair.

Down in London, John Deacon caught a glimpse of his future world-beating musical partners as early as October 1970, when he saw the newly-formed Queen perform at College of Estate Management in Kensington. “They were all dressed in black, and the lights were very dim too,” he told Jim Jenkins and Jacky Gunn in ‘As It Began’, “All I could really see were four shadowy figures. They didn’t make a lasting impression on me at the time.”

While renting rooms in Queensgate, John formed a loose R&B quartet with a flatmate, guitarist Peter Stoddart, one Don Cater on drums and another guitarist remembered only as Albert. The new band was hardlv a great leap forward from Art: they wrote no originals, and when asked to perform their only gig at Chelsea College on 21st November 1970, supporting Hardin & York and the Idle Race, they hastily billed themselves — in a rare fit of self-publicity for the quiet Oadby boy — as Deacon.

A few months later in early 1971, John was introduced to Brian May and Roger Taylor by a mutual friend, Christine Farnell, at a disco at Maria Assumpta Teacher Training College. They were looking for a bassist. John auditioned at Imperial College shortly afterwards. Roger Taylor recalled Queen’s initial reaction to Deacon in ‘As It Began’: “We thought he was great. We were so used to each other, and so over the top, we thought that because he was quiet he would fit in with us without too much upheaval. He was a great bass player, too — and the fact that he was a wizard with electronics was definitely a deciding factor!”

How did the members of the Art/Opposition back in Leicester, view John’s success with Queen? “It wasn’t sudden”, says Ron Chester. “First we heard he’d got into another group. We couldn’t believe that — were they deaf? There were all these sort of jokes going along. Then we heard he’d got a recording contract and the next thing he had a record out. It was a gradual progression. No one dreamed he would end up the way he did.”

“I don’t think we expected success for any of us" admits Nigel Bullen. “Richard maybe. He was the first one to go professional. But when John left for London to go to college, he left all his kit here. I thought that was the end of it for him. He had absolutely no intention of continuing. His college course was No.1. It was only after he kept seeing adverts for bass players in the ‘Melody Maker’ that he became interested again.”

He also seemed to lose some of that ‘Easy Deacon’ touch which so impressed Dave Williams in the ‘60s. “He’d ring up these bands,” continues Nigel, “but when he found they were a name act, he bottle out. When he went to auditions for anonymous bands, where he would queue up with about thirty other bass players, he had a bit of confidence. He just wanted to play in a decent band. Once I heard what Queen had recorded at De Lane Lea, and John played me the demo of their first album, I thought they were well set.”

CABARET

By early 1973, Dave Williams had forsaken a career in animation to join Highly Likely, a cabaret outfit put together by Mike Hugg and producer Dave Hadfield on the back of their minor hit, “Whatever Happened To You (The Likely Lads Theme)”. While Dave was in the band, they recorded a follow-up single which wasn’t released, before evolving into a glam rock outfit, Razzle, which later become the Ritz, who issued a few singles. “During Queen’s early days, before they’d had any real success, John came to see us once,” recalls Dave, “and said, ‘I wish I was in a band like this which could actually play some gigs’.” Dave concludes: “I remember John coming round once around that time, saying I’ve got a demo’. ‘So have I!’, I said. So we put his on first, and the first track was ‘Keep Yourself Alive’. My mouth dropped wide open and I thought. ‘Bloody hell! What a great track’. I remember saying that the guitarist was as good as Ritchie Blackmore — who was still our hero then — and thinking ‘They’re serious about this. This is the real thing’.”

RECORD COLLECTOR Nº 198 FEBRUARY 1996

⬅PREVIOUS: SMILE

https://melisa-may-taylor72.tumblr.com/post/639672109315014656/queen-before-queen-the-1960s-recordings

➡NEXT: IBEX, WRECKAGE & SOUR MILK SEA

@natromanxoff, @mephisto92, @moviestorian, @x5vale, @39-brian, @onegoldenglance, @crosmopolitan, @an-abyss-called-life, @his-majesty-king-mercury, @i-live-for-queen, @brian-39-may, @toomuchlove-willkillyou, @brimaymay, @sail-away-sweet-sister, @drummerqueenrmt, @old-fashioned-roger-boy, @briianmaay, @inui-mycroft, @deacytits, @iminlovewithrogscar, @drowseoftaylor, @brianmayislongaway, @balticlover, @astrophysicist-guitar-god, @miez-lakatz, @brianmayoucease, @jesus-in-a-life-boat, @aslongasthereismusic, @roger-taylors-car, @silapril, @sherrifanciesfriskyfreddie, @tenderbri, @brianmydear, @thosequeenboys, @millionairewaltz-carpediem, @painandpleasure86, @bribrifrenchfry, @xlucylennonx, @a-night-at-the-abbey-road, @inthedayswhenlandswerefew, @madformeddowstaylor, @queenrogertaylorfan, @let-roger-get-a-lunch, @queen-for-life, @rethought, @drivenbybrianmay @mymakeupmaybeflaking, @old-but-still-a-child, @let-roger-get-a-lunch, @warriorteam1924, @funnydressesweirdhairanddance, @painkiller80, @thefanhuman13, @yourtieddownmother, @hgmercury39, @brimi-stardust, @thefairyfellermercury, @retroromantics, @sailawaysweetbrimi, @sophiaintheskywithdiamonds, @holybrianmaywritingbear, @lydiannode, @39-yellow-daffodils , @ure-gonna-loveme-when-u-seeme, @kaykaybeachgirl, @foxmonkey, @deakysgurl, @redspecialandclogsandcurls, @briansrainbowsocks-deactivated2, @delilahmay39, @ohmybribri, @bless-the-queen, @everythingaboutfreddie, @doitforthevine67, @recordsoftheseventies, @rhysjoejoshtomfarisblog, @tenementfunsterwithpurpleshoes, @drummah-in-a-rocknroll-band, @beatlegirl1968, @maylorsqueen, @autumnscenemcyt, @gralto, @alittlepeoplemagic, @rainbowsockbrian, @frejudy, @drivenbybri, @yourlocalmusicalprostitute, @saik-ava, @omb-xx, @sassymaylor, @somekindofroger, @starlightmay, @freddiemercuryismylife, @sunshine112, @chrysochromulina, @glitteryloveravenue, @deakyislife51, @0-primejive-0, @just-a-skinny-lad, @bluewillowmom, @sassiesillie, @stesichoreanpalinode, @farrokhbulsaramercury, @tayloredofqueen, @rushingheadlong, @izzy-is-slightly-mad, @scandalacious, @0-my-fairy-queen-0 @39-volunteers-to-space@zodiacaldust, @deakytaylor, @queenband70s, @deakyeveryday, @drivenbybrimay @70smay

#Queen Before Queen #Pre-Queen Series #John Deacon #The Opposition #🎤🎵🎸👑⭐

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nsfwsportsanimebabes · 3 years

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S/O with the best vibes headcanons

Description: can I request kuroo, and the Miya twins w a fem s/o or crush (whichever u want:3) who’s room has just like the most chill vibes, like they have a record player, lots of plants, books, fairy lights, and a cute colour theme that they just adore. Maybe like their first time coming to visit & staying till 2am cause it’s just so welcoming and calm?

Requested: YESSSS OF COURSEEEE🥺🥺🥺 this is so pure and I’m excited to get these hashed out for you🥺🥺🥺 honestly both your admins HARDCORE relate to these vibes. Like we both have these things scattered between our apartments. So you’re really pulling on some great vibes here. I’ll try not to go too overboard 😉☺️

A/N: soooo uhhh. I’m not dead.. lolol. Just kinda reallyyyyy lost any motivation to write for not only this blog, but any writing in general honestly. BUT this blog is still kicking, we do still take requests in, and love seeing them. I plan on doing a few more requests and/or WIPS that motivation comes for.

Also..I apologize if Osamu’s isn’t the greatest, I did his first and this is the first scenario type post I have done in a longgggggggg time. But regardless hope you all enjoy! ~Admin Crow 💚

Miya Osamu

“and if you push this button on the remote you can totally change the colors to the lights too. Pretty neat right?”

To be honest, Osamu didn’t hear much of your explanation of all the things in your room. Mostly because he was overwhelmed by the pure vibes coming from your room. He was a little surprised that you had invited him over to study. You two hadn’t been dating for very long, so inviting him over to study, in your bedroom no less, had taken him by surprise. But of course curiosity got the best of Samu, so he wasn’t about to turn down this opportunity. Looking around, he noticed the way your lights were set up to give off whatever color you wanted to hit every corner of the room. And how your cute little starter plants overtook your dresser. Candles of specific colors adorned your bookshelf where you had organized them by color to match an obvious theme you were going for. Osamu especially enjoyed the record player that had music softly playing; the record turning slowly to match the music coming out of it. He’d have to investigate your books and records later when you showed him your favorite ones.

He took in the way your lights had pictures hanging from them, most of them were pictures you had taken with your friends. But he noticed the corner by your bed had ones the two of you had taken together. For some reason Osamu found that really sweet.

“Samu? Did you here me? Hello, earth to Osamu.” you called out, trying to gain the attention of your boyfriend, who had been staring at your fairy lights after taking in your room for a solid 3 minutes without looking or acknowledging you comments. You were nervous about what his response to your room would be. The way you decorated your room was in a way that really showed who you were, and you didn’t want to just share that with anyone.

Osamu finally realized you were calling him and turned to look at you with a lazy smile noticing your slightly guarded look and could tell you were waiting for a response. “Come here F/n, there’s no reason to be anxious, I totally think your set up is amazing. Show me more?”

Miya Atsumu

“You have so many books F/N! How the hell do you afford all of these!?” Atsumu had never seen so many books outside of a library in his life. The fact that you had two full size, five shelf book shelves in your room side by side. Each bookshelf adorned with rows and stacks of books taking up every possible space that you could cram a book into.

You rubbed the back of your head blushing slightly “well....I found most of them at bookstores, thrift stores, sales, friends and family who gave them as gifts...” you rambled, not sure what his response would be.

Atsumu ran to another corner of your room immediately starting to flip through your almost equally impressive stack of records. When you had invited Atsumu over to work on a school paper together, you didn’t know what his thoughts of your room would be. Even though you two had been best friends since you were 6, he had yet to been inside your room. Although your locker at school had a lot of similar vibes as your room, a few mini plants you had snuck into school were on the top shelf, pictures adorning your locker door, and other things gave Atsumu an idea of your inner vibes.

It was something he really loved about you. He would be lying if he didn’t admit that he was dying to see what your room looked like. Any chance to get closer to you was really his end goal. I mean, he’s been trying to go over to your place for years to be shot down every time. But the opportunity had finally arrived and you had caved, finally allowing him the opportunity into your private life.

“Hey F/N, got any secret journals hidden amongst all of these books full of secrets you haven’t shared with me?” he teased going back to the books scattered over your desk.

Sighing, you sunk into your corner of comfy, plushy bean bag pillows and called for him to join you “Knock it off Tsumu, get over here and sit down so we can work on this paper please?”

Atsumu took one look at the comfy looking pile before taking three long strides and plopping down onto the one next to you, jostling you and your laptop in the process. “I could really get used to hanging out here F/N. I say we start having movie nights at your place. In fact, let’s just do everything over here from now on.”

“Don’t push your luck there Tsumu.”

Kuroo Tetsurou

“can I choose the next record F/N?”

Looking up from your sketchbook, you noticed your boyfriend looking over at you with a lazy look. To be honest, he looked completely at home, fitting in with the glow of the fairy lights that you had dimmed just enough to allow you guys to see what you were doing.

Kuroo had been surprised when you suggested doing homework together at your house, since his room was the usual hang out spot, unless you chose to be outside in nice weather. It’s not that he didn’t think you didn’t want him in your room, he was just usually the first to suggest studying over at his place.

But seeing the way your room just gave off vibes that were purely, you, had Kuroo ready to study and hang out here all the time. He found your room a chill environment, but still productive enough that he wasn’t wasting his time studying. He had particularly enjoyed flipping through your pile of records, and naming off fun facts of all the cute plants you had scattered in perfect places in your room to capture the sunlight.

You nodded at Kuroo’s question, returning to your sketchbook, immediately getting lost in the drawing you were working on for class again. A few minutes later you recognized the soft melody of your and Kuroo’s favorite song coming from the record player. Suddenly two strong, volleyball and chemistry note taking worn, hands gently took your pencil and sketchbook from you. Setting them down next to you before pulling you to your feet and into your dorky boyfriend’s arms.

“Tetsu you cannot dance for your life. What are we doing?” you laughed, letting him pull you close and swaying with him.

“I can’t dance?! Excuse me have you not seen the grace and beauty that I have on the volleyball court? What makes you think I can’t use that to dance with my beautiful girlfriend?” he defended, although you both knew you were right.

Laughing you took control, despite the obvious difference in sizes between you two, and spun under his arm, enjoying the quick way he caught himself from tripping. Whether the two of you could dance or not, it didn’t matter. Spending this time with Kuroo was like the world had stopped moving around you. If you could spend forever here in his arms in your room forever you certainly would.

Although it wouldn’t be spent dancing as Kuroo ruined that moment by throwing you over his shoulder and flopping down on your bed deciding it was time for cuddles while enjoying the rest of your album playing your favorite songs. The two of you laughing and sharing special secret moments that would stay inside your four bedroom walls for eternity.

#Haikyuu Scenarios #Miya Osamu #Miya Atsumu #Kuroo Tetsuro #Osamu x Reader #Atsumu x Reader #Kuroo x Reader #Miya Twins #Inarizaki #Nekoma #Haikyuu!!#thank you for a fun request #I enjoyed it so much!#Admin Crow

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caravelmp3 · 4 years

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i could drink a case of you, darling

pairing: jake kiszka x female!reader warning(s): alcohol mention, we get a makeout sesh word count: 3k synopsis: (y/n) and jake head back to his place after meeting and hitting it off in a l.a. bar. with vinyls & drinks and a bit of the heat of the moment, things are bound to take off note: hi lovelies !!! this is the first gvf-related writing i have done since becoming a fan and i’m quite nervous about posting it & it’s also the first thing i have wrote in a few months so i hope it’s coherent hahaha :) i hope you all enjoy !! x

Warm summer wind whipped (Y/N)’s hair around as she stood on the sidewalk of Hollywood Boulevard. Street lights and neon bar lights filled the sky and the streets below, bouncing off the ground, reflecting in Jake’s dark eyes as she instinctively leaned against him, hand sliding around his forearm for support. They stood among the throngs of people walking the street, those outside of the bar smoking a cigarette or asking for a light, and those standing outside waiting for a chance to dive behind the packed doors of the 70s-esque bar they just escaped from. It seemed like everyone in Los Angeles was spending their Friday night in the city, just like them.

Jake turned to (Y/N) when she touched the inside of his arm, and he locked the phone in his hand, shoving it back into the pocket of his jacket. “Think the Uber is just around the corner,” he said.

“Should we tell everyone that we’re leaving?” She asked, using her head to nod in the direction of the bar behind them. Just behind the doors, across the room filled with loud voices and music, their friends (and siblings) were inside, drunk and completely unaware that they had escaped their line of sight. “Or should we just let it be a surprise in the next five minutes when one of them goes to the bar and realizes we’re not there?”

Jake licked his lips, and around the corner, he spotted a white car turning down the street - it matched the image in his head from the Uber app. It was their ride. “I think we should let it be a surprise.” He said with a smirk.

She laughed, but didn’t know if it was from the alcohol pumping through her veins or the mental image of both their friend groups drunkenly stumbling around the bar, yelling their names in an attempt to find them when in reality they were whisking across the city, but she laughed anyway.

“They will kill us,”

“Oh absolutely,” Jake said before throwing up a hand, signaling the white car to them and letting them slow down to a stop in front of them.

(Y/N) felt Jake pull away from her touch as he stepped down off the sidewalk and opened the back door to the car, poking his head in and talking briefly to the driver. Under the muffled music from inside, she caught him asking the driver for his name, and a second later Jake stood up and turned to her with a smile.

He took a swift step up to the sidewalk, hands motioning to the car. “Your chariot has arrived,” He was tipsy. So was she.

With a playful eye roll to his cliche line, (Y/N) shouldered her purse and stepped down off the sidewalk to the street, and she slid into the backseat of the car. Scooting in, Jake followed right behind her, their thighs pressed together as the driver sped off, following the directions to the house on his phone. The music in the car was low, just enough to hear what it was, but (Y/N) and Jake weren’t paying attention to anything but each other. She shifted to face him, his hand sliding to touch her knee through the material of her jeans, and they were talking, they were giggling about anything and everything, yet nothing at all.

The orange street lights bounced in and out of the car the further they drove though East Hollywood, and she paused and admired him. Two hours ago they were mere strangers downing shots a table adjacent from each other, an hour ago they were laughing while dancing to Stephen Stills on a hammock-laden patio under string lights as those they came with cheered them on between rounds of beers and cocktails, and she never pictured her night ending by going home with someone.

But she felt it when they talked, when they brushed hands, when they laughed. It felt like being with your best friend. They were two strangers in two different industries, but when they argued over Beatles versus The Rolling Stones before falling into singing whatever came on next on the jukebox, it felt like they had done it all before.

“Oh god it’s almost one a.m.,” (Y/N) cursed under her breath as she glanced away from her cocktail to the watch on her wrist.

Jake swooped in behind her, settling down on the bench to her right. She looked up at him with shining eyes and smiled, but there was a slight tug on her lips. “Got somewhere to be in the morning?”

“No, I’m just supposed to go out tomorrow with some friends.” She looked forward, gaze darting across the room to where both her friend group and Jake’s were ordering standing around a picnic table next to the hammocks. “I might get an Uber and let you all have your fun.” When she reached into the side of her purse for her phone, Jake was quick to deflect her decision.

“Hey, hey, hey,” he reached out, placing a hand on her bag, and she raised a brow at him. He smiled, cheeks flushed and wisps of hair flying in the wind. She watched him pause as if he was thinking of what to say, then lick his lips before speaking up again. “I don’t want you to get an Uber alone. That’s sketchy.”

(Y/N) smirked. “So what are you thinking?”

“I’ll get an Uber, “he used his free hand to motion to the sky, “and you can come back to ours. I can show you all of those records that we talked about earlier. Maybe even let you borrow one or two.”

“Oh, lucky me,” she grinned, obviously teasing him, and he chuckled. (Y/N)’s eyes scanned him quickly one last time - her brain ticking, determining whether or not going home with a stranger was how she wanted to end her night. And when his soft brown eyes met hers, she was a goner. “You get the Uber,” and Jake let out another chuckle, hand diving to the pocket of his jacket for his phone.

And half an hour later, after battling late traffic of East L.A., the two stumbled out of the backseat of the car and onto the sidewalk of a tiny residential area. With many rushed thank-yous, Jake shut the door and led (Y/N) to a small gate hidden between trimmed bushes, and he punched in a code before they stepped inside.

While it wasn’t necessarily (Y/N)’s first rodeo, she did feel that kick of nerves in her stomach as she followed Jake into the house. Her heart was racing and stomach was full of nerves while he seemed so casual, tossing down his keys and flicking on the lights, heading to the kitchen while asking if she wanted a beer.

“Yeah, I’ll take whatever you have.”

Placing her bag down on the foyer table, she pushed further into the house, her eyes following a path of light from a room off the large living area. Peering inside, out of her own curiosity, she noticed a shelf on the wall full of records, and her feet led her inside. Her eyes drank in the sight of the vinyl's, the record player sitting in the corner of the room just waiting to be used.

Her eyes scanned the wall, looking at the different colors, the pictures, the fonts, imagining herself listening to them all. “You guys have Joan Baez records?” She beamed, speaking over her shoulder to Jake in the kitchen.

Jake glanced up at her through the doorway, noticing her head craning back, staring up at the top shelf, and he smiled before screwing off the caps of the beers and crossing the distance between them. “I wasn’t joking when I said we grew up listening to literally everything.” He strolled into the room and (Y/N) glanced back with a matching smile, taking a beer from his outstretched arm, and then returning her eyes to the shelf.

“My parents loved Joan Baez, mostly because she was the muse behind so many Dylan songs.” She turned her body towards him, their eyes meeting a second later and she quipped a brow. “Odds on having a Joni Mitchell record?”

Jake’s eyes then darted to the wall. “More likely than you think,” and he stepped over and hooked his hand around the rolling ladder on the wall and slid it a few rows over to them. She watched as he took a step upon the ladder, and then another, reaching at the top shelf. “Which one - Ladies of The Canyon? Blue? For The Roses?”

She reached out, holding onto the edge of the ladder while humming. “Surprise me,”

Jake clicked his tongue, fingers fiddling with the vinyl before plucking one out. He held it out to her and she took it from his hand - noting the dark and light colors contrasting beautifully. It was Blue, her 1971 album.

While he climbed down the small ladder, (Y/N) crossed the room to the corner where the record player sat next to a small lamp. She flipped on the lamp and flipped on the record player, pulling the record from the sleeve placing it on the turntable, then dropping down the stylus in one swoop. It started with All I Want. Joni’s soothing voice filled the room and she turned to Jake with a smile.

“Is that your record?”

He lowered down onto a chair, knees spread as he leaned back. “Think it’s Sam’s. We had so many duplicates of others when we moved in that we eventually just donated them all.” He explained and she gave a nod in response.

Instead of taking the chair across from him, (Y/N) crossed the distance between them and lowered down onto the hardwood floor, placing herself right at his feet. She took a sip of her beer, crossed her legs, letting her shoulder brush his thigh while leaning against the chair. And they sat in silence for a moment - losing themselves in the sound of Joni’s voice, in the tapping of their hands and feet to the beat, in the sway of the melody of each song on that side of the record.

In the midst of Carey, Jake tilted his head to the side and looked down at (Y/N) at his feet. His free hand reached out, touching the skin of her shoulder, her neck, fingers twiddling with her hair. She felt his fingers graze over the back of her neck and she instinctively tilted her head back, and then she glanced over her shoulder to him.

“Are you playing with my hair, Jake?” She teased and he let out a deep chuckle from behind her.

“It was so tempting,” he explained, hand then touching her shoulder, the side of her neck, and she felt her body melt right into putty.

“That’s funny,” she shifted, turning to him.

Jake raised a brow. “Why’s it funny?”

And her eyes went straight to his hair. It was the second thing she noticed about him after his smile. His brown hair was long, hanging down past his shoulders, laying perfectly on the maroon corduroy jacket he was wearing.

She lazily rested her cheek on the armrest of the chair, staring up at him with glossy eyes that had his heart racing. “Because I have wanted to play with your hair all night.”

He smiled wide. “Well all you had to do was ask,” and he hastily slid down off the chair to her hip, both laughing while he came crashing down next to her.

Legs tangled with drunken laughs, (Y/N) reached out, guiding her fingers straight through Jake’s long hair. His hair was soft, and they were so close she could smell his cologne on the collar of his shirt, making her head spin even faster. Jake leaned into her hand as she ran her fingers through the strands, finding it so soothing, and he looked at her, causing her to smile warmly at him.

“This what you waited for?”

“Like a dream came true,” she joked and they cracked smiles, “I’m mostly jealous though. Your hair is better than mine.”

“Well, if it makes you feel better,” he motioned lazily to her leg, “I’m jealous of your boots. Wish I could pull those off as well as you do.”

And she raised her foot up, the dark blue and sparkly boots glimmering in the low lighting of the room, and she shook her foot before placing it back down to the floor with a thump to the rug. “I feel like you would pull them off well. Pair them with any stage outfit and you’ll be Bowie up on that stage.”

Jake leaned his head back against the chair and she shifted her knee over his thigh. She had her cheek resting against her own arm, fingers gently working in the strands of his hair. His eyes focused on her, on her flushed cheeks and red lips, glossy eyes, and he felt a kick of courage in his veins.

“What would you say if I told you that I spent all night fighting the urge to kiss you?”

(Y/N) stilled, her eyes searching his face, but she felt a kick in her chest, the butterflies filling her stomach. The guy she spent the entire night pining over was wanting to kiss her. And she felt like she was in a damn dream - hitting it off with a long-haired rockstar and sitting on their floor, tipsy, listening to vinyl.

“I would say that you are a fool for not doing it.”

Out the corner of her eye, she saw his hand raise up, the back of his fingers rubbing across the apples of her cheeks, and then his fingers slid to her neck and pressed against the nape of her neck, and she allowed him to pull her closer until their lips met.

(Y/N)’s eyes fluttered shut as she felt his mouth press against hers, her body simultaneously busting at the seams while molding against him when she leaned in closer. His lips were soft, his skin was warm, her head was swirling. A second later she pulled back, nose nestling against his, and then she licked her lips before tilting her chin upwards and capturing his lips with hers again.

The second kiss sealed their fate.

Her lips parted when she took a small breath, and then she met his mouth again, over and over again while their bodies propelled them forward. Jake’s hands traveled down her body, touching her back, her hips as her fingers dived deeper into his hair, holding his head. When her lips dragged across his, his hands pressed against her lower back, and then her thigh, gently pulling her into his lap when she raised her knee to slide across his hips. Settling in his lap, their lips reconnected, this time more rushed, sloppy, heated.

A slow and wavering breath left her lips when Jake’s cold hands met her waist - his skilled fingers traveling under the hem of her sweater and pressing against her hot skin, igniting her from the inside out as they kissed and kissed, and kissed again. She parted her lips and his tongue was in her mouth, and she could taste the hoppy beer, the nicotine on his breath from their smoke break before they escaped the bar into the night together.

Jake’s lips broke away from hers and his head lolled back when she pressed her lips against his cheek, his jaw, trailing down his neck. He could feel his heart pound rapidly against his chest as she met the tender skin of his throat, and his fingers instinctively gripped tighter at the skin of her hips. Their lips reconnected for just a second before a noise ripped through the room - it was the typical Apple ringtone.

The noise startled them and they quickly pulled back from each other, looking around to see where the source of the noise was coming from. It was echoing from just outside of the room where they had placed their phones after coming in. When they realized it was their phones, they looked at each other - swollen lips and flushed cheeks.

“Five dollars says it’s yours,” (Y/N) said quickly.

Jake chuckled, his hands falling from her hips to her thighs, thumb rubbing along the seam. “And five says it’s your friends,”

She quickly pulled her leg from his hip and leaned back, letting him stand to his feet. He quickly jogged out of the room and turned the corner to the foyer table, and a second later, he reappeared in the doorway with a grin while holding onto her phone with an illuminated screen.

“Fuck,” she laughed, holding out a hand. He crossed the space between them and handed her the phone. The annoying ringtone stopped a beat later when she answered, and Jake busied himself with the records, walking over to change the vinyl to one he had in mind.

“Hey,” he heard her answer to her friends. “Are you guys still at the bar?” She asked next.

He plucked a record from the sleeve and twirled it to the A-side, then placed it down, dropping the stylus onto the right spot to let it start playing.

(Y/N) leaned on her hip, watching as Jake changed the records, but still paying attention to the loud sounds of the bar on the other end of the call - the yelling, the music, the cheers followed by clinks of glasses. And then she heard the album Jake put on to fill the space of the room - it was the first track of Some Girls, the 1978 Rolling Stones’ album. Their eyes met and she couldn’t help but laugh - just an hour or so ago they were arguing about the Beatles versus Stones between shots, and now he was making her pay for choosing the Beatles.

“Anyways,” her friend sang through the speaker, “are you okay? Are you safe?”

Jake spun around and pointed at her dramatically while then pretending to play air-guitar and (Y/N) beamed. “Yeah, I’m in good hands, no need to worry,”

#jake kiszka imagine #jake kiszka one shot #great van fleet imagine #greta van fleet one shot #gvf imagine #gvf one shot #jake kiszka

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howaminotinthestrokesyet · 3 years

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Behind The Album: In Utero

The third and final studio album from Nirvana was released in September 1993 via DGC records. The band wanted to make a clear departure from how their second album sounded. They felt that their huge hit album, Nevermind, was too polished as a record. The producer of that second LP, Butch Vig, would later note that Kurt Cobain needed to “reclaim his punk ethics or cred.” For his part Cobain would tell Rolling Stone in early 1992 that the record would have elements to it much more raw then found on the second album. However, he did emphasize the fact that the pop sound would not disappear entirely. He had hoped to start working on it l in the middle of 1992, but distance between band members getting together was an issue as they all lived in different cities. Another issue came in the fact that Courtney Love was expecting their first child. DGC was hoping to release a new record by Christmas of the year, but instead they were forced to go with the compilation album of all the early material from Sub Pop, Incesticide. For In Utero, Cobain showed interest in working with former producer of Bleach, Jack Endino and Steve Albini. They brought in Endino to work on a few instrumentals for the record that were eventually re-recorded, and he was never asked to produce in any capacity. The group went back and forth debating whether to hire Albini or not. In January 1993, the group recorded another set of demos while on tour in Rio De Janeiro, Brazil. This would later become the track, “Gallons of Rubbing Alcohol Flow Through the Strip,” which originally had the working title of I’ll Take You Down to the Pavement. The latter represented a direct reference to an argument between Cobain and Guns N’ Roses frontman Axl Rose at the 1992 MTV Video Music Awards. The band finally decided to go with Albini as a producer despite his reputation of strict discipline within the studio and remaining one of the most opinionated producers out there. He was said to have referred to Nirvana as “REM with a fuzz box, unremarkable Seattle sound.” He would later say that his decision to work with the band came out of sympathy, feeling smaller groups like Nirvana were at the mercy of the record label. This particular statement should be taken with a grain of salt as Nirvana had just released the biggest record since Appetite for Destruction. Cobain had been a fan of the producer based on his work with the Pixies and the Breeders.

Producer Albini wanted to complete recording within a strict two week timeframe. Nirvana paid for the recording sessions themselves on Albini’s suggestion to avoid interference from the record label. The band paid him $24,000 for his services, while he refused any royalties whatsoever, which would have amounted to $500,000. He would continually say that royalties were immoral and a complete insult to the artist. They recorded at Pachyderm Studios in Cannon Falls, Minnesota in February 1993. Krist Novoselic would compare the environment to a gulag. “There was snow outside, we couldn't go anywhere. We just worked." Nirvana during this time emphasized to the record company that they wanted absolutely no interference from them, which meant they did not share anything from these sessions with their A & R representative. For his part, Steve Albini followed suit by only speaking with members of the band. He characterized anyone associated with the group as “pieces of shit.” After a short delay, the band's equipment finally arrived, so the actual recording of the album went very quickly. Each track began with the group playing together as one doing the instrumental aspect of it. For some tracks, Dave Grohl did the drums in the kitchen due to the natural acoustics sounding better. Albini had also surrounded his drums with 30 microphones for each track. They did not remove any take from the album, but instead kept them all. Cobain even added more guitar parts at the end of each day before doing the vocals. Although Albini had a reputation for being opinionated, he let Nirvana decide what to keep. “Generally speaking, [Cobain] knows what he thinks is acceptable and what isn't acceptable [...] He can make concrete steps to improve things that he doesn't think are acceptable." They did all of their musical work in six days, while Cobain said that it was the easiest recording he had ever done. Albini proceeded to mix the album in five days, which actually was slow by his standards because he usually only spent 1 to 2 days on it.

After completion, the band began to send the unmastered tapes to various people including the president of the DGC records. They absolutely hated it saying the songwriting was mediocre, the entire album was unlistenable, and radio would never except Albini’s production. Cobain took the comments personally to mean that the label wanted him to start from scratch and record again with a new producer. He would say, “I should just re-record this record and do the same thing we did last year because we sold out last year—there's no reason to try and redeem ourselves as artists at this point. I can't help myself—I'm just putting out a record I would like to listen to at home." Yet, the group remained dead set on releasing this version of the record as late as April 1993. They had played it for a number of their friends, who had liked it. The singer said, “Of course, they want another Nevermind, but I'd rather die than do that. This is exactly the kind of record I would buy as a fan, that I would enjoy owning." Around this time, some doubts crept up with all members of Nirvana because the mix of In Utero did not sound right. They asked Albini to possibly remix the record, and he flat out refused. “[Cobain] wanted to make a record that he could slam down on the table and say, 'Listen, I know this is good, and I know your concerns about it are meaningless, so go with it.' And I don't think he felt he had that yet ... My problem was that I feared a slippery slope." They took the record to Bob Ludwig for mastering, while at the same time mentioned their issues with the mix to him. Upon completion, Krist Novoselic said he was happy with the result, but Cobain still felt it was not perfect. At this time, Steve Albini gave an interview with the Chicago Tribune, where he doubted whether the record would ever be released. Newsweek would run another article that echoed the comments made by Albini. This caused Nirvana to write a full page letter to the magazine denying the label was putting any undue pressure on them. The same letter would be reproduced as a full page ad in Billboard not long after. The head of Geffen Records, who owned DGC made the unprecedented move of actually calling Newsweek to complain. The band thought about having Andy Wallace remix the release, but once again Albini refused saying they had only agreed to work with him. At the time, the producer also would release any of the tapes that were now in his possession. He only did so after a phone call from Krist Novoselic. The entire album for the most part was not changed at all, except for a remastering. Yet, the producer continually made comments that it was nowhere near the album he recorded in Minnesota. “The record in the stores doesn't sound all that much like the record that was made, though it's still them singing and playing their songs, and the musical quality of it still comes across." He would go on to say that major labels refused to work with him for the next year or so because of In Utero.

As for the music, the producer wanted to go as far away as possible from Nevermind with this record. He felt that the second album made the group look incredibly bad because it had been overproduced at such a level to make it extremely radio friendly. He wanted to create a much more natural sound for the group. The 1993 Nirvana biography, Come As You Are, noted the vision for the band on this record. “The Beatlesque 'Dumb' happily coexists beside the all-out frenzied punk graffiti of 'Milk It,' while 'All Apologies' is worlds away from the apoplectic 'Scentless Apprentice.' It's as if [Cobain] has given up trying to meld his punk and pop instincts into one harmonious whole. Forget it. This is war." If one goes through the track listing, you can count which tracks are over the top punk, and which tracks are more radio friendly pop. The interesting thing is that they correspond equally, 6 to 6. Fans and critics alike would talk about how abrasive In Utero turned out to be, but Cobain and Novoselic really did not see it that way. The bass player had said the band had always had songs as they are found on In Utero. Yet, the group did consciously try to bring fans into the more punk sounding songs by releasing the first two singles that could have realistically been included on Nevermind. Some of the songs found on the record had been written years prior as early as 1990. Cobain used various points of inspiration for the lyrics. The track “Frances Farmer” came from a 1978 biography of the Seattle figure called Shadowland. “Scentless Apprentice” originated from a horror novel that the singer had read by Patrick Suskind. One of the central themes found on the album noted in that same Nirvana biography from 1993 was the fact that every song talked about sickness or disease in some manner. Although Cobain said the lyrics were very impersonal to him, many disagreed with this assessment. Dave Grohl would say this in an interview. “A lot of what he has to say is related to a lot of the shit he's gone through. And it's not so much teen angst anymore. It's a whole different ball game: rock star angst." The singer continued to argue that much of the album had been written years prior to any issues he was going through at the time. For example, “Rape Me” quite possibly could be talking about his frustration with the media in how he has been portrayed over the past couple of years. The track “Serve the Servants” seemed to specifically talk about Cobain’s father and how divorce affected him from a very early age. The Nirvana frontman wanted his father to know that he did not despise him, but he also had no desire to be around him whatsoever. One track, “Gallons of Alcohol Flow Through the Strip,” was actually one of the only improvisational tracks they ever recorded. The song represented a jam session that the group would frequently participate in in during down times at the studio. They had done this quite often, but this would be the first time that it was ever recorded in some form.

Upon its release, the record label took a very low key approach to promoting the album. None of the singles would come out commercially in the United States, as they concentrated all of their press releases at media specializing in alternative music. The band remained convinced that there was absolutely no way that In Utero would sell even a quarter of what Nevermind sold. The record would debut at number one on the charts selling 180,000 copies in its first week. They sold this many copies without big retail chains like Kmart and Walmart selling it because officially the demand was not there. The truth was actually these chains feared backlash due to the graphic nature of the artwork accompanying the album. In March 1994, an edited version of the album would be released with new artwork and alternative song titles. The band made this concession saying they wanted fans who could not go to a traditional record store to be able to purchase the LP. Following the death of Cobain. the third single “Pennyroyal Tea” was canceled, as well as any tour plans. Immediately following his death, the popularity of In Utero on the charts increased by 122% from 72 to 27. The album would eventually be certified five times platinum.

Critics were not unanimous in the praise of In Utero. For the most part, rock writers really liked the new sound from Nirvana. Time’s Christopher John Farley noted that once again perhaps the mainstream may need to go to Nirvana, rather than the other way around. David Browne of Entertainment Weekly emphasized the absolute contrasts on the release. “The music is often mesmerizing, cathartic rock & roll, but it is rock & roll without release, because the band is suspicious of the old-school rock clichés such a release would evoke." David Fricke of Rolling Stone would say that the record was both “brilliant and corrosive,” but undoubtedly a “triumph of the will” for Kurt Cobain. NME’s John Mulvey did not share the same sentiment as he observed the album really was not up to par with previous Nirvana standards. The review from Plugged In did not mince words saying it had absolutely no redeeming value whatsoever. Some reviews became quite bittersweet as you are reminded of Cobain’s suicide. Q said this about the record. "If this is how Cobain is going to develop, the future is lighthouse-bright." Ben Thompson of the Independent merely seemed happy that the record did not represent the punk rock nightmare the group had continually threatened to release. In Utero would go on to top several end of the year lists as one of the best albums including Rolling Stone, Village Voice, and the New York Times. The band would even receive a Grammy nomination in 1994 for Best Alternative Album. As time has passed, critics have lavished even more phrase on it seeing their work with Albini as far superior to Nevermind. Charles R. Cross would write in his Cobain biography, “If it is possible for an album that sold four million copies to be overlooked, or underappreciated, then In Utero is that lost pearl." Pitchfork named it the 13th best album of the 1990s, while it even made Rolling Stone’s list of the 500 Greatest Albums of All Time. NME named it number 35 on its greatest albums of all time list creating quite a sense of irony since the periodical did not think too much of the album at the time of its release.

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velianmagicalgirl · 3 years

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An Important Anniversary

So today’s Christmas! Merry Christmas everyone, I hope you had a good one. So anyway, I’m going to write something I’ve kinda wanted to write about for a while now but never knew when to do it it or if I even should. I wondered if anyone would care or if it was selfish of me to want anyone to care. But I’m doing it because I know I want to and if I don’t I’ll be mad at myself for that too. So this is going to be a bit personal (and probably a bit long because I have a tendency to ramble) so if you don’t want to read it, feel free to skip but I would appreciate it if you did read it :)

So like I said, today is Christmas and I want to talk about something quite important to me that happened on this day last year. So last year I was in a pretty different place then than I am now (like most of us). I lived in Florida then, and now I live in South Carolina. I had just finished my first semester at my university and I was about to turn 21 (my birthday’s in January).

So anyway, it came time to open presents, and among other things, my parents got me a record player which I was super excited for (I planned to buy one myself so I was pretty happy I wouldn’t have to spend the money :p) and one of the records my parents had gotten me was *drumroll please* The Joshua Tree by U2! Now, this wasn’t a complete surprise to me (well it was a surprise that they got it for me, what a coincidence) but I had actually heard of this album and this band before...

This is the story of how the universe tried to get me to listen to U2 since I was freaking 12 and I’m so dense I kept ignoring all the *signs* until last freaking year.

Let’s time travel back to 2012 (sometimes I wish I could...) So I’ve done some thinking and this is the first time I can remember ever hearing anything about this band named after a Cold War era spy plane. Now I’m not exactly sure what year this was, it may have been 2011 but 2012 kept popping up in my head while I thought of it. So at this time I was 12-13 years old (depending what year it was) and I was in 6th grade. Yes hello, I am a child. So, really the whole memory is my mom talking to me, saying something along the lines of “That’s Bono! You know who Bono is right? Come on, everyone knows who Bono is! You know, the Irish guy?” and I remember being like “oh yeah!” pretending to remember just so she would leave me alone. Either I had a very vague memory of hearing that name before or I really had no idea who she was talking about and just wanted her to leave me alone. This whole thing would explain why, up until last year, whenever I thought of him, I thought of him in his 360 look. Even now, that’s like his “default look” to me haha. When I think about it, it feels like this was all in relation to American Idol which would make sense because I was in love with that show at the time and I had a huge crush on one of the contestants that year, a country singer named Scotty McCreery (I think he ended up winning too). I had a huuuuge crush on him, just ask my mom.

Anyway, that’s my first memory of them. I guess it doesn’t have to do with U2 as a whole but it’s about Bono so...

So fast forward about two years. I originally wasn’t going to include this but I just thought of it so in it goes. It’s 2014 now, I’m 15, just moved to Florida and I’m about to start high school. I also just missed out on getting a super cool new free album on my phone because my dumb dad (accidentally) broke my iPhone by dropping it in water. Thanks Dad. So in late August-early September (before September 9th obviously) I get a new phone but end up getting an Android. So I literally by just a few days miss out and getting that. Noooooooo.

So anyway back to our regularly scheduled program of what I was going to write about. So next year, it’s 2015 now, I’m 16 and about to do a bunch of Stupid Things™ that it seems everyone is required to do while they’re in high school *sigh*. But we’re not going to get into that (😅). This is another vague memory I have. I just remember having some sort of conversation with my mom about music. And somehow, I end up with the knowledge of The Joshua Tree by this band U2. I don’t really remember how specifically it happened, I just now it had something to do with her. I do have this specific memory of sitting in the computer lab during one of my classes and listening to the album. Except, for some reason, I only ever listened to the first three songs. Seriously. Why? I have no idea. What was wrong with me? And I liked them (especially the first one). I remember not liking the third one very much (hahaha... how that’s changed...) So I liked them, but for some reason they just didn’t catch on in my head (and I didn’t listen to the others... FOR SOME REASON *kicks self*).

So anyway, time goes on and I mostly forget about those three little songs. Until February-ish 2018. I’m now 19 and about to graduate high school in a few months (scary). Anyway, I pick up this book at the school library one day called The Memory of Things (by Gae Polisner, it’s actually one of my favorite books, if not the favorite. I really recommend it). So basically the main character Kyle is a pretty big U2 fan. That’s not really the plot or anything but that’s a big part of his character. There’s a part where he’s looking online at pictures of the recent Slane Castle concert during the Elevation Tour and he’s like “I wish I was there” (me too). There’s also a part where he gives one of his friends his PopMart shirt. There’s also a chapter called “Achtung Baby” (I was like “what the heck is an achtung”) where one of the things that happens is he talks about how he likes the song Mysterious Ways (can’t argue with you there buddy).

So a few months later, I find this movie called “Extremely Loud and Incredibly Close” on Netflix (also a really good movie, highly recommend, I don’t know if it’s on Netflix right now though) and I’m one of those weird people who likes to watch trailers for movies they’ve already seen so I was watching one of the trailers and Streets started playing and I was like “hey I remember this song!” and got me to start listening to it again (not the other three that I’d listened to before, or the other ones FOR SOME REASON *sigh* Also, here is the trailer if you’re at all interested).

So fast-forwarding again to 2019. Last year. So like I said, I’m about to turn 21 and I open up one of my Christmas gifts to find that my parents got me a Joshua Tree record. I get excited because I’m like “Oh I remember this!” and I remembered I never actually listened to the whole thing before. So finally AFTER FIVE FREAKING YEARS, I finally listen to the whole thing. And I really liked it. A lot. Why didn’t I do that before?? Like five years ago?? *kicks self*. Honestly, looking back on this, it really seems like the universe was really trying to get me to listen to them like “listen to U2 listen to U2 listen to U2 damnit!” but apparently I’m about as dense as a boy being flirted to so I had to be basically whacked on the head with it before I got it.

So then a week or two later it’s now 2020 (it feels weird to think this was this year but it was) and my parents are driving me back to my dorm before the semester starts up. And we’re sitting at this light, I would tell you where it was except obviously you wouldn’t know. But there’s one light and then you take a left and maybe a hundred or 200 feet later there’s another light where you take a right and that takes you into the university campus. So we’re sitting at this light and this cool song comes on. I look to see who it is (the joys of satellite radio) and I see it’s Mysterious Ways and I’m like “oh cool, a U2 song!” and also “hey, it’s that song from that book!” As much as I try to, I can’t seem to remember if I’d actually heard that song before or if I just thought I did because of that book. But I definitely liked it in that moment. And I’m not kidding when I say this, but the song comes on and lasts the entire drive from that light to my dorm building parking lot. It ends right as we pull into a parking spot. Seriously. Was it meant to be? 😜 So after that, my parents help me bring my stuff back into my room and after they leave, I look up that song on Youtube and listen to it on repeat a few times while I’m unpacking my stuff.

So now it’s a few days later, it’s my birthday, I’m now 21 and my dad comes to visit me. He takes me out to dinner and then I ask him to take me to Barnes and Noble so I can get some books. While I’m there I realize they have a record section and I think “hey I have a record player now so why don’t I look?” and so of course I end up at the Us because who else would I be thinking of at this point. So I look and notice that there’s an Achtung Baby album there and I think “hey it’s that album from that book!” and “that Mysterious Ways song is on here isn’t it?” so I ask my dad to buy it for me and he does.

So I go back to my dorm and listen to it. And I guess like a lot of people did when it was actually released, I sat there thinking “what is this?” as the opening notes of Zoo Station played. Again, like everyone when it was actually released, (the same year my mom graduated high school interesting fact) I had been listening to Joshua Tree and had gotten used to that sound. So when I was first listening to it, I was worried that my new love affair with this band would be short lived (which was pretty dumb because they have a lot of albums but I wasn’t thinking of that at the time) but as it went on I liked One, So Cruel, and of course Mysterious Ways.

So I ended up buying more of their albums, like All That You Can’t Leave Behind. I was excited to hear that one because I remember reading about it in that book as “their newest album” because of when it takes place. (The book is actually pretty new btw, 2016, it just takes place in the past). And geez, I never realized until now just how much that book has influenced me, and it’s not even about U2, the main character just likes them a lot lmao. The main plot is completely unrelated. And funny story, but when Beautiful Day came on, I was like 🤯🤯🤯, basically my mind was blown because I remember hearing that song as a kid but I didn’t know it was by them lmao. Same thing with Desire. I remember my dad liked to listen to that in the car and sing along so when I was listening to Rattle and Hum and that came on I was like ????? how many more songs????

And in December-January, my step dad got a job promotion but it required him to move to South Carolina so in February they did and I flew up to visit them on Spring Break in early March and then the world ended :D :D :D

So yeah, that’s my story of how I ended up here. I’ve basically been holed up in my room for an entire year obsessing over guys that are way too old for me. Eh, oh well, what can I say? It’s not my fault that one guy I first heard of when I was 12 was (and is) so good looking. So yes, I’m a real big noob, only been here a year and I haven’t even seen them live because I couldn’t get my act together five years ago (or anytime between then and now) despite the universe’s best efforts to get me to. *sigh* sorry I’m so dense, universe. But I guess better late than never, better now than later, right?

Anyway, there’s more I want to say but this is already a freaking novel (sorry but I warned you!) Maybe I’ll write everything else in a separate post sometime, but for now, I hope you enjoyed reading this. And to quote Bono on that “A-Z of 2014″ post he made, if you somehow made it to the end of this, you must be on painkillers.

#sorry this was a freaking novel #I like rambling #and talking #I hope you like it #sorry if there's any typos #:)

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miracle-sham · 4 years

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Plan D for Dicey.

| {MaribatMarch2020 – Week 1, Day 6: Unconventional Weapon} |

| [Ao3 Link] | | [Masterlist Link] |

| Triggers/Warnings: D&D typical Violence, kidnapping/imprisoning of Player Characters, Explicit Language/Swearing, (Also not so much a Trigger/Warning but this a gen/platonic fic). |

| The Wayne (bat)family attempt to play their first streamed session of Warriors and Warlocks. Unpredictably, things go surprisingly well. |

| Word Count: 4323 |

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| A/N: So firstly, I got really carried away writing this so it's being posted a day late. Sorry! But fun fact, this means I'm posting this on my birthday, so wooh! Also if you can't tell yet, I'm a massive D&D geek (been playing for roughly five years now but I still fell like a complete noob whenever I play or DM :P). And DC has its own version of D&D (W&W/Warriors and Warlocks) and upon reading Day 6's prompt, my immediate thought was the improvised weapons mechanic from D&D. Also also, I originally intended for this fic to be MariTim (hence the tags) but I got caught up in all the platonic fun of the family playing D&D I kinda forgot to write in the shippy bits? |

| A/N cont.: Writing this was actually a massive challenge because at the start of this I had absolutely zero idea on how to write a D&D session as a ficlet. So this might be a bit more clunky and unrefined compared to my normal work (or that could just be my self-doubt talking). As I mentioned earlier, I got really carried away writing this because I love D&D so much. I would have written more but this ficlet is long enough and late enough as is. But if I were to continue this ficlet in additional parts, I definitely can already think of so many ways to improve writing this sort of fic (and maybe next time I won't forget to add in shippy stuff). Anyway, thanks to those who read these A/Ns, and I hope you guys enjoy reading this! |

| If you want to be tagged in future oneshots/fics, or a specific Au, then comment or send me a DM/ask! |

| Also side note, Don't Like? Don't Read. Also also, please do not criticise any of my writing. This was written for fun and receiving criticism, even in a compliment/criticism sandwich, is the exact opposite of fun. |

==–==

Marinette, with Tikki on her shoulder, bursts into the Wayne Manor games room, barely able to contain her excitement. As the first in the room, she can't help but glance across the square conference U-table already set up with everyone's character sheets, dice equipment, other equipment, and snacks and drinks. Bounding over to her designated seat (right side, place nearest to the DM's section of the table), she pulls her chair out and sits down.

The rest of the Wayne (bat)family, including Steph but sans Alfred and Barbara, slowly filter into the room and take their designated seats. Jason takes his seat next to Marinette whilst Dick takes the seat directly opposite. Steph nabs the seat beside Jason, Damian stakes a claim to the seat next to Dick (despite it already being his designated seat), Cass sits down in the seat beside Steph, leaving Bruce to take his seat next to Damian.

Tim's the last of the family to enter. He slips into his seat, the DM's seat—as he is the most experienced Warriors and Warlocks player at the table—and grins downright ferally at his players.

He looks up at the cameras and recording equipment that is set up in the middle of the open space in the square U-table. “Hello and welcome to Plan D for Dicey, the first-ever Wayne Family Warriors and Warlocks fifth edition stream. We weren't quite expecting so many people to petition that we stream our sessions after a few people—” Tim fake coughs twice, “—Dick and Marinette—” Tim fake coughs twice again (whilst Marinette and Dick both grin and wave cheerfully at the cameras), “—rambled about their characters and some highlights from previous sessions, on Twitter. So we decided to give this a go and see how the session pans out whilst being streamed. So as a word of warning, prepare yourselves for the Venators, probably one of the most dysfunctional parties in W&W to miraculously band together.”

As soon as he says this, the rest of the table burst into grins and cheers (excluding Bruce who despite also smiling, looks like he's just aged five years). Marinette's side of the table all high five each other in their excitement.

Tim pauses for a second. “For anyone unfamiliar with who I am, I'm Tim. And as you can probably tell from the table set up, I'm the Dungeon Master for this campaign. That's because I've been playing W&W for just over five years now and have had experience DMing before. But for the rest of the players here, this is their first campaign and by extension first time playing. So before we begin our session, first let us introduce our players and their characters.” He nods to Marinette's side of the table.

She immediately slaps her hands on the table, pushes her chair out and stands, she waves at the cameras again. “Hi, I'm Marinette and my character is Nella Septa-Punctata. She's a Protector Aasimar Celestial Pact of the Chain Warlock, and she has a Sprite Familiar called Tikki. Nella's Chaotic Good and a little anxious but she tries her best to be a kind and heroic adventurer.” She then sits back down, scraping her chair back in again.

Jason raises an eye at Marinette's antics but shrugs. “I'm Jay, I play a Winged Variant Feral Tiefling Gunslinger called Rehodros. He's Chaotic Neutral, verging on Chaotic Evil at times, and he only joined the Venators because they helped save him from backstory related stuff and he ended up getting reluctantly attached to them.”

Deciding to also stand up from her chair as well as slap the table with both hands, Steph smirks at the cameras. “I'm Stephanie, my character's Speilsol Leyer, and she's a Chaotic Good Variant Human Ancestral Guardian Barbarian with the Tavern Brawler Feat. She lives for beating up bad guys and doing good, even if it goes against the law.”

Cass decides to take things one step further and moves to sit on the back of the chair, balancing it carefully as to not let herself fall. She waves at the cameras. “Hi, I Cass. Play Balabitara. Neutral Good, Kalashtar Shadow Monk.” She then sits back down on the chair normally.

With one half of the table introduced, Tim nods towards the other side of the table.

Dick winks at the cameras, “I'm Dick and I play Niriwyse, a Chaotic Good Eladrin Glamour Bard who's along for the ride and just wants to have a good time.” At that, he wiggles his eyebrows.

Scoffing, Damian glares at the cameras. “I am Damian and my character is Rokian. He is a Firbolg Circle of the Shepherd Druid and is Lawful Neutral in the sense that he believes the only laws that should be obeyed in the world, are that or the laws of nature. He begrudgingly joined this party of adventurers after they saved an animal friend of his.”

This leaves Bruce as the only one to have not introduced himself and his character yet. He smiles his Brucie Wayne smile at the cameras. “My name's Brucie and my character is called Chirop. He's a Chaotic Good Bugbear Swashbuckler Rogue. He comes across as very gruff, but he's just a big old teddy bear at heart.”

Tim coughs under his breath. “Alright, with our introductions over, let's get on with the show.” The lights in the room suddenly dim and turn a dark red shade whilst creepy echoing organ music begins to play from hidden speakers. “Last session, our brave party of seven adventurers were captured by the evil Lich Dreldaz whilst trying to rescue the beautiful princess Theophania—”

“—Timothea!” Corrects the rest of the table.

Rolling his eyes, Tim continues. “—from the cursed castle in which she has been trapped in, by Dreldaz.” He pauses, steepling his fingers as the dim red lighting becomes a dark grey shade. “The Venators awaken, only to find themselves shackled to the walls, in individual stone brick cells and stripped of any and all equipment bar the clothes on their backs. From what you all can immediately tell upon waking, these cells are small, cold, dark and dingy. What do you do?”

The seven players all exchange glances between themselves.

“I'd like to look around my cell, see if I can find anything or if I can get an idea of what the cellblock we're in looks like?” Jason announces after a few seconds.

Tim nods. “Roll a perception check, please.”

Jason narrows his eyes Tim. He reaches towards the red and black dice set beside his character sheet and picks up the D20. He shakes the dice in his hands before rolling it into the dice box. It lands on a 7. “Alright so because I don't have my gear any more, that means I don't have my eyes of the eagle right?”

“That's right,” Tim responds.

“Mmk, that's a seven then, plus my perception modifier… Fourteen total.” Jason glances up at Tim once he finishes calculating.

Humming, Tim glances down at his Mysterious™ DM notes. “With your Darkvision, you manage to make out that there are two small barred windows on the walls adjacent to the wall with the cell door. The door luckily has a barred window in it too, but you're too far away to glean anything from peering at it.”

Marinette purses her lips and double-checks her character sheet. “Is there anything magical about the darkness in these cells?”

“Roll an Arcana check to see.” Is Tim's response.

She reaches over to the pink and gold dice set beside her character sheet and picks up the D20. She shakes the dice in her hands before rolling it into the dice box. The D20 lands on a 16. “Sixteen! Wait, plus my arcana modifier, uh…” She scans her sheet for the relevant modifier, “plus six, so that's uh… oh heck maths, uhh I think that's twenty-two total? Yeah.” She nods to herself at calculating the maths.

Jason snorts and addresses the cameras. “This is why you should stay in school kids!”

Huffing, Marinette elbows him in the side. “Fight me!”

Not evening flinching at the elbowing, Jason pats her on the top of her head. “Friendly fire, Mari! Friendly fire!”

Tim waits for silence with his best poker face on. “As far as you can tell, there is nothing magical about the darkness!”

“Really?” She furrows her brows. “Alright then.”

He smiles in response.

Dick glances down at his character sheet then up at Tim, he taps his fingers against the table idly as he speaks. “The walls of the cells are stone? So I can use my Cli Lyre to cast Stone Shape and create a hole in the stone where the metal shackles connect, which would free me, right!”

Clicking his tongue, Tim shakes his head. “Nope, you don't have your Cli Lyre on you right now, so you can't cast any spells from it.”

Cursing under his breath, Dick frantically scans his character sheet for anything. He reaches his spells and freezes and slaps the spell sheet (and by extension, the table). “Ah hah!” He crows, “I will cast Knock on the shackles!”

Tim raises an eyebrow, then looks down to flip through his spell cheat sheet. “When you cast the spell, it makes a loud knock that's audible for up to three hundred feet. Are you sure you want to cast this?”

Dick falters and furrows his brow, then glances around the table at the rest of the party. “I think I'll wait and see if anyone else has a way to escape this first? Wait we can all hear each other speaking from our cells, right?”

“You can indeed.” Tim answers.

“I got nothin',” Jason admits, putting on his Rehodros voice, which is just his normal voice but deeper and with a raspy—almost hissing—clipped tone.

Steph, using her Speilsol Leyer voice (which sounds like she's putting on a weak German accent), shrugs. “I could try breaking the shackles? I'm strong enough to do cool things like that?”

“But that will also be fairly loud.” Bruce points out, speaking with a gruff tone of voice (which is significantly different from his gravelly Batman tone of voice) for Chirop. “If I had my lockpicks, it would be easy to escape stealthily. But without them, I can't see a way for me to get out of these shackles.”

Damian wrinkles his nose. “I might be able to summon creatures, elementals, or fey but what I get is determined by the DM and may not be entirely helpful. However, I could try wildshaping?”

Tim smiles cryptically and the lighting behind him changes from dark grey to lime green. “You could.”

Damian nods. “Alright then, I will use my wildshape ability to transform into a spider.”

The lime green light fades to flickering orange-red light. “As you try to use your druidic abilities to magically assume the shape of a spider, you feel a burning sensation around your wrists, right where the shackles are. You are unable to transform and take…” Tim pauses as he pulls out his black and red dragon dice and rolls a D6 behind the DM screen. “Five points of fire damage.”

Cursing under his breath in Arabic, Damian glares at Tim. He crosses out his current hp and writes down the new amount.

Jason taps Marinette on the shoulder. “What about Nells, Mari? She got any tricks up her sleeve to escape?”

Marinette startles at that, having been chewing her lip and staring intently at her character sheet since her arcana check. She licks her lips then glances up. “I might…”

She taps a small stat block card with a pencil and turns to Tim with an intense stare. “Is Tikki nearby?”

At that, Tim grins widely and raises a finger. “That,” He says, flipping through his notes, “is a very good question.”

“Because on my notes, here it says that last session Tikki was invisible when we all got captured.” Marinette picks up her session notes journal and shows it to him.

“Would you say Tikki followed after you when you got caught?”

Marinette tilts her head to the side and Tikki whispers in her ear. Of course, the cameras inability to record kwamis means it just looks like she's thinking instead of listening to a flying red bug deity. “Yep, I would say that. I would also like to telepathically communicate with Tikki and ask if she can come and pick the locks because we gave her a spare Thieves' Tools kit last shopping session in case she needed to pick the locks during an invisible scouting mission!”

“Indeed you did, so Tikki flies over to your cell and will try to pick the locks on your door first. So roll a d20 and add Tikki's Dex bonus.” He instructs.

Marinette nods and picks up the dice, cupping her hands underneath it so Tikki can shake then roll it without it looking suspicious on camera. Tikki shakes the dice and drops it as Marinette separates her hands. The dice lands in the box and rolls a 16. “Plus Tikki's Dex mod, that's uh…” She scrambles for the Sprite Familiar statblock card, “Plus four, so dirty twenty!”

“That's enough to pick the lock. Do you want Tikki to enter the cell and try to pick the lock?” He asks.

She nods and repeats the roll with Tikki, this time rolling an eleven. “With mods, fifteen.” Tikki then returns to her place on Marinette's shoulder.

“Tikki barely manages to get the locks open. The shackles open and you land on the cell floor.”

Marinette punches the air. “Wooh! Freedom!”

Cass then waves her hand in the air. “Shadowstep out?”

Tim cocks his head to the side. “As you don't have Darkvision, you can't see outside your cell but you manage to use your shadowstep ability to escape the shackles. Then by peering out the barred window in the door, you manage to shadow step into the cellblock corridor.”

Marinette and Cass share a high-five.

“Let's go free everyone else!”

==–==

It takes them ten minutes to finish freeing everyone else, and start making their way out of the dungeon cell block. The Venators now make their way through the bowels of the castle, searching for the armoury in which all their belongings have been stored.

“As you push open the grand oak doors, the faint scent of sickly sweet rotting food and fire hits your noses. The doors reveal the next room to be a grand dining room with a long oak table, set as though prepared for a grand feast expecting many a guest. It's adequately lit but the two corners of the room above the door seem to glow with a dim greenish glow.” Tim pauses in his description as lighting changing to a dim greenish light behind him; he rolls a D8 four times (6, 7, 2, 4), behind the DM screen, followed by the rolling of a D20 four times (3, 19, 13, 18).

“Oh god…” Dick mutters,

Jason huffs. “What are you going to torture us with now, oh great DM?”

Tim smiles cruelly. “Four rays of fire are shot towards the party from somewhere within the dining room. First attack is an eight versus Chirop's AC?”

Bruce sighs in relief. “That's a miss.”

Tim continues to smile. “Mmk, the rest of the attacks are, twenty-four versus Balabitara's AC, eighteen versus Niriwyse's AC, and twenty-three verses Rokian's AC. I assume those hit.”

Damian narrows his eyes at Tim, whilst Dick winces and Cass pouts.

Tim rolls a D6 nine times, behind the DM screen. “Balabitara takes four points of fire damage, Niriwyse and Rokian both take eight points of fire damage.”

The three all jot down the damage taken.

Still smiling, like the truly evil DM that he is, Tim clasps his hands together. “Two skulls, enveloped with green flames, descend from the ceiling. One hovers over the grand table and the other hovers but the top of the opened doors, giving itself cover.” He pauses, then grins. “With the surprise round over, everyone roll initiative!”

Out of habit, all seven players, and Tikki, roll their D20s in almost perfect sync. Dick rolls an 18, Cass rolls a 9, Jason rolls a 14, Bruce rolls a 16, Steph rolls a 17 with advantage, Damian rolls a 2, Marinette rolls a 10, and Tikki rolls a 14.

“Twenty or above?” Tim asks.

“Twenty three,” Bruce announces.

Jason rolls his eyes. “Twenty-one.”

Dick grins, “Twenty one as well!”

Tim scribbles down the rolls on the initiative table. “D'awww, you both rolled twenty-one. Anyway, fifteen or above?”

“Tikki rolled an eighteen.” Informs Marinette.

“I got nineteen!” Steph exclaims.

Jotting down those rolls as well, Tim asks “Alright, anyone ten or above?”

Cass signs her roll, ‘fourteen.’

“Thirteen.” Marinette answers.

Tim glances at the initiative table, then at Damian. “And you Damian?”

Damian scoffs. “Three.”

“Okay.” Tim then rolls a D20 twice. “Chirop! You're up first!”

Bruce looks slightly bewildered. He clears his throat. “Can I grab the nearest sharp pieces of cutlery and sneak behind a chair?”

Tim nods. “Roll stealth.”

He rolls an 18. “My stealth modifier is plus thirteen, so thirty-one to stealth.”

Tim whistles, “To the rest of the Venators, it looks like Chirop just vanishes into thin air.”

“Are any of the enemies close enough that I could move into melee range?” He questions.

“There's one floating Flameskull hovering five foot in the air, with your Long-Limbed trait, it's well within reach,” Tim informs.

Bruce narrows his eyes. “I would like to stab the Flameskull with the sharp cutlery, knives are preferable.”

“Roll to hit. As knives are close enough to daggers, I'll say you can get away with adding your proficiency bonus as well.”

Bruce rolls, with advantage, a 19. “Plus my modifiers, that's twenty-eight to hit.”

“That hits.”

Bruce rolls for damage, 2. “That's two, so seven.” He then rolls for Surprise damage, 8 (5, 3), and Sneak Attack damage, 24 (6, 2, 5, 6, 5). “That's a total of 39 piercing damage. Then I'll use my bonus action to stab it again,” He rolls a 16, “Twenty-one to hit.”

Tim puts on his best poker face. “That also hits.”

“Then that'll be…” He rolls a 1. “One damage from the second attack.”

“The Flameskull you hit screeches in fury as it crumbles to bone dust.” Tim then proceeds to make a horrific screeching sound, for immersion of course.

“What the fuck, Timbo?” Jason asks, wincing.

Dick cringes. “At least you aren't right beside him! My poor ears!”

“Rip us closest seats.” Mumbles Marinette, wrinkling her nose.

“Rehodros, you're up next!” Tim announces gleefully, ignoring his suffering players.

Jason narrows his eyes at Tim, “I want to run over to the table, grab any food on the table that's not rotten, and yeet it at the nearest Flameskull.”

Tim hums, “Okay, the only non-rotten food you can find, is a block of aged cheese and a bowl of hardened sugar cubes.

Snorting, Jason cracks his knuckles. “Oh, I have to pick the block of aged cheese.”

“Roll your attack then. But make sure you only add your Dex modifier to the attack as you're not proficient in improvised weaponry.”

Jason rolls to attack and also gets a 19. “Twenty four to hit.”

Tim snorts. “Yeah, that definitely hits, go ahead and roll damage.”

Jason nods and rolls a 1D4, managing to get max damage. “Four! Wooh! Plus my Dex mod, that's nine damage!”

“You lob the cheese at the Flameskull, managing to cause a couple of cracks to form on its skull. It turns it's furious gaze to you, intending to intimidate you but the effect is somewhat hindered by the melting cheese covering half of its skull.” Tim flips through his notes and marks down the damage taken.

“Okay, then I want to grab the bowl of sugar and using my extra attack to throw that at the Flameskull, in the jaw.” Jason smirks and switches to his Rehodros voice, “You look like you've got a sssweet tooth, bonehead!” He rolls to attack and gets a 12. “Seventeen to hit?”

“That will hit.”

Jason rolls a 3 on the D4. “That's eight damage total.”

“As the bowl of sugar starts to melt from the heat of the fire, the sickly sweet scent of hot sugar begins to emanate from the Flameskull. The Flameskull does not look happy.” Tim pauses to glance at the initiative table. “Niriwyse! You're up.”

Dick glances down at his spell list and beams. “I'm going to cast Vicious Mockery. And say,” he puts on his Niriwyse voice, which is just his voice but higher pitch and with a British Estuary accent, “Green is so not your colour!”

Tim hums, then flips through his notes. “What's the spell Save DC on that again?”

Quickly checking his spell sheet, Dick answers, “DC 16.”

“Mmk,” Tim responds non-committally, before rolling a D20 twice from behind the DM screen. “That, unfortunately for you, is a nat 20. Which means it takes no damage and suffers no disadvantage. The Flameskull turns to you briefly, to cackle in your face, before turning its attention back to Rehodros.”

Dick frowns. “Aww that failed, welp I'll use my bonus action to give Speilsol Leyer inspiration.” He clears his throat and puts on his Niriwyse voice to sing. “Let's get down to business! To defeat, this skull! Did they order heroes, no they asked for none! We're the saddest party you'll ever meet! But you can bet before we're through, Flameskull, we'll make dust out of you!”

The rest of the table burst into cheers and groans.

“Beautiful, Speilsol Leyer, you get 1D10 bardic inspiration,” Tim confirms. “And now it's your turn. Show the audience what you've got.”

Steph giggles. “Okay, okay, I've got a really dumb idea.”

Tim raises an eyebrow at her.

“So, firstly, is there anything on the walls, like paintings? Wall sconces? Y'know.” She asks.

“There's a painting of a naked elven lady on one wall, and a taxidermied fox head on the other,” Tim informs.

Steph bounces in her seat. “Cool! So I'm gonna rage! Rip the taxidermied fox head off the wall, then run and leap up into the air to bludgeon the Flameskull with the fox head!”

“Right. Make an athletics roll.”

Rolling a D20, she gets 13. “Twenty one!”

“You manage to jump into the air with expert grace. Roll to hit.”

She rolls a 16. “That's a twenty-four to hit because I've got the Tavern Brawler Feat so I've got proficiency with improvised and-slash-or unconventional weapons!”

He snorts. “That'll definitely hit, roll damage.”

Steph picks up her D4 and rolls it, getting a 3. “Do with my strength modifier and Rage damage, that's ten damage! And uh, that's the end of my turn!”

Tim scribbles down the damage taken, he then checks his notes quickly. “The sugary cheese-covered Flameskull starts to cackle madly. It casts fireball on the party, everyone make dexterity saving throws.”

On cue, everyone in the party rolls their D20s. Tikki rolls an 18, Damian and Marinette both roll 16s, and Dick rolls a 4.

Before Bruce rolls his dice, he proclaims, “I'd like to use evasion!” He then rolls and gets a 5. “Fourteen total.”

“Evasion too!” Cass declares with a smile, she rolls her D20, getting 18. She then signs her result, ‘twenty-seven

“Shit!” Jason mutters, staring at his roll of 2.

“Nat one?” Tim questions.

Jason shakes his head. “Natural two, so seven total.”

“I also got seven,” Dick adds.

“Seventeen,” Damian announces.

“I rolled a nineteen and Tikki rolled a twenty-two.” Marinette pipes up.

Steph frowns at her roll of nine. “Eleven…” She glances at her character sheet again. “Wait, no! I get advantage on dexterity saving throws!” She shakes the dice in her hands and blows on it for good luck, then rolls it into the dice box. It lands on an 18. Fist pumping the air, she cheers. “Yes! Dirty twenty, fuck yeah!”

“Alright. Niriwyse and Rehodros both take…” Tim rolls a D6 eight times, behind the DM screen. “Twenty-three fire damage. And everyone else except Chirop and Balabitara take half that, so eleven damage. And of course, Chirop and Balabitara take no damage whatsoever.”

“Wooh,” Bruce cheers.

“Wait a second!” Jason interrupts, triple-checking his character sheet, “I've got fire resistance!”

“Then you also take eleven damage instead of the full twenty-three.” Tim corrects. “And that's the end of the Flameskull's turn. Tikki's up now.”

Marinette tilts her head to the side as Tikki whispers in her again. “Tikki is going to hold her turn.”

Tim nods. “Okay then, it's Balabitara's turn.”

Cass smiles sweetly. “Jump and punch?”

“Roll an athletics check then, please.”

She rolls a 13, and signs her results, ‘eighteen.’

“You barely manage to leap within melee range of the Flameskull,” Tim narrates. “Roll to hit.”

She rolls her dice again, rolling a flat 17. Again, she signs her result, ‘twenty-six.’

“That will definitely hit.” He acknowledges.

Cass then rolls damage, gets a 4, and signs the total, ‘nine.’ She glances down at her character sheet, and then back up at Tim. “Second attack?”

Tim nods again, still jotting down the damage taken. “Go ahead and roll.”

Rolling again, she gets a nine, so she signs the result, ‘eighteen.’

He hums, “That'll also hit, roll damage.”

She rolls and gets a 3. ‘Eight,’ she signs.

Tim chuckles, “As you punch the Flameskull twice, the skull shatters and turns into sugary and cheesy skull dust.”

Cass grins and fist-pumps the air as the rest of the table breaks into cheers.

“Everyone breathe a sigh of relief! Encounter over.” He comments. “And I think we've reached our halfway mark, so we'll take a quick five minutes break to grab something to eat and drink, and we'll continue on after the break.”

==–==

| Thank you for reading! I hope you enjoyed this little oneshot! Comments, likes, and reblogs are much appreciated! |

| @maribat-march2020 | | @vixen-uchiha |

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rayatii · 3 years

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A (somehow both very biased and not very opinionated) review of the Met orchestra musicians concert “Song to the Moon” from February 21, 2021:

I had been bothering my Tumblr followers with my excitement over this event yesterday, so it felt only right for me to stop procrastinating and give an attempt for a review of the whole thing; I think this is actually my first time writing a lengthy review ever, and it will probably sound naïve and be an embarrassment for me in the future.

It started around 10 PM where I live. I sat in my bed with my computer while eating chocolate in order to stay awake throughout the whole thing, and trying not to spill any pieces on the sheets, excitedly waiting for this event, having actually bought myself a fifteen-buck ticket about three weeks prior with my parents’ credit card (they didn’t bat an eye when I asked their permission), happily knowing that the money was not going to end up in the pockets of the undeserving Met management.

Given the shitty Lebanese Wi-Fi and the fact that this was a livestream, I had been worried that I might miss significant chunks and get upset over the fact. The stream did glitch a few times for me during the first number (mainly because I had my computer on my constantly-moving knees, before settling it down next to me on the bed), but otherwise it never failed me.

But let’s get on with the review. The livestream began with a title card representing an animation of a lunar eclipse, displaying the title “Song to the Moon”. The concert started with a performance of Antonín Dvořák’s String Quintet No. 2 in G Major, Op. 77 by members of the Met orchestra. (actually, given that this is a Met musicians concert, I feel that they ought to be rightfully credited; Nancy Wu, 1st violin [for this piece], Bruno Eicher, 2nd violin [for this piece], Désirée Elsevier, viola, Kari Jane Docter, cello, and Leigh Mesh, double bass.)

I actually listened to a recording of this piece in preparation a few days prior, just so you guys know. Obviously, there were a few slightly flat notes that were played, but overall this was quite a pleasant rendition, and I still have the theme from the 2nd movement stuck in my head as I’m writing this. What I also liked was that at one point (i.e. when I was actually paying attention in that area) I could actually hear the notes being played by the double bass quite clearly, at least compared to the other recording that I had listened to.

Next on the program, the musicians were joined by soprano Angela Gheorghiu (i.e. my main reason for actually purchasing the ticket), who performed all the way from the Athenaeum of Bucharest, Romania, [1st instance of Raya uselessly gushing] looking ethereal in that shot that was shown of her just walking inside the building wearing that white dress and flowing cape, before the actual performance. Just a warning for you guys here; I love Gheorghiu (actually, it’s a bit of a celebrity “crush”), so please expect a little bit of somewhat controlled gushing here and there (partly physical appearance-wise, which are indicated by the bold, and which I deeply hate myself for). This part of the review is causing me even more anxiety for that reason.

She performed on the stage of a theater that was practically empty besides the pianist. She sang in two languages I do not understand at all, which helped me a bit with not getting too distracted by pronunciation. [2nd instance of Raya uselessly gushing] Before I get into what y’all actually came for, I just wanted to get it out of my system about how she had this appearance that defined “has aged, aged really well”. She had this kind of mature beauty, especially with her makeup, that seemed to give me the overall vibes of a pleasant middle-aged auntie. (well, this was very difficult embarrassing to write) Even her singing voice had this sound that can be described as having this sort of “mature” quality blended with the whole fact of her overall sound being “hers”. I hope I have made myself clear.

Okay, gushing finished for now, let’s move on with the review!

Apparently the footage taken in Bucharest and the one taken in New York were both filmed separately. I found it really mind-blowing how the audio of both got synchronized so perfectly.

The first gem Gheorghiu sang was an arrangement of “Tatăl nostru”; basically an early-19th-century musical setting of the Lord’s Prayer by Anton Pann that is still used to this day in the Romanian Orthodox Church (totally NOT reading off the PDF for the program notes provided on the website). I had obviously never heard this piece before; I had tried to (VERY lazily) look it up a bit, but to no avail. I unfortunately don’t remember much from this performance apart from everything mentioned before, but what I do know is that was rendered really epic thanks to the participation of principal Met percussionist Gregory Zuber alongside the string players.

Next was performed the aria after which the whole concert was named, the incredibly famous “Měsíčku na nebi hlubokém” (aka “Song to the Moon”) by Dvořák again, from the opera Rusalka. This version was actually arranged by the violist Elsevier, who is among the musicians who retired from the Met during the pandemic. And it was indeed a beautiful arrangement! Now, unlike “Tatăl nostru”, which I virtually knew nothing about, I love this aria and know it quite well, so I did pay attention to some of the pronunciation; but then again, I do not speak Czech, so it didn’t matter much. Overall, Gheorghiu’s rendition was not perfect (I thinnnnnnnnk there were some notes that were a little bit out of tune? but there was vibrato that also touched the right tone and so I couldn’t tell), and I would certainly not imagine it within the full context of Rusalka the opera (see what I noted above concerning the quality of her voice), but that did not stop me from finding it quite beautiful.

It felt so weird not to hear any applause after each number, and so I could not help but clap after each gem, even though no one could hear me.

After the concert wrapped up, the audience got to watch a chat session between Gheorghiu and Met horn player Barbara Jöstlein Currie, where they talked about how this whole thing came to be (so apparently there was Instagram DM’ing between the two that was involved in the preparation?), before the five string players (which actually include two married couples!) whose music we heard earlier joined in. So unlike the concert, which was all pre-recorded, this was a Zoom session being streamed live. [3rd instance of Raya uselessly gushing] Gheorghiu’s speaking voice sounds radically different from her singing voice, and I can tell English is not her primary language, but that’s just something useless I wanted to include, on which I have zero strong feelings. In contrast to the pre-recorded concert, here she was responsible for me writing in The Balcony Seats Discord server earlier today about how “you know you have aged well when you end up looking a bit like Morticia Addams”, especially with the makeup. [gushing done]

The whole discussion hinged on the concept of “Met family”, and I found the whole interaction between Gheorghiu and the musicians just very very sweet, a star singer and musicians in the pit seeing each other as equals, as family. It’s not every day that I see that (but then again, my background is severely limited, so what do I know). Among the relatively unimportant things the convo touched on that stick with me, in no particular order, are:

Gheorghiu apparently married on the stage of the Met because the guy from the City Hall lost their papers and I never knew that??? (but then again, I never directly research info about my hyperfixations because I get overwhelmed) Everyone had a nice laugh at that recollection.

She got into this whole profession mainly to sing at the Met. Also the whole deal of her making L*vine cry and making her debut at a young age for a star singer.

Everyone relating to the feeling of going home at night after a concert, and not being able to go to sleep because you still have adrenaline flowing through you. As someone who does performing arts, I also relate to that on a moderate degree.

Family life talks.

Gheorghiu mentioning how she can’t work with a director who’s like “your character does that because that’s what I decided” because something something harmony? I can’t remember; I’m pretty sure I’m misquoting. But that’s basically the equivalent of “my house, my rules” (”my production, my interpretation” in that case, lol) imo, so can’t object too much.

Something about playing the finale of Götterdämmerung led the musicians to humorously throw in the idea of Gheorghiu singing Brünnhilde as her next role, and she went all “nah” to that, also humorously.

This led to her admitting that she’s not the biggest fan of Wagner’s music (though she would consider singing Elsa); saying that she’d travel back in time to tell Wager to stop writing these interminable phrases, to just get to the point (I’m not really into Wagner either, so I don’t completely disagree). Also, she believes that Wagner is difficult to sing, and that singers who nail Wagner tend to end up singing only Wagner (here, I think it depends, but there is a point somewhere in here).

She doesn’t seem to like singing acapella/without music very much, which also led her to record some sAcRiLEgiOuS versions of Orthodox worship songs, which you’re apparently not supposed to sing with music.

She sang something like “goodnight, goodnight” (idk) at the very end, it was cute.

To go back to the important stuff, Gheorghiu apparently wrote directly to the Met donors, asking to help in any way, because she wanted to set an example for other people by doing the right thing, and to help what she sees as her “family”, as mentioned above. I had heard some stories about her diva reputation (and she does seem to enjoy attention and stuff, from what I’ve seen myself), but overall she seems like a pretty good person. Mainly mentioning that because as y’all know I’m autistic and can’t tell intricate body language and stuff, plus my very strong belief that good person >>>>>>> great performer. (but my dear friends say that loving her is valid, so I guess I’m safe from too much disappointment. what am I even writing).

And that’s it for my incredibly long and uselessly detailed and almost incoherent and somewhat gushy review, which took me nearly 3 hours to write (and for which I may or may not have replayed a little bit of the stream just to get one bit of info right), and which will, again, probably embarrass me for the rest of my puny life, but which I could not not let out into the void of operablr.

(There were also moments earlier today where I was fantasizing about being interviewed on that very Zoom meeting for the scene-and-duet I composed back in January in response to the Met’s poor treatment of its musicians)

I guess what I can take from this post is: never write a review again, Raya!

#sorry everyone!!!#raya writes a review #concert review #opera concert review #angela gheorghiu #(whom i have excessively gushed over)#(but seriously you should count the number of times i have written 'gheorghiu' in this one post!)#(i haven't bc it's late)#met orchestra musicians #song to the moon #song to the moon concert #dealing with part of a current hyperfixation

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honeyrose-tea · 3 years

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this has been a strange start to the new year for sure. how are you doing? what did you think of the situation in the capitol? any thoughts or worries about the rest of the month? I'm curious to hear your thoughts on everything. -🌙

thank you so much for the ask💞 almost every day I check my inbox anticipating the next time I'll hear from you. just knowing that someone cares.... it really does a lot for my self-esteem. I don't have many friends right now and the few I do are very busy and have a lot of things they would rather do than talk to me. thank you for making time to listen to me and ask me how I'm doing. you wouldn't believe how many people don't. I haven't always been the most consistent presence for you and I'm sorry. I'm trying to do better and be less selfish because I know how it feels to be on the receiving end of that. thank you for always being kind to me, pen pal.

there is a lot I want to say regarding the capitol and the situation in the country in general. as a social science student (and hopefully one day a professor!) these situations are of great academic interest to me. as a bisexual woman and an informed US citizen who cares about my rights I am also very personally vested in American issues. but first I would like to tackle your question regarding how I'm doing:)

I'm doing pretty good. classes have started back up but most of mine are online. I'm thinking of switching to online exclusively because of how much emotional (and sometimes physical) labor in-person classes are, and also for the sake of my health and my parents'. it's funny how so many things we did with ease before the pandemic seem so burdensome now. even small interactions are anxiety-inducing now, and I find myself having a hard time socializing even casually. like a muscle that has atrophied without use, my social skills are awful now. on a happier note, my productivity and creativity are both at all-time highs since social interactions aren't using up all my energy anymore. I brought my record player to my dorm room and I've been listening to a bunch of music, I've also been writing and recording some music of my own. I have a couple of demos and if you or anyone else is interested, I'll post them on here. once I record and edit full band versions I'll put them up on my soundcloud. I've tried sharing some of my stuff with some friends but none of them really care and I don't want to annoy them. besides, it's more for myself anyway. I wang to prove to myself that I can make music and that I can say something worth saying. a lot of my struggle over the past 6 months has been that I feel as though nothing I do or say can change anything, that none of my actions matter. I struggle a lot with control and I've been working on it for years, but it's still really hard for me. anyway. I'm enjoying class and what I do outside of it. I've been in my element living alone again (in my dorm) and feeling free to wear/do/say what I want, when I want. I wash my dishes and sing to myself and manage my time and drink lots of artificially sweetened and heavily flavored coffee without anyone around to judge me. and I get to cry and masturbate when I want, both of which are helpful in regulating my moods. I don't know. it's not like I'm doing anything exciting, but I am doing each thing I do well and with a happy heart. I feel like this portion of my life is something of a hibernation- the winter seasons combined with the pandemic have me in a cozy little daydream, reading and self-reflecting and getting back in tune with myself and my passions. I have a feeling that the spring and summer will be very vibrant bustling months so I am trying to enjoy my rest and soak in as much knowledge about myself and the world around me as I can. it's hard for me to live in the present and not get antsy (connected to control issues, I think) but I'm getting better at it. on the subject of the future, I've also been using this time to look into grad school and prepare for the GRE (a standardized test required for most grad school applications, similar to the ACT/SAT). I'm learning a lot that I didn't know since neither of my parents went further than undergrad, and I'm getting excited. I'm really looking forward to doing research. I've already been collecting some thesis ideas for an undergraduate-level thesis that I have to complete next year for the honors college, and hopefully I can turn that into a masters and/or PHD thesis when the time comes. now, on to more important matters than my silly little life.

I have very complicated feelings about america. I do have some attachment to some of the original ideas that are at the foundation- "bring me your huddled masses...", "all men are created equal", the general spirit of democracy, etc.- all of these are valid and worth keeping (in some form) to me. I think a lot of good people and ideas exist around us and I believe that we must be as empathetic and kind as possible to one another in order to navigate the current climate and preserve the good that we do have. that said, america was also founded on some pretty terrible, bigoted principles and our history- as well as our present- is marred by injustices. our society has become highly individualistic because of capitalism, and it has resulted in considerable division on every level. the competition that fuels capitalism is like an invasive species of plant, it does not only exist within our economy but it slithers out into our social world and the way we relate to others. I think capitalism coupled with our post-enlightenment founding is the source of most all of our problems as a country. capitalism has taken root in america in a way more malicious and all-consuming than in any other culture, because it was there at the beginning of our country and all of our social norms have grown out of it. many other cultures have existed long before capitalism and though it has modified their culture, it has not altogether become it. because america was founded on capitalism, we have no cultural identity outside of it. america is, itself, capitalism. that is precisely why america is experiencing all of the best and worst parts of capitalism at their most extreme. it is why, as I mentioned previously, we are perhaps the most divisive and competitive society in the modern world, and probably in history. we are the richest and most powerful country but we have the largest wealth gap and incarceration rate, among many other extremes.

all of this is to say that the rise of Trump and fascism in this country has been a long time coming, and unmistakably inevitable. to defeat it we will have to break america down to its fundamentals, throw out everything that is unethical and unjust, and rebuild our entire society from there. this is radical and hard to imagine, it will also be very difficult to execute, but I strongly believe that much of our societal systems just cannot be reformed, they must be thrown out and replaced.

the capitol riots were inexcusable and sickening but decidedly inevitable. this has been steadily building for america's entire existence. I think it will get worse before it gets better, as there are already plans for bigger and more numerous protests across the country in the following weeks. that said, I feel hopeful as I see the anti-fascist movement grow in the wake of fascism, I am hopeful as I see many people being radicalized and awakened to the realities of this country's failings. I don't know how exactly we will even begin to rid ourselves of the biases, prejudices, and downright hatred that plagues our country. I don't know how we will relate on an individual level to those with such deeply-ingrained hate in their hearts. I don't know how we will change our systems of government and economy to reflect new cultural values that we begin to build together. I am not sure what the future will hold. I do believe, however, that we will triumph over this moment and that the future will be better. I think that the only way to radically change and unite so many vastly different people and remove the blinders from their eyes is through a terrible, historic awakening like the one we are having now. the situation itself is awful, but I am hopeful that out of this mess we become a nation more committed to justice and to some of the ideals which we have falsely claimed to be emulating for our entire history.

so yes, I am worried about the next few weeks, months, and even years. there is no end to the pursuit of a just society, and I think every informed citizen is always a bit apprehensive about certain aspects of their culture. there will always be problems to combat and injustices to rectify, but I think that we will soon be moving to a better place, that we will remember these moments and say, "never again". I am hopeful, despite seeing some of the worst of humanity in recent days, that these atrocities will bring positive change.

I know that was long and instead of discussing issues about the capitol, or even just current political issues, I expanded the scope considerably and dragged in a lot of things from history and grander sociopolitical theories. still, I think it is hard to talk about the insurrection attempt without talking about a lot more. thank you for reading my takes and caring about them. I spend a lot of time thinking about these things, and it feels nice to share them with someone other than my annoyed professors who want me to shut up so they can finish the lecture and stick to their semester schedule.

I hope you're well and that you're staying safe and healthy. are you in school now too? have you or your family had the virus? thank you for coming to talk to me, I always enjoy it. I'll talk to you again soon💞

#pen pal

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