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sinceileftyoublog · 2 months

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Jon Langford Interview: Serve the Song

BY JORDAN MAINZER

When you ask Jon Langford what he's up to in the near future, he'll likely list a few upcoming concerts and art exhibitions before you realize he's referring to just this upcoming weekend. For the singer-songwriter and painter, the Mekon and Waco Brother, his past, present, and future discography and levels of participation seem just as vast. During his most recent visit to Austin (of which SXSW was a mere part), Langford played twelve shows: four with The Waco Brothers, three with The Far Forlon (his Austin-based band that plays Langford solo and Mekons songs), and five with The Bright Shiners, his new band that just released their debut record, Where It Really Starts (Tiny Global Productions). But Langford views himself as a mere thread rather than the center. "I am lucky to get to work with people more talented than me," he said to me over the phone after returning from SXSW. Sarcasm aside, Where It Really Starts epitomizes that democratic approach. "I love having not all of the responsibility on myself to come up with stuff," Langford said. "It's not a solo album. It's better than that."

The Bright Shiners started when Langford and John Szymanski, his frequent musical partner, attempted to make a duo acoustic guitar record that resulted in some interesting tunes, but not enough to resist contacting singer and keyboard player Alice Spencer. That is, though the Austin-based Spencer played in soul-funk band Shinyribs, Langford and Szymanski were enraptured by her solo work and Mellotron playing. Spencer was on board, and then Langford and Szymanski brought in violinist Tamineh Gueramy. The four wrote the majority of the songs on Where It Really Starts, with Langford concocting first drafts, Spencer arranging, and the group taking them to fruition. The result is easily the most lush music of Langford's career, from the steadily chiming "For The Queen of Hearts" to the dulcet "I Have A Wish".

Where It Really Starts is rich without being overstuffed, a natural combination of layered guitars and vocal harmonies, piano, pedal-affected strings, looped percussion, and of course, Mellotron. In other words, it's folk music with contemporary touches, Langford's storytelling firmly in the present while sometimes sounding appropriately old-timey. His vocal delivery resembles that of a troubadour on the fluttery, swaying "Awake The Land Of The Shadows"; he passionately trills on "Seahouses". And on "Discarded", a duet with Spencer, the two finish each other's sentences like a sardonic country couple. "You can talk about love, you can talk about society," sings Langford, "But when push comes to shove, you wiped the floor with me," responds Spencer, atop brawny, off-kilter horns. "Seahouses" and "Discarded", specifically, contain a multitude of musical ideas Spencer brought to the table, the former's filmic feel and the latter's horns. And even producer Brian Beattie gets his kicks: The album's final track, which sounds like an outtake from or demo of "Discarded", was actually Beattie playing all of the instruments in the studio and recording his half-hearted attempt at the lyrics of "Discarded", which The Bright Shiners found so funny, they decided to put it on the album.

My interview with Langford was not set up through a publicist. I literally said hello to him when I ran into him at The Beer Temple, at which point he mentioned he had a new record coming out that he'd be down to talk about. Two weeks later, we spoke on the phone. He and The Bright Shiners signed a two-album deal with Tiny Global Productions, so you can expect to hear more, but who knows what else--spontaneous or otherwise--Langford will get up to. In the meantime, read our interview below, edited for length and clarity.

Since I Left You: When did The Bright Shiners form, and when did you start writing Where It Really Starts?

Jon Langford: It was more a social thing. We were talking. Alice Spencer was in a band...she's a keyboard player and a very good technical singer. She was doing other solo stuff which was really fascinating. She has a jazz background, but isn't into that virtuoso jazz stuff. We decided to write a few songs with John Szymanski and Tamineh [Gueramy.] John [had] been working with me, and I said to him [about Alice], "This woman's playing a Mellotron." And he said, "We should form a band with her." I didn't know there was such a thing as digital Mellotron. It's really kind of fascinating to me. Most of the songs are co-writes by the whole band. But I was handing over sketches and [Alice] was turning them into fully realized arrangements with vocals.

SILY: Did you come up with the lyrics?

JL: All the lyrics are mine.

SILY: How did you finish the songs? Was that a group effort?

JL: Yeah, the arrangements and the songs. The guy who produced it with us, [Brian Beattie,] had been working with Alice a lot. They'd done a duo together. The studio is called The Wonder Chamber. Alice was doing some recording there and sent me some video. I said, "Where is this? This is fantastic! If we do anything, this is where we should do it."

SILY: Is it in Austin?

JL: Yeah.

SILY: It seems to me that this album, more than your other solo albums, exists in the folk tradition but with more contemporary touches. Maybe that's the digital Mellotron. Would you agree?

JL: Yeah. We just wanted it to be kind of minimal. We started off with acoustic guitars, because John and I had been doing that for quite a while in a duo. We tried to make a record just me and him with acoustic guitar. It was alright, and we had a few ideas, but that's kind of on the backburner.

Music is so inherently collaborative. I've had solo records where I was totally in charge. This is basically something else. The song "Seahouses" was this epic thing Alice came up with based on something I'd sent her. I thought, "I don't remember writing this." It was mind-blowing. So beautiful, so different.

SILY: It definitely is a song that sounds like the seaside.

JL: There's something cinematic about it. I want to bash things down as simply and plainly as possible. That one has some epic moments. It's minimal in the sense that it's not a jam band. It's more like a dub reggae record where you have parts that lock and drive the song along and serve the record. When there's no singing, the parts get kind of detached from it. You can listen to these individual parts. It's getting away from the virtuosity and soloing: Just trying to serve the song.

SILY: Was there anything different this time around that inspired your lyrics?

JL: That's a good question. I'll have to talk to my therapist about that. [laughs] The lyrics are quite personal. They are inspired by the visual art I do. "For The Queen of Hearts", there was a painting called The Queen of Hearts that I made, a country singer that's like a playing card, body on top and repeated underneath. She's got two heads and is singing. The other one is a skull. I thought the song was kind of based on that.

SILY: Are you contextualizing each song with paintings you've done that might have inspired them?

JL: Some of them. "Seahouses", I went to a place called "Seahouses". It's a really dramatic place in the north of England, kind of bleak, pebbles rolling and smashing against each other, permanent and impermanent at the same time. The transitory nature of life and time itself, or something. It sounds really bonkers when I say it like that. [laughs]

Each song, I guess, has its own life. There's a lot of visual stuff in them.

SILY: There seems to be a good mix of songs that are reflective or internal and others more about storytelling, such as "Tell Me Your Story".

JL: I wrote that with a friend in Chicago, Jenny Bienemann. She had a project where she would write haikus and would hand them out to [people] to write a song from it to perform in a concert. There were 15 haikus, and she said, "Pick one you like." I thought "Tell Me Your Story" was fantastic. When you meet someone, you want to find out everything about them.

SILY: When you write or listen to folk music, do you tend to draw parallels between the modern day and the past?

JL: I think I write pretty much in the present. I'm not writing nostalgic or particularly optimistic [songs] anymore. I've tried to temper realism or pessimism.

SILY: A song like "The Emperor's Fiddle", with lines about talking to the dead and necromancing, and a line like, "We have more guns and disease than you can ever use" sounds like something that could be from an old folk song, but you could apply it to the modern day.

JL: You can apply it to the modern day. It's about going up the river and selling the Natives whiskey.

SILY: Why did you choose to throw in an unlisted track at the end that's basically an outtake of "Discarded"?

JL: That's actually Brian Beattie setting up the studio before we even arrived and playing all the instruments himself. [laughs] The first time I sat in the studio properly, he played me that. [laughs] I could have walked out. "Are you taking the piss? Are you making fun of us?" We all find it really amusing. "Is it you...I?" It grew on me in the end. I was like, "It's gotta go on."

SILY: It's like when people leave in studio chatter, but taken to the extreme.

JL: It exists. I don't know what else we were gonna do with it. Put it in a box and bury it somewhere? [laughs]

SILY: Did you do the album art for this?

JL: It's a collaboration between me and Jim Sherraden, the master printer at Hatch Show Print in Nashville. It's his woodcuts and my central figures.

SILY: How does it relate to the story of the album?

JL: It's parallel. I started working with him when we started The Bright Shiners. It was work that I was making. The idea of two people with a guitar flying through the air. There's an ethereal nature to a lot of these songs that ties in quite nicely. I like the idea of the printmaking. It's ornate. I like repetition. Mark E. Smith said, "It's not repetition, it's discipline." I find that in a lot of music I like. There doesn't have to be a high point or piano solo for people to show off their virtuosity. I thought that was a good parallel to the album. It can be beautiful and serious, but it doesn't have to be.

SILY: You can apply what Mark E. Smith says to listening, to, especially more repetitious songs that take a level of discipline or commitment, especially when they have abstraction to it.

JL: This is sort of artistic conceit. It wasn't just folk songs. We were definitely thinking about robotic, repetitive things going on. Some sort of hypnotic thing. "A Scale of One to Nine", I just wanted to [write a song] that sounds good when it comes back. [laughs] It's really relentless.

SILY: Any time you include wordless harmonies, it wriggles its way into your head.

JL: I don't like when people ask if I've made a concept record. Every record's a concept record to me. It's not like I've made a rock opera. It's a definable narrative. There's a story.

SILY: For how long have you been playing these songs live?

JL: [For] probably about eight months. After playing [at first], we understood what we wanted, and the writing process became a lot easier. We didn't do a whole album in one sitting, it was about four sittings, a few songs each time, and we got better at working. The song "I Have a Wish" is completely live. We wanted to see what it was like all playing together. It was really beautiful. We knew what we wanted to do. It's a simple song.

SILY: It has a really nice lilting melody.

JL: Alice is a really good singer. Most of the songs are duets. She really listens to phrasing and writes harmonies over the top. A lot of the time she's doing quite odd harmonies that are kind of cool.

SILY: How was it adapting some of the other songs to a live performance?

JL: It was pretty easy with this. We don't try making it sound exactly like the record. We did some gigs with a bass player and percussionist last year. Economically, we can't really do [that all the time]. We need to make it work as a four-piece. John and I have an understanding, telepathically, if I go up the neck, he goes down. The snare drum is often playing more percussively than he is, and he's finding notes that are similar to what's on the record but not exactly. Everybody sings really well, as well. We all sing together. There are beautiful moments. Tamineh uses pedals for the violin, and there are a lot of violin effects she's using. She'll use them in place of electric guitar on the record. Some Mellotron sounds are pretty fantastic. The violin with pedal delays can sound like a whole orchestra.

SILY: Did you put horns on "Discarded"?

JL: We did. Alice wanted to put a Salvation Army [brass] band on a track. I wasn't there when she did it. She got some people from Austin. I mirrored the part she was playing on the Mellotron and made it into something bigger. I wasn't sure about that song.

SILY: Are you always writing songs?

JL: Yep. I haven't for a while. I think when we finished the album, I definitely went through, at the end of last year, a phase where I wasn't doing anything. It's like a muscle. Once you turn it on again, it's like a tap. If you're not writing, you are writing somewhere in your head. A lot of things in the songs seem strange to me now because I didn't know what I meant when I wrote them, but sometimes, when we sing them on stage, I go, "Bloody hell, I wonder whether that's what that means." [laughs] It's kind of revealing tapping into the subconscious. That's where a lot of the stuff gets written.

SILY: Do you find it the same when someone in the audience might ask what something means or say a song means something different to them? Do the songs then change meaning for you?

JL: I kind of like the limitations of being a songwriter in the sense you can try and communicate something, but it might be misconstrued. I think that brings responsibility to what you talk about. It's so boring to set up a message, and say, "This song is about." It's a delicate balance to start writing songs and not be pedantic but still be authentic. Hopefully, people think about what you're singing about.

SILY: Is there anything you've been listening to, watching, or reading lately that's caught your attention?

JL: I listen to a lot of reggae still, but it's not new. I've got a vinyl player in my painting studio. I like that it stops every 25 minutes and you have to go and choose something else. You can't just put on a playlist. A lot of British reggae music from the 70s and 80s which wasn't appreciated at the time but is pretty fucking great. Steel Pulse, Misty in Roots. Bands I saw and played with at the time.

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ssvperboy · 2 years

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Ultimate Ship Meme Christmas Edition - Grace & Skate

Ultimate Ship Meme Christmas Edition || accepting

Which one of them:

Spikes the eggnog? Skate of course. 😂😭

Hangs the stockings? Grace. I feel like she grew up helping get the house ready for Christmas, so she definitely would be the one to hang the stockings. Skate doesn’t even know what the stockings are for dkhskdja

Leaves cookies and milk out to keep up with the Santa tradition? This may seem STUPID, but Skate does it because he thinks Presley still believes in Santa ngl. He and Nolan make it a whole thing and Presley just lets them believe she thinks Santa is real at her big age. Grace thinks this is cute af though.

“Accidentally” throws away the fruitcake: I can’t see Grace as someone who likes fruitcake at all, so her. Skate is the kinda person who would keep pastries and cakes and shit around even if he doesn’t end up eating them, to not waste them because idk, maybe someone else will have some lmao

Goes overboard on the whipped cream? Graceeeee and she would definitely go overboard on Skate’s drinks too <3

Is the inevitable Christmas Grinch? Hmm... this could go either way because Christmas could be a huge trigger for either of them tbh

Wakes up first on Christmas? Grace! 300% it’s Grace!

Rolls their eyes as the same cheesy carol plays in the stores for the millionth time? Skate but he smiles happily every time Grace sings or mouths the words 🥹

Starts playing Christmas music the day after Halloween? Graceeeee lmaooooo

Decorates the Christmas tree? I think Grace would have the idea to and Skate would help her bc he loves her 😌

Who wears the ugly Christmas sweaters: Both of them, 300%. Skate loves an ugly sweater and Grace would wear one for the christmas spirit 🥰🥰

Picks out the holiday movies and who makes the hot cocoa: I think Grace does both, because it’s been proven that Skate can’t make hot cocoa for SHIT and he’d also let Grace pick the movie every time 😌

Starts the snowball fight: I may be wrong, but I think Grace would to try and get Skate to smileeeeeee but it could be either orrr

Drags the other under the mistletoe: Grace, because Skate still doesn’t really understand how mistletoe works dskhlksdja

Decorates the house: Grace would start and any time Skate sees her struggling, he’d jump into help!.

Hangs up the ornaments on the tree: Same concept as decorating!

Cooks Christmas dinner: Grace. Do not let Skate cook. ever...

Invites the other to sing a Christmas duet: Grace and Skate would go 100% because it would make her happy.

Has any holiday traditions: Grace probably has the most. Skate’s holiday traditions stop at leaving cookies out for Santa lmaoooo

Who would start a food fight during baking: Skate, because he doesn’t know what he’s doing and wants to be annoying lmaooooo

Would get drunk off of eggnog: Grace, because... well Skate is Skate lmaoooooooo

Who starts putting up decorations in October? Oh God, I think Grace might want to but knowing it’s Skate’s birthday on Halloween, she wouldn’t. So neither.

Buys the advent calendars? Grace, and Skate would want to open them all at once so she would have to teach him how to do it lmaoooo

Places mistletoes all around the house? Grace, to teach Skate about how it works lmaoooo

Wraps the presents for other people? Grace. Skate can roll a blunt no problem, but you should never ask him to wrap a gift lmaoooo

Puts the final star/angel on the top of the Christmas tree? Grace, and Skate would lift her up to do it 😌

Is the one that hates eggnog? Skateeeeee lmao, he doesn’t understand it 😂

Is the one that bakes Christmas cookies for guests? Grace. There is not way Skate knows what goes into making a cookie lmaoooooooo

Sends out the Christmas cards? Grace, because she thinks it’s nice to wish people a merry christmas 🥹

Knows all the words to Twelve Days of Christmas? Grace! Skate maybe knows up to day 5 😂😂😂

Is the better snowman builder? I feel like they might both be good??

Starts snowball fights? Could be either orrrr

Is the one that wakes the other on Christmas morning by playing Christmas songs really loudly? Grace, but Skate would not wake up pissed tbh. he’d probably wake up in the christmas spirit 😂

#skate h. & grace c.#skate h. // headcanons #skate h. // ships #i scream at her teaching him christmas thingsssss #answered #wingsandahalo

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joons · 2 years

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Get to Know the Blogger

Austin/Elvis Fandom Edition

Were you an Austin, Baz or Elvis fan before seeing the movie? How about after?

None of the above! I only knew that Austin had been cast to play Elvis, and I assumed he was an indie darling or something, so I was surprised to find out this is really his first leading role and that he was a Nickelodeon star! I'm even more impressed with him now! I go back and forth daily between swooning over him and Elvis. For a brief window of time, I was like, "Well, I only find him attractive AS Elvis," but no, he's a cutie on his own.

I was not a Baz fan either because I didn't think I liked his style. I haven't seen any of his films, but seeing clips made me think he was too maximalist/cheesy for my taste. But when I heard he was doing an Elvis movie, I was like, "Hm. That actually seems like a great fit." So I was excited to see the movie, and I promised my mom we'd go when it came out.

I also didn't know a whole lot about Elvis, though I was already a fan of some of his songs. I had this strange idea that Buddy Holly was superior because he wrote his own music, and I thought everyone was doing the hiccuping style of singing and that Elvis was just the one to get famous for it. It was only after the movie that I learned how many people were imitating Elvis!

What is/are your favorite look(s) that Austin sports in the film?

The lace shirts, especially the pink one and jacket combo on Beale Street, the Trouble suit, and the concho jumpsuit in "Suspicious Minds"/the first performance. I also love those really frilly silk shirts he wears during the Vegas rehearsals.

Most memorable scene or line?

(I almost forgot to fill this out!) So my favorite scenes are things like the Vegas rehearsal/Trouble/the Comeback Special, all the big setpieces. But a moment that I keep coming back to, personally, is the scene where Elvis is singing "I'll Fly Away" with his family before the Hayride. I adore that song, and I love how it was used as an extended metaphor to frame the film. It immediately endeared me to Elvis as someone who loves gospel music and has anxiety. I love how that entire sequence is intercut and we keep going back to see flashes of him singing the song to himself and jittering and feeling like he's getting more confident and feeling like he's at a revival. Y A S.

What are your top 3 favorite songs on the soundtrack?

OK, I want to break this one up a bit. Favorite Austin cover is "Trouble," definitely. I think it's better than the original Elvis recording, which has a more laidback, unbothered vocal style. Austin's has so much attitude and fire that works so well for the scene and sounds amazing.

Favorite Elvis original is "Suspicious Minds." I love how listening to it in isolation you can hear him get out of breath toward the end, really in the music, but also frantic, and that song goes on so long that you have no idea when it's going to end. It's just a great metaphor for what he would be feeling through the Vegas years. I also find it impossible to listen to the original single after listening to live versions. It's so much slower!

Favorite new song is "Vegas," duh.

Favorite remix/duet is "Power of My Love."

And I looooove "Strange Things Are Happening Every Day."

How many times have you seen the film in theaters?

Three! I don't know if I'll get to go another time, but luckily my mom and I are both obsessed, so we're always trying to make an excuse to go again. I've gotten most of my extended family to go too. But like every day, when I see my mom, we'll share random Austin/Elvis videos we've found that are cute or just info-dump some trivia.

What kind of fan content do you like to create/consume? (fics, gifs, ect)

I do a little of everything and a whole lot of nothing. I like writing analysis essays the most and will do gifs/graphics/art on occasion. I don't feel compelled to write fic for this particular fandom, but I like seeing other people's work.

Wherabouts in the world are you from? (be as general or as specific as you’re comfortable with)

The Appalachians.

Are you active in other fandoms? If so, which one(s)?

Batman, Nancy Drew, Phineas and Ferb, the Beach Boys, Bartimaeus, Strange Magic, Doctor Who, Phantom of the Opera ... lots of stuff.

List 3 fun facts about yourself/your interests.

I'm also a super fan of Brian Wilson of the Beach Boys and see some similarities between him and Elvis. The main difference is that Brian was able to escape his domineering, abusive doctor and is still with us today despite being abused and overprescribed medications. I encourage everyone to watch Love & Mercy, Brian's biopic.

I work as a copyeditor and designer, and I love villain romances!

[Feel free to tag others or just jump in and participate. Just copy, paste and reblog. Let’s get to know some of the awesome Austin/Elvis fans and creators here on Tumblr]

#elvis #wanted to do this!

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ermespop · 2 years

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Bestfriend Luisa Madrigal

character(s): Luisa Madrigal, (1) mention Mirabel Madrigal

warning(s): ⚠️mentions of suicide

author's note: headcanons nobody asked for! but girrrlll,, i just did this in one sit !!!

Random headcanons

carrying stuff all day tires her out

but it doesn't mean she'll ever pass up on the opportunity to carry you around town

after a while of knowing each other y'all wanted to have matching friendship bracelets

but neither of you knew how to make them :(

so y'all asked Mirabel for help and the next day you had a bracelet with each other's favorite colors ( :D

sometimes you help her with chores that don't really require a lot of strength

you and Luisa LOVE having spontaneous duets

like she could be running around town doing chores with you in her shoulders and then you start singing out of nowhere and then she starts singing and then y'all become LOUD AS FRICK lol

there was one time that you were feeling really bad for some reason and no matter what she did she couldn't lift your spirit

that day you told her that you wish you could jump from one of the town's houses

and this is how it went

"okay, go for it"

"for real, dude?"

"ye I'll catch you :)"

you my friend cried that day, a lot

you did jump off the building and she did catch you

and she made sure you told her whenever you weren't having the best day so you both could do your best to prevent those feelings

ayoooo

you both once joked about moving out of your parents place's and building a small house in the middle of the forest to live there

and then Luisa was like "wait… i can do that"

y'all built that house and is now your secret hide out B)

you also had this day, she was really busy and you guys hadn't seen each other since morning

she met you in the evening and you asked how her day was

she just hugged you a little tighter than usual and then said "much better now"

the next day she explained to you how just being with you helps her de-stress

oh right, you guys share hugs regularly, but like always

you greet each other, say bye, celebrate, congratulate each other, cheer, comfort and simply show affection by hugging

AAALLLL types of hugs

side hugs, back hugs, bone crushing hugs (more often than not), front hugs, neck hugs, head hugs, etc., (if you don't get some of these you can google them i did too lol)

oh ye, y'all stile each other's hair every weekend so you start every week with a different haristyle

so yeah Luisa as your bestfriend 10/10 would recommend 😌👌

author's note (2): i love the way these ideas just kept coming one after the other 😭

• Likes, comments, reblogs and follow are so greatly appreciated ๑´ᴗ｀๑

#encanto #disney encanto #Luisa Madrigal #luisa encanto #encanto fanfic #encanto fluff #encanto hcs #encanto headcanons #luisa headcanons #luisa x reader #gn!reader #gn reader #encanto x reader #platonic reader #platonic!reader #luisa #ermes;writes

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decidedlyundecidedgirl · 2 years

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Summer 2020 I was only vaguely aware of Tom Felton to be honest. Being a Potter fan, I knew him of course as the Draco Malfoy. But other than that, he really wasn’t on my radar.

Now here I am, 18 months into a Tom Felton dedicated TikTok account, (TikTok has a lot to answer for in this whole thing) an ever growing amount of photos saved on Pinterest, money parted with quicker than you can say ‘You’re not in Hufflepuff are you?’ when announced Tom will be starring in a west end play, eagerly awaiting his latest goings ons and a cushion with his face on (but we won’t talk about that.)

So what is it about Tom that’s made myself and many others be caught under his spell?

Well where do I begin, let’s start with his adorable, kind, funny and incredibly endearing personality. The way he has been interacting with fans through social media is very special and pretty rare.

His lives on Instagram have captivated fans with his personal, down to earth, funny and sometimes chaotic approach. He sings,plays guitar, and he introduced us to his dog Willow. (Who happens to be equally adorable.) He still embraces all things Potter and sometimes allows fans to join his lives (with varied results!)

I began following Tom on Instagram after #dracotok gloriously entered our lives in late summer 2020. #dracotok (incase you don’t know) was a huge trend to appear on Tiktok featuring a collection of videos dedicated to Draco Malfoy. POV’s (point of views) were particularly popular and still are.

To cut a long story short I began watching his lives and became hooked pretty quickly. #tomtok soon followed #dracotok with Tom himself interacting with the Draco videos and posting his own TikTok duets with fans. So the obsession deepened. I found myself wanting to make edits and things only got worse better. I’m sure this is a similar story for many others!

There are now countless creators on TikTok making Draco and Tom content. The #dracotok tag has 25.1 billion views with #tomtok at 982.7 million. Which gives you a rough idea of how much this blew up!

But why? Well when dracotok first happened we were in the middle of a global pandemic. Our lives were far from normal so Draco Malfoy POV’s became the perfect escapism we desperately needed.

Tiktok also of course works by showing us more and more of what we like, so once you like one Tom or Draco edit, you will be shown more. So does this feed the obsession? Absolutely! Do you like him more because so many others like him? Probably. Herd mentality if you will.

The above for me has definitely changed what would usually be a fleeting celebrity crush into much more entirely. Although I'm very aware that these things have influenced my feelings. I know it wouldn’t be enough to make me feel this way for this length of time. So I believe my affections for Tom are real and long may they continue! (Totally have this all under control of course!..)

Now let’s talk about the elephant in the room…Yes, Tom is kind,funny and endearing but he’s also, let’s be honest, freaking HOT. Like seriously fine. I’m not sure I’ve been this attracted to someone I’ve never met before.

Tom may not be someone you immediately find sexy. In fact he’s totally not my usual ‘type’…My usual preference is brunettes.. But it’s not just about looks. It’s about, well, pretty much everything he does.

The way he acts,plays golf, skateboards (yes Emma, I get it.) plays several musical instruments and writes his own songs, his little habits, his voice, his walk, his HANDS. Let me repeat. HIS HANDS…..

Sorry where was I?.. Oh yeah so basically Tom Felton is the whole package. I’m not saying he’s perfect. Nobody is. I’m not saying I actually know the real him. But as celebrity crushes go this will probably be like nothing else you’ve experienced.

I usually lose interest in almost everything quickly, but at this point I’m not sure I could stop being interested if I wanted to. Don’t get me wrong, me and Tom have had our ups and downs. I get mad at him…usually for no reason (he’s obviously unaware of our ‘fight’ and doesn’t know I exist..) sometimes real life is busy, sometimes Tom is quiet. But it always comes back again strong as ever.

There’s so much more I could say about Tom and the possible reasons he’s had such an effect on myself and many other people (maybe he really IS a wizard?)

But why not go and check out his socials for yourself. But be prepared… to fall in love.

Article written and owned by decidedlyundecidedgirl.

Photos all courtesy of Pinterest.

#tom felton #dracotok #tiktok #escapism #draco malfoy #hot celebs #celebrity #british actors #celebrity crush #harry potter reference #love #hp cast #writing #article

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luciferloveschloe · 3 years

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goodbye, lucifer (but not really!)

I cannot BELIEVE that I just watched the last episode of my favourite show.

I usually cram everything I have to in tags under gifsets I reblog, but for this final season I'll go through the pain of actually writing shit down. I'll try to keep it short, and I'll try not to ramble. (Edit: Did not accomplish that.)

what i loved

SCREAMS

God, soooooooo much!!

Deckerstar baby

Okay, so when Rory showed up in the trailer I was like "Ugh, another annoying angel? Meh." FORGIVE ME, my sweet murder child! Of all the things I thought they might do, a Deckerstar baby was DEAD LAST on my list. And a daughter no less, I just... When she says she's Lucifer's daughter, I was like *SCREAMS*, but when we learn she's Lucifer AND Chloe's daughter, I completely lost it. My boyfriend's on a trip with his friends this week and I'm sooo grateful for that, I made the weirdest, loudest, ugliest noises while watching this season, I ran around our apartment like a maniac, I squealed and laughed and cried and just generally lost my mind. But when she says that?? Oh my God. Also the way Lucifer reacted when Chloe shows him the pregnancy test? Straight outta fanfic.

Lucifer being a father

Oh my God?? I've always said he'd be the BEST father, and actually seeing it on screen... I love the parallel of him being ridiculously over the top with Rory at first, just like God and Lucifer in S5. The way he looks at her when he sees her playing the guitar? Their duet?? Instantly one of my favourite scenes. Them driving in the Corvette, their last day together, how he keeps her from killing Le Mec? Just murder me.

Established Deckerstar

All the hugs and kisses?? The declarations of love, the besotted looks, the absolute power couple we got? Their look from Maze and Eve's wedding, OH MY GOD???? Just, these two are so pretty and we got SO MUCH. Also, their scenes with Rory?? I just love them so much...

(More under the cut!)

Ella's storyline

I wanted a reveal for her so badly, and the way it turned out was brilliant! I loved her figuring it out for herself and calling everyone out lmao. I especially loved poor Carol returning to that room full of shocked people. They had some GREAT punchlines and gags this season, absolutely hilarious! I also love Lucifer's parting gift for her and that she finally found a good one with Carol.

Hugs, so many hugs!

That's it, that's the paragraph.

The Police storyline

As a white person who has literally never once had a problem with the police, I know this is not my place to say, but I think they did a good job? Not giving into the "a few bad apples" excuse but acknowledging that the whole system needs to change? I also really enjoyed the scenes with Amenadiel and Officer Harris, showing what policework could and should look like.

Maze and Eve's happily ever after

I'm so glad auntie Maze and auntie Eve got their happy ending! And that wedding was a bomb. Also, "You're my hell!", lmao.

Dan's ascend to heaven

First of, great to know his only torture was Belios' lack of table tennis skills. Secondly, how very fitting for the show that they didn't hand Dan his happy ending easily, that he fought and won it for himself. Him as a ghost and him as Le Mec was equally funny, and his talk with Trixie was just perfect, literally tears you guys.

Amenadiel becoming God

I mean, dude's perfect for the job! From the loyal, distant, obeying servant to a God who wants to work as a team with his siblings, who wants the Celestials to experience the human world, who hates injustice and loves fiercely? In this universe, I couldn't imagine anyone better suited to be God.

Nobody misses the case of the week

At least I don't! God, I wish they'd tried this out sooner.

The bittersweet ending

Let's preface this by saying I HATE bittersweet endings. Give me a happily ever after or else. And yet, and yet!! I think the ending they settled on is perfect. Would I have loved it if Lucifer had a life on earth with Chloe, Trixie and Rory? God, yes. Do I get emotional over him being alone in hell, again? Goddd, yes. But still. I so love that he found his calling in the end, that they reunited, and that he actually makes good on his promise from S5 to change the system. Also, I don't care if this is canon or fanon for now, but they totally spend time in heaven with Rory and visit earth whenever they like. And this would have been my ideal ending - them being free to go where they like, and I don't see why they shoudn't. It's definitely more satisfying than just traipsing off to heaven indefinitely, so I really, really loved that.

what i didn't (do feel free to skip this!)

Lucifer missing out on Chloe's life on earth and being alone in hell again. Chloe being left again.

Time travel shenanigans. I just finished Dark and that was enough of a mindfuck. Do not want to think about loops for this show, thank you very much.

Chloe felt a little too housewifey in the first episodes, but it thankfully didn't stay that way for long.

Lucifer and Chloe talking about keeping secrets for a whole episode, and then NOBODY TALKING ABOUT URIEL AND CANDY. I mean, ahhhhhhh! If you don't want to talk about it, then don't, but don't remind people of it constantly and then NOT discuss it. It drives me mad, honestly, how many times they referenced these storylines only to completely ignore them when there were opportunities to resolve them. Ahhh. That's what fic is for, I guess.

Adam. Like, why? Bye, dude.

what i'll keep with me

When someone I'd just met at my boyfriend's cousin's wedding in 2019 recommended this "funny, little show" to me that intrigued them because they were interested in finding their faith, I really didn't think I'd write all this three years later.

Lucifer is my third fandom, and it won't be my last, but it sure as hell - ha - will stay with me. I resonate so deeply with Lucifer as a character because he fights with the idea of God, fights with this concept of a benevolent father that everyone seems to believe in but never fit his experience. I come from a Christian family and studied theology, but somewhere along the lines I had to come to terms with the fact that the faith I had as a child and teenager didn't fit me anymore. I want to believe again, and maybe someday I will, but right now I don't know that. So Lucifer's journey with that meant a lot to me. I'd like to find what Ella did, I guess.

Although I never really thought Lucifer needed redemption, I loved the whole "anybody can be redeemed" message as well. And hell reform! Hell is such a weird, awful construct - speaking as the theology expert - bringing a bit of purgatory in in this universe is really fucking cool.

Also, I binged Lucifer when I was alone in hospital late at night. That experience alone I'll never forget.

So, I guess - thank you!! Thank you to the cast and crew, to the fans who campaigned for season four, to Ildy and Joe, to the writers and the directors and the people who brought lunch: Thank you so much for this incredible show. I'm not ready to say goodbye, not by a long shot, and I hope this fandom feels the same.

Yabba dabba do me, I love my stupid little show!!!

#lucifer #lucifer netflix #chloe x lucifer #deckerstar #lucifer spoilers #lucifer season six #meta #s6 #i will also leave so many comments on gifsets

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d-criss-news · 3 years

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The Glee star and Emmy winner for The Assassination of Gianni Versace: American Crime Story, Darren Criss, 34, will be releasing his first album of Christmas songs, titled A Very Darren Crissmas (October 8). It includes duets with Adam Lambert, Evan Rachel Wood and an original song, “Drunk on Christmas,” featuring Lainey Wilson.

What was your goal with this Christmas album?

To reintroduce familiar songs in a new way. But I also wanted to take lesser-known songs and make those feel more familiar. And, most importantly, I wanted to take songs that people don’t associate with Christmas but I do—like Leonard Cohen’s “Hallelujah”—and try to make them feel like Christmas songs.

What inspired you to write “Drunk on Christmas”?

It’s about the end of Christmas when everything’s been done. There’s wrapping on the floor, you’ve cleaned things, the in-laws have left and there’s nothing else to do. It’s two people having a sit-on-the couch moment, sipping a glass of cocoa with some SoCo [Southern Comfort] in it.

What is it about Christmas music? Why did you want to do the Christmas album?

Christmas or the holiday season is something that, whether we like it or not, we experience every year, and that comes with a litany of wonderful songs and music that again, whether you have been proactive about listening to it or not, it’s pretty hard to avoid. It’s permeated our cultural consciousness for our entire lives. So if you happen to be someone like me who consumes music at a hyperactive level, I’ve always adored Christmas music.

People say this because of the way that it makes them feel and the things that it reminds them of. There are so many layers to why people enjoy Christmas music. It’s nostalgic, it is very romantic, at least in the true dictionary meaning of the word romantic. And to me, I’ve always loved it for a much more anthropological reason, which is for one month or several weeks out of the year we suddenly subscribe to a certain sentiment that the other 11 we don’t really dial into. We want it all, then we want it to just go away.

What makes Christmas songs different?

As a musician I’ve always loved that Christmas music can employ certain musical elements that otherwise aren’t very popular. To me, it’s incredible that without a doubt the estates of many artists are guaranteed placement on the radio even though many of them have been deceased for many years. The pop charts are dominated by whatever contemporary, awesome artists there are nowadays, but in December you can guarantee that Burl Ives and Dean Martin will be on the radio with the best of them. I find that so charming. It’s because people really, really love this music.

And those songs don’t sound like the sounds that we’re hearing on the radio, sonically, harmonically, rhythmically. They employ a lot of “classic” sounds that evoke the feeling of Christmas. I’m a self-proclaimed genrephile—this is a term I use for myself throughout all the stuff that I do. I can’t help but be so enchanted by this idea that artists have license, and by license I mean an excuse to do things that you ordinarily wouldn’t be encouraged to do, or that audiences wouldn’t necessarily be as quick to absorb.

So, when you’re talking about classic Christmas writing, for lack of a better word, you use clichéd Christmas terminology, you use certain chords, and harmonies, and instrumentations that you just wouldn’t do throughout the year. It leans on the slightly more sophisticated, slightly more musical, and that is really exciting for someone like me.

How much does the fact that your last name is Criss play into this?

If you play music and your last name is Criss, every year someone says, “You know what you should do?” as if they’re the first person who’s ever thought of this idea. So I’ve always wanted to do this; it was just a matter of time. And I also didn’t want it to be phoned in, I didn’t want it to seem like, “Oh, here’s some songs that you know already.”

I wrote this in my liner notes that my favorite thing to do with art, but particularly music, is curate, interpolate, create and personalize. That’s my main thing. I’m an OK singer, I’m an OK musician, but what I really think I have a yen for is trying to interpolate something new that people didn’t know before.

If you think about a song like “Jingle Bells,” it was not written for Christmas. It was a song from 200-something years ago that bears no mention of Christmas whatsoever, but we associate it so heavily with Christmas. Lately I hear Leonard Cohen’s “Hallelujah” come up on Christmas playlists. I think it must have something to do with the Christian angle of the song and the reverence of the word “hallelujah,” but there’s no mention of Christmas.

So there’s a lot of different things that can make people feel like Christmas if you arrange it a certain way, and that’s what I wanted to do. I wanted this cocktail of songs that people didn’t know and I might be able to introduce to them in a really new, interesting way.

You duet with Adam Lambert, Evan Rachel Wood and Lainey Wilson. These people couldn’t be more different. How did you select your song partners for this?

Honestly, people are busy, so I leaned on friends of mine. The album is called A Very Darren Crissmas, and I wanted to make it just that. Songs that are very, very me, doing things that are very me, and using the talents of people who are legitimately in my life. Adam has been a pal for a long time. We’ve known each other from just adventures in Hollywood, but he, of course, was on Glee with me. Evan Rachel is a dear pal of mine; we’ve done some things together. She’s played my festival, and I’ve done comedy sketches with her and stuff. These are all extraordinarily talented singers. As I told them when I asked them to be a part of it, “I’d be very lucky to have you on this record.”

I had not met Lainey Wilson before I started this. But when you’re in Nashville, you are in the Olympic tent of USDA certified prime country singers. And that’s a bit of a blind spot for me as far as who’s on the up and up, who’s somebody that can really give a level of authenticity, legitimacy to a more classic ’50s Nashville sound, which is the song that I wrote called “Drunk on Christmas.” My producer Ron Fair, who has been living in Nashville for a while, suggested Lainey and we got on like a house on fire. She’s an extraordinary talent and I was happy to have her. These were all people that were part of this grassroots friend to friend thing. That’s how I got them and I’m very lucky that they’re on the record.

There are hundreds of Christmas songs. How did you choose what to include?

Choosing was extremely hard. I had a list of about 100 songs. I’m not done; this record is only phase one in my mind. There are so many songs that it will make your head spin. If you go, “Did you think about this song?” The answer is yes, and I absolutely had to deliberate which ones I had to triage out of the sequence.

I even said no to “The Christmas Song,” which is on the album. I didn’t want to do it because I was like, “Everybody knows it; it’s perfect by Nat King Cole,” and Mel Tormé [who wrote it] is one of my favorite artists of all time, much less songwriters and musicians. So I was like, “I don’t want to have to do that.” And on the day when we were there, we just had a guitar and said, “Let’s just do it for fun,” because I love singing that song. But I was like, “It’s been done perfectly too many times, I really don’t want to have to put myself up against that.” But we had a nice take, it’s live in the room. And hey, come on, it’s Christmas. So I left it on there.

If we were to come to your house during the holidays, what would you be listening to?

I’d probably sit you down and play you my favorite songs that you’ve never heard that I think are great Christmas songs. But what’s nice is I’ve now put those songs on this album, hopefully, in a perhaps delusional effort to standardize these songs in the Christmas pantheon. There has to be an air of delusion to being an artist in the first place. If one of these songs that no one’s ever heard before catches on with a family or a person and becomes part of their Christmas playlist every year, then I will have succeeded in my efforts.

What did the Emmy you won for The Assassination of Gianni Versace do for your career?

Although the Emmy has just my name on it, the number one thing that I’m most proud of is it’s more symbolic and representative of the work of the whole team. It is a validation and celebration of the really hard work of people that I spent a lot of time and energy with creating this role.

You have a couple voice roles coming up—in Trese and Yasuke—but what are we going to see you in next, not just hear you?

I don’t know. Let me know if there’s any opportunities. A huge reason for why this album was made was because I had the time. Making records takes a lot of time, and I’m envious of people who are just singers. I don’t know how people do that, that’s just not who I am. I’m a producer, I’m a writer, I’m a musician. It takes so much out of me to make a body of music because someone doesn’t say, “OK, here are the songs, show up on a Tuesday, you sing it and then you leave.” Not that there’s anything wrong with that. Some of my favorite artists can do that and are blessed enough to be able to just do that. I can’t.

It takes so much time for me to really get in the weeds, arrange, edit vocals, edit instrumentation, mix tracks, really getting in the jungle of music production. I can’t function any other way and that takes an extraordinary amount of time. Even when there was a global pandemic, I still had deadlines that we could barely make to finish this album because that’s just how my brain works.

So I haven’t been able to act. I haven’t had an acting job in almost two years. That’s not entirely true. I’ve had little bit things during the pandemic, but no big series or films or anything like that. It’s just been mostly working from home and being as proactive as I can be. I started a weekly podcast with a friend of mine, I put out an EP. I’ve been extremely busy with high output and low visibility. I’m waiting for the next thing, but I’m not one to sit still. If you give me time, I’m going to fill all the spaces out. So I did that with music this past two years.

Are you going to go back to Broadway now that it’s opening again?

I don’t want to say anything that is not perhaps confirmed 100 percent, but I will say with full confidence that I have always had the intention of going back exactly where we started. I’ll let them announce what’s happening because every show is in its own unique holding pattern. But, yes, right before the shutdown I was doing American Buffalo in New York, and talk about the actor’s dream, that is right up there. Doing a great American play that I’ve always wanted to do. I’ve had a long history with that show, and I finally get to do it for real with two of my favorite actors—Sam Rockwell and Laurence Fishburne. They are two acting heroes of mine.

So I was in rehearsals for that. We were about to go into tech, and things got shut down. But we’re in a very fortunate position where you’ve got two huge movie stars, you have a very well-known play and you have a fixed set and just three guys. There are musicals that have orchestras, big choruses and huge set pieces, and the overhead and upkeep of these productions is quite complicated. And a lot of them, for that reason, fell by the wayside during the pandemic, and it’s an awful tragedy. But our set and our billboard and our posters are exactly where we left them. It’s kind of a trip. If you go to Circle in the Square, I keep telling people it’s the longest I’ve ever been on Broadway because it’s just sitting there dormant, waiting to be resurrected.

I think all of us are planning on going back. I think the show is scheduled to reopen almost to the day that it was supposed to open in 2020. We’ll see how the schedule ends up, but you have three guys whose heart and soul is the theater. I don’t want to speak for the other two guys, but I’m almost positive that all three of us would rather be doing that play on Broadway than anything else. So when I say I haven’t had an acting gig in two years, it’s been a comfort to know that that was waiting for me on the other end. I’m keeping my fingers crossed that we’ll be able to do it. We’ll have to make sure that everything is hunky-dory with theater audiences, et cetera, et cetera, but that’s the idea.

How did Ryan Murphy casting you in Glee change your life?

I said during my Emmy speech that actors are only as good as the moments they get. I used to say actors are only as good as the parts they get. Take that with a huge grain of salt, obviously, it’s not entirely true. But in context of that moment, certainly you can understand what I meant. Acting is a proactive craft, but in many respects it’s a passive career, where you have to hope and wait for a benefactor, a patron, a supporter to say, “OK, all right, kid, you’re up. I think you can do it.”

I think any artist’s life is a constant compromise between knowing what you can do and what you want to do, and having other people, audiences and creative authorities alike, have an idea of what you can do. You have to have that balance of somewhere in the middle, where hopefully you can rise to an occasion that you know you can do, that somebody’s going to give you the opportunity to do. But you’re not in control of that relationship, and so you have to sit and hope and pray that someone is going to give you that moment and that opportunity. That was something that I’m fully indebted to with Ryan.

Because he did say, “All right, kid, you’re up,” and gave me that shot. We talked about the The Assassination of Gianni Versace: American Crime Story series for years before we did it. I didn’t think he was ever going to do it. By the time we started shooting, he probably mentioned it to me three or four years prior. And I kept asking about it like, “Hey, you still want to do this thing?” I think he was just always obsessed with the fact that I was half Filipino and that I bore a certain resemblance to the guy. Age and everything, it seems pretty spot-on. But he was a man of his word, and he really did end up making it. So I’m incredibly indebted to him and I’ve always been very effusive about that.

Now that you have this modicum of fame, what would you like to use it to accomplish?

For me, there are so many things that I love in this world that I don’t think other people are familiar with. One of the things about having a modicum of a platform is hopefully embracing that to use it as a gateway drug for stuff that people might not be familiar with. I don’t know if they’re going to like it as much as I do, but I’m looking at this track list and there are songs that I guarantee that you don’t know.

These are all things where I go, “OK, I have this moment of people’s attention, hopefully, this is a fun way to have them have eyes on something that I think is deserving of eyes, and not because of me, but because of other people who have made something amazing.” And, hopefully, they have the same proactive curiosity that I had growing up where I look at the liner notes and see who wrote the songs and where they came from. But we’ll see. We’ll see if people have that reaction.

You’ve accomplished so much. What’s the dream going forward?

The dream is to keep doing me, really. I think all you can do is be as true to yourself and try and do as accessible and as valuable work as you can. And, hopefully, in so doing, represent people, giving them visibility and encouragement towards their own place in the cultural conversation.

#darren criss #parade magazine #a very darren crissmas #press #oct 2021

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miserablesme · 3 years

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The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les miserables #les mis #changelog #les mis changelog #marius #valjean #cosette #javert #eponine #enjolras #thenardier #1985 #1987 #broadway #part 3 #long post #the les miserables changelog

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shadowscans · 3 years

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Translation of natalie.mu's Interview with Soumatou

Source: https://natalie.mu/comic/pp/shadowshouse03

With the TV anime “Shadows House” starting its broadcast on the 10th of April, Comic Natalie is running a special feature on the work. In this third installment of the series, the original author Soumatou makes their long-awaited appearance. Here, we are given the chance to hear them talk about the behind the scene of the production, the sense of speed that comes from the short amount of time between the adaptation decision and the broadcast, the background behind the creation of the original work where the characters have no face and whose expressions cannot be seen, as well as the story behind the creation of the 2-person unit Soumatou, with Nori in charge of design, and Hisshi in charge of drawing. It should be noted that in this interview, they are answering not as Nori and Hisshi but as Soumatou.

“It’s probably a work that’s hard to adapt into anime”

──Soumatou-san, when did you hear of the anime adaptation?

In 2019, about 50 chapters were made free to read online, and amidst the great response, we learned that the anime adaptation was greenlit.

── Making something open to the public has such an effect, huh?

When “Shadows House” started, it was a relatively subdued serialization. With the chapters being made free to read, people started sharing their thoughts through various means like Twitter, and the paper volumes were selling out. In regards to the public release, back when the person in charge proposed the idea, we approved of it since our impression was that “If not many people were reading it anyways, then let’s just give that a try.” Therefore, in the midst of all that, when we heard of the anime adaptation, we were very surprised. “Is there such a thing?” Because production starts immediately after the decision, it was very speedy.

──With how short the time period is between the decision and the start of broadcast, it doesn’t seem like you have much time to rejoice huh (laugh).

We were happy at the time of the decision of course, but apart from that, “It’s probably a work that’s hard to adapt into anime” was what we thought. In the first place, we’re the type that only believe in something we can see, so it didn’t really sink in for us. We were thinking something like “This project might not even fall through” (laugh). That is why ever since the anime adaptation was publicly announced, the feeling of joy finally sinked in.

──Soumatou-san, in what ways were you involved with the anime?

We supervised roughly all the main processes. When the anime adaptation was greenlit, since the person in charge advised me that “If you will be involved, then be involved with everything. If you won’t be involved, then don’t be involved with anything at all,” we thought “If it’s going to be like that, then we will do as much as we can.” However, the supervision of the script was quite hefty, and having to do that concurrently with the serialization was rather physically difficult.

──I had the chance to watch the first episode, and the thing that surprised me was the original development related to Emilyko’s establishment. Was it difficult to supervise these parts?

We had thought to draw that in the original work, though we decided not to since we thought it wasn’t particularly important. That was just a story from the original work which was added on. However, what was difficult were the adjustments made based on the decision at the script meeting to also depict elements or episodes which are not yet revealed in the original work. We have to think two steps ahead of the current plot of the ongoing serialization, then we have to put in stories or elements that would put us closer to that in the anime. It was a maddening task (laugh).

──If that’s the case, then it seems like it would be fun to compare the original work with the anime huh. Even though it’s difficult, was it refreshing to work on the anime?

Yes. Since we didn’t know anything about anime, or rather, we had no production know-how, so at first, we had no idea how everything would progress. To begin with, we gave them the material created for the serialization. Because we have already created a vast amount of material like the building’s 3D layout, it was easy to say “This is what the layout looks like.” In addition, even though the creation of the colored edition was intended for overseas readers, that material seemed to have been of use for the creation of the colors in the anime. In that sense, there might have been little materials that must be created when it comes to adapting it into an anime.

Supervising as far as the way soot is emitted and the movement of the Clingers

──Soumatou-san, what kind of impression did you have when you saw the anime?

We were amazed by how much more profound the atmosphere was than what we expected. We knew the character’s line drawing and the colors that go on them since we supervised it, but we can’t visualize the final image with just that. However, when we saw the processed recording with the background attached, we felt it was close to the impression of the original work.

──How about the directing?

Expressions that aren’t possible in the manga, such as the movement of the soot, Emilyko rolling on the ground or the inclusion of the song that the Living Dolls sang to themselves, left me with a strong impression.

──As for the soot, I was convinced that it would move like that. Was that also supervised by you?

As for the soot and the clingers, we were shown a few patterns, then we fine-tuned it from there.

──By the way, what kinds of patterns were there?

As for the soot, there was a difference in how it was emitted, be it softly or firmly. For the clingers, there was a difference in the movement, like whether it would move slowly like a cockroach or quickly. Such were the patterns that were there. We did quite a bit of trial and error.

Only the voice actors for Kate and Emilyko were entirely decided by others

──Did you go to the dubbing location?

We only visited for the first time to say hello. The voice actors went through the performance about 3 times. As we listened to the anime staff's directions without giving any input ourselves, we felt it fit our image. On the other hand, when the voice actors were asked by the director “Is there any part you want to re-record at the end?,” they responded with things like “I want to re-record this part” or “would this part be better like this instead,” one after another amending it. It was also the first time we observed a dubbing session, so we were very impressed.

──Well then, did Soumatou-san have any particular request?

There were one or two scenes where we thought “This doesn’t seem to come through, so we want it like this,” and asked them to redo the intonation. However, because anime has a fixed length, I felt that it was better to leave it to the director to draw out the best performance within that time limit. The rest of the time, it was alright for us to really just watch.

──That’s roughly how I imagined it to be. Well, then, please tell us about the impression you got from the main characters. First , how were Kate’s by Kitou Akira-san and Emilyko’s Sasahara Yuu-san?

The rough images of Kate and Emilyko’s voices in our own heads were just “calm” and “cheerful.” That’s why we were able to express our wishes after the audition for the other characters. However, just for these two, we only said, “Please use the person that fits the best'' and left it for others to decide (laugh). When we heard the audition, our impression was that Sasahara-san would fit Kate’s voice, and Kitou-san would fit Emilyko’s voice. However, when we looked at the results, it turned out to be the other way around. There are differences between the performance they did at the audition and at the start of the dubbing, though now we felt that this way was definitely more fitting.

──The other shadow and living doll pairs are played by one person each. What was your impression when you heard of that?

We stated in the original work that the shadows and living dolls have different voices. However, for the anime, when the idea to have the same person performing the roles was proposed, we told them that “we are looking forward to the voice actors doing their best.” The voices are altered based on vocal ranges, and I think the end result is that you will be able to enjoy the voice actors’ varied performances.

──Currently, the cast for four sets of characters has been announced. Please tell us your impressions about each of them.

Sakai Koudai-san’s duet between the hearty, easily carried away John and the cool-headed Shaun is very amusing. Both characters sound good, and their voices are cute. As for Sakura Ayane-san, she was able to portray the very different atmospheres between the lively Louise and the calm Lou.

──Those two consist of clearly different characters so it might be easy to work with, but I felt that the remaining two seem difficult.

Indeed. Kawashima Reiji-san has to play Patrick and Ricky - two characters whose voices and personalities are quite similar, so we thought it was quite a hard role. However, he was able to perform the roles with the understanding of the fine differences in the character of the two. For Shimoji Shino-san who plays the role of Shirley and Ram, there is a lot of dialogue with the imaginary friend, and she has to portray a different image than that of others. She said that “It’s a type of character that I have never played before,” but her voice fitted perfectly.

The pair’s 20-year relationship

──Well then, let’s move from “Shadows House” and let's hear about you Soumatou san, and your past works. You two work together as a pair, but when did you get to know each other?

We have known each other since when we were students, so it is already a roughly 20-year relationship.

──Why did you two start making manga together?

When Hisshi stopped submitting to manga awards, they no longer drew their own manga and ended up settling down as an assistant. I thought that this was a waste of potential, so when I quit my own job, I told Hisshi that I would write my own stories and asked Hisshi to draw them.

──Afterwards, you seemed to have created doujinshi for a while huh.

Yes. Because Nori normally doesn’t read manga and had not created a manga before, we thought to make a lot of them and send them to publishers. Since around 2008, we made a few and showed them at exhibitions. Afterwards, we were able to thankfully get in touch with Shueisha.

──It sure is amazing that you called out and said that you would “make your own story” even though you had no prior experience. Nori-san, what is it about the manga that Hisshi-san made that drew you in?

The composition is very skillful. To phrase it slightly poorly, even if the story is not that interesting, the skillful composition has the power to make you read from beginning to end. That is why Hisshi was able to receive rewards from various magazines.

──I see.

However, since I’m the type to make a manga from whatever episode or idea I want to draw, I have a good grasp on it, but I’m bad at putting things in order over a long span of time. I can draw one-offs, but they did not lead to serialization at all. It seemed like I was slowly running out of things I wanted to draw.

──How do you two divide the work for making the manga? For example, please teach us the making of a single chapter of “Shadows House.”

Firstly, Nori describes the entire course of events, then after bouncing the ideas off of Hisshi, it’s all put together into the plot. With that as the base, Hisshi makes the mini storyboards, which Nori then uses in the briefing session with the editor. Afterwards, Hisshi draws up the real storyboards, and after another meeting with the editor, we head to the rough draft. Hisshi checks that rough draft, then we work on things like new characters, backgrounds, minor characters and the frontispiece’s design. Then, Hisshi inks a pen sketch while Nori does assistant work around the characters. Finally, Hisshi puts the finishing touches and the manuscript is complete. Also, Nori makes the final adjustments to the dialogue right before submission.

──You sure communicate in great detail.

We think we go back and forth more than others whose original works and drawings are separated. Furthermore, we also consult each other when we come to a standstill in our work.

Both “Kuro” and “Girigiri out” have the same ingredients

──Well then let’s return to “Shadows House”, please tell us how and from where you got the idea for the work.

I was staring at a mannequin at a clothing store when the idea suddenly flashed in my mind. The rest is a mishmash of things such as Hisshi’s specialty of clothes and backgrounds, as well as our shared interest in buildings and everyday life in a strange setting.

──Even if you have come up with the idea, it must take courage to make the main characters pitch black, right?

Mangaka are tasked with doing works like drawing facial expressions, though we wondered whether it was possible to present emotions without facial expressions in “Shadows House.” Nori simply thought that “It can be done in novels, so it should be possible in manga too,” and Hisshi hates drawing characters’ faces (laugh). Hisshi even says that “I just want to draw clothes and backgrounds” all the time. Of course Hisshi tries to draw the characters cutely, but that’s without a spontaneous desire to do so.

──That’s surprising to hear, since in your previous work “Girigiri out”, the charm of the beautiful heroine is pushed to the forefront.

Originally Nori was a graphic designer, and Hisshi was a Mangaka’s assistant, so it was deeply ingrained in us to accede to others’ demands. There wasn’t anything that we could say “We want to draw that!” about as Soumatou. Because of that, basically, we are the type to start by fumbling at themes and genres that the editor has an interest in. From there, we come up with various things, and the engine gradually starts. Moreover, at the serialization meeting, among the three works we submitted, “Girigiri Out” was a discarded idea to give the impression that we were trying our best. We thought that if we submitted three works at the serialization meeting then it could look as if we’re trying our best (laugh). Since we didn’t think of anything aside from the 3 chapters submitted at the meeting, when the time came for the serialization, we were worried about what to draw from there.

──”Girigiri Out” is about a situation surrounding a girl who wets herself when she’s nervous, and a boy with the power to suppress someone’s urge to urinate through touch. Even though you have only thought of 3 chapters, during the serialization, you drew quite a few variations on wetting oneself huh.

Generally speaking, we were motivated to make every chapter a different situation (laugh).

──Furthermore, among your previous works, “Kuro” has parts that felt connected to “Shadows House”, but “Girigiri Out”’s style was surprising. I understand now that it’s a story that started from fumbling about with themes and genres of interest to the editor.

However, maybe it’s hard to notice, but the themes drawn in “Kuro” and “Girigiri Out” have quite a bit in common. Everyday life in a strange setting, strange characters that are not people, restlessness, action, surreal jokes, familial love, release from trauma, folk beliefs… the packaging is different, but “Shadows House” also has roughly those same ingredients.

We want to do a gag manga next, but it might be difficult?

──Please let us hear a bit more about “Shadows House.” The story was carefully foreshadowed from the beginning, but just how far ahead did you plan at the start of the serialization?

Since the beginning we have faintly thought about what happens very far ahead into the future, and from there we flesh it out. However, we don’t know how long each part will take if we haven’t drawn it, and parts do change due to the characters’ relationships. For example, at first we had planned for the Debut to end in about 3 chapters.

──In reality it took a volume and a half. That sure is a big change.

We have a bad habit of putting off thinking about the minute details.

──The garden in the Debut also had such a complicated map that I didn’t think it was planned to end in just 3 chapters.

The person in charge is someone who likes exciting and shounen-like things, so we were told that “If I go to the garden then I want a map of the garden.” Though, since we haven’t thought of anything, we spent the next day making a map of the garden as well as all of the gimmicks (laugh). We feel like without that, the story would have been aimless, so we appreciate the advice.

──It certainly has an exciting adventurous feel to it, so the Debut looks like something that would shine in an anime huh. By the way, when I was reading “Shadows House,” the thing that surprised me the most was how screentone was not used at all. I’m sorry that it’s a simple question, but isn’t that quite difficult?

It normally is difficult (laugh). Originally, for a drawing method that suits the work, we wanted something that is reminiscent of old printed works. It started when Nori, who was simply bored, lightheartedly suggested that “This time let’s use hatching (Method of filling in space using uniform parallel lines).” It limits the range of expressions, so now we do regret it a little bit.

──I will continue to enjoy your wonderful drawings from now on. Lastly, you mentioned that “there wasn’t anything that you wanted to draw as Soumatou,” but when you finish drawing “Shadows House,” please tell us what genre you want to tackle next.

Let’s see… how about gag manga? We originally started with drawing gag manga, and the works submitted together with “Shadows House” at the serialization meeting also had comedy in them. However, the gag portion was so hard to do that the editor was put off by it. It might be difficult, but it would be nice if we could publish it some day (laugh).

#shadows house #shadow house

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markicantwait · 2 years

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NCT AM

I introduce to you NCT AM:

The fifth fixed subunit of group NCT, composed of Osaki Shotaro and Jung Sungchan who have been members of the group since 2020

NCT AM (Axis Mundi) stems from the idea of "expressing a connection point between heaven and earth where all compass directions converge. At this point, journeys and correspondences between the upper and lower realms take place." It can also mean the chances of the awakening of a new world or a new reality that occurs every time the sun rises, allowing the members to be better every day.

The first mini album "The 7th Sense" refers to the group's debut in 2016 with the rotating sub-unit of "NCT U", the album contains four songs which are "Beg for me" as the lead single, "Dream Lab", "Round&Round", and a new version of "The 7th Sense"

"Beg for me" is a pop R&B dance song that highlights the members' graceful and fancy vocals. Shotaro participated in the creation of the choreography demonstrating his title of "dance machine" while Sungchan participated in the creation of the lyrics and the composition of the song.

"Dream Lab" is an instrumental track inspired by the vision of creating a dreamlike atmosphere for those interested in the album and fans, making this track the unit intro to the universe of NCT and Kwangya. The members participated in the production of the track along with group member Qian Kun, who is the leader of unit WayV.

"Round&Round" is an R&B pop genre song inspired by the push and pull that exists in love relationships but can be seen from different points of view such as friendship, work or school.

The new version of “The 7th Sense” was arranged to highlight the voices and powerful raps of the new dual unit, here it is shown that the members are aces, they sing, dance, rap and demonstrate their great stage presence.

Fuk SM I will give my boys their debut

Here's another edit of how I envision a potential debut concept for Taro and Chan as a duet unit similar to Taeyong and Ten's "Baby don't stop" unit.

The songs are some tracks that I think would fit the guys based on the concept of NCT in general and the theories that are within the NCT universe. Dream lab is actually a track from Kun's Soundcloud.

My vision for this is based on the 2021 yearbook where Taeyong meets Shotaro and Sungchan "letting" them into Ncity. My theory is that Shotaro and Sungchan are the intermediaries within the universe of dreams and realities, the real and fictional that connect the universes of the group units, basically they are the link and balance.

This is partly based on how "The Agents of destiny" interfere so that everyone fulfills their purpose even if it is in a "bad" perception.

Today it was revealed that Taro traveled to Japan and as we all know Yuta traveled a few months ago to see his family and work a little, the rumors are that NCT JAPAN will debut soon and probably YangYang will be in it (since there were theories of Yang and Taro debuting together) I honestly don't know if this is real or just fan guesses.

Anyways, thank you very much for your interest!

#nct #nct 00 line #nct sungchan #nct shotaro #nct u #nct edit #osaki shotaro #shotaro drables #sungchan blurbs #jung sungchan #sungchan edits #shotaro edits #nct u drabbles #nct 2022 #nct 127 #nct dream #nct wayv #way v

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bibbawrites · 3 years

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She - Carrie Wilson x Female Reader (SMUT 18+)

Request: girl x girl with Carrie having a bad day cause of Julie and needs to let off the anger with giving the reader an/some orgasm(s)?

Word Count: 1770 words

Summary: after being upstaged by julie at the school spirit rally carrie needs a way to work her anger out, and you are more than happy to be of assistance

Warnings: sex (obviously), oral sex (female receiving), fingering, use of sex toys, swearing, overstimulation, slight dom

A/N: i finally got the motivation to write this and i dont completely hate it which is good haha sorry for any mistakes in editing, i got a bit lazy and just skim read it while cuddling a kitten lol so if theres any mistakes thats why also no hate to julie or flynn but obviously carrie’s girlfriend wouldn’t like them and neither does carrie so yeah thats why they get shit on anyways, hope you enjoy!!!

Tag List: @happinessinthedarkesttimes @littlemissaddict @vicesvsvirtuesfanfic @headheartbellarke @lovesanimals @bartok-the-magnificent @juliefromaustralia @multi-universe21 @rangerelik @kaitieskidmore1 @katrina765 @fandomxreaders @ifilwtmfc

“I swear Molina does this shit on purpose, just to piss me off.” Carrie ranted as the two of you walked down the hallway after the spirit rally.

“Do you know how hard I worked on that routine? And she just has to go and upstage me with some stupid fucking hologram act? Which came out of nowhere, might I add.” She continued, and you nodded, not wanting to sat the wrong thing and make it worse.

You stood back and watched as your girlfriend confronted Julie, rolling your eyes at Nick who decided to step in. He never truly knew how to deal with Carrie. He followed as Carrie walked away and you hurried to catch up, grabbing onto your girfriend’s hand as she repeated her rant from earlier.

The bell rang as Carrie turned to walk away, pulling you along with her.

“Where are we going? Science is the other way.” You questioned. Carrie shook her head.

“We’re not going to science.” She replied, pulling you into a janitors closet and shutting the door behind you.

“Oh.” You said, understanding the situation.

Carrie pulled you towards her, your lips crashing against hers. She tasted like she always did, like her favourite peach lipgloss and mint. Kissing Carrie was like the perfect duet, her lips were made to intertwine with yours.

You were snapped out of your thoughts by Carrie shoving you against the wall, her lips moving from yours to trail down your neck, sucking marks into your skin as she went.

“Carrie.” You mumbled. “Are we really gonna do this here?”

She took a step back, eyeing you carefully, before pulling out her phone and pressing it to her ear.

“Dad? I need you to call the school and excuse me and Y/N for the rest of the day.” She spoke and your eyes widened. You could hear the muffled sound of Carrie’s dad talking on the other end. She bit her lip.

“It’s a girl problem.” She said after a moment. Her dad replied and a smile appeared on your girlfriend’s face.

“Yes that kind of girl problem. Poor Y/N is feeling horrible, the cramps are just so bad on the first day of her cycle.” Carrie put on a sympathetic voice and after a moment she gave you a thumbs up and said goodbye to her father before hanging up.

“How good are you at acting?” She questioned. You shrugged.

“Decent enough, why?” You replied.

“My dad is coming to pick us up and drop us home at my house. You’re having a really bad period and you need to get some rest.”

You nodded in understanding, and together you made your way outside, waiting for Trevor to arrive, and once he did you made sure to clutch at your stomach and lean on your girlfriend as she helped you into the car.

“Do you need anything Y/N?” Trevor asked, as he drove the two of you home. “I can get whatever pads or tampons you need, and I can heat up a heat pack or get medication for your cramps.”

Your heart swelled at the caring gesture.

“I should be okay with just a lie down.” You replied. “But I’ll let you know if I need anything. Thank you.”

“Of course. Anything to make you more comfortable.” Trevor responded as he pulled the car into the driveway.

“I’ll go get you girls some pizza. I know Carrie loves comfort foods on her period.” He offered. You and Carrie exchanged a look, but agreed, and before you knew it you were flopping down onto your girlfriend’s king sized bed.

“I feel kinda guilty.” You admitted. Carrie sighed.

“Me too. Why does he have to be such a good dad?” She groaned.

“Too late now to backtrack.” You said. Carrie nodded, rolling closer to you and pulling you into her arms.

“Guess we should just make the most of our time together then.”

An hour and several slices of pizza later and Carrie and you had her whole house to yourselves, with her dad leaving for some meeting that would take several hours.

Carrie had been staring at the wall for the past 15 minutes and you were starting to get worried about your girlfriend. You moved slightly, placing a hand on her shoulder, and she turned to look at you.

“Are you okay?” You questioned.

“Just thinking about Julie again.” She explained, an annoyed look appearing on her face.

“You need to forget about her babe. She’s not worth your time.” You stated, but Carrie ignored you, staring back at the wall again.

“I just can’t believe she upstaged me after all the hard work we put into our performance.” She ranted. You took her hand.

“If it makes you feel better, I thought that Dirty Candy was better by far.” You said, squeezing her hand.

“You have to say that, you’re my girlfriend.” She rolled her eyes, but the light blush on her cheeks told you that she appreciated the compliment. You fell into silence for a moment, before an idea popped into your head.

“Carrie.” You said.

“What?” She replied, without even looking at you.

“Remember that time that Flynn called me your bitch and I got so pissed off at her and you worked my anger out with some of the hottest sex we’ve ever had?” You asked. That got her attention, and she turned to look at you.

“Yeah?” Her eyes lingered on your lips for a few seconds.

“Use me.” You stated. She bit her lip.

“You sure?” She checked. You nodded.

“Positive. I’m all yours to do whatever you want to me.” You assured her.

“In that case...” Carrie sat up, her look suddenly very serious. “Take off your clothes. Now.”

You obeyed, pulling your Dirty Candy t-shirt and your denim shorts quickly, and after a quick glance at Carrie, stripped your underwear and bra off too.

“Lie down.” Carrie instructed, and you did as she said. You watched as she moved down her bed and spread your legs, her eyes never once leaving yours.

She lent down and licked a strip up your pussy and you moaned loudly, not holding back since you knew that Trevor was gone.

Carrie smirked, before moving to eat you out, her tongue swirling against your clit as she inserted a finger into you.

“Carrie.” You moaned out, and she grazed her teeth along your clit as a response.

“Holy shit.” You muttered, tangling your fingers through her hair.

She added a second finger and your head fell back in pleasure. She really wasn’t holding back. You could feel the familiar feeling of your orgasm pooling in your stomach.

“I’m not going to last if you keep doing that.” You breathed out, and she ignored you, curling her fingers inside you to hit your g-spot. You gasped loudly.

“Carrie, please.” You moaned.

“Cum for me baby.” She said, her mouth never leaving your clit, and the vibrations sent you tumbling over the edge, cumming with a loud moan of her name.

She worked you through your orgasm before moving away, and you shut your eyes to take a moment. The bed dipped as Carrie climbed back onto it, and before you could react she was pressing a vibrator to your already sensitive clit.

“Carrie, what?” You asked, eyes opening quickly.

“You didn’t think I’d stop at one, did you?” She teased, pressing the vibrator against you again, causing your already sensitive body to twitch. You bit your lip, unable to respond. She grinned at you.

“How many orgasms have you had in one go before?” She questioned.

“Three.” You answered. She paused, thinking.

“You can do more than that.” She decided, and your eyes widened. You opened your mouth to reply but she pressed the vibrator to your clit again, this time turning the level on the vibrator up. You squirmed, not even having time to warn her before your second orgasm hit.

Smirking, Carrie left the vibrator on your clit, holding your hips down with her spare hand to stop you from trying to move away. The intense vibration so soon after your second orgasm had you cumming again in what felt like no time.

“Please no more. I can’t take it.” You begged. Carrie shook her head.

“Yes you can baby, I know you can.” She assured you.

“I can’t Carrie, please.” You whined. She paused.

“One more.” She decided. You whimpered as her fingers entered you once again, stretching you slightly, before she slid them out and slid the vibrator into you.

You cried out, hot tears spilling down your cheeks as Carrie put her mouth back onto your clit, every little movement sending shudders through your overly sensitive body.

“Come on baby, one more, you can do it.” Carrie coaxed, her tongue swirling against your clit. She angled the vibrator to hit your g-spot and that was enough to bring you to your fourth orgasm.

“Good girl.” Carrie praised, removing the vibrator from you. Your body was shaking and your face was wet with tears. You knew you looked like a wreck.

“I think we should have a bath.” Carrie decided, helping you into the bathroom.

She helped you to sit on the closed toilet, before starting the bath, adding in your favourite Lush bubble bar that she always kept for when you were over, and some soothing bath soak. Once she was done she turned back to you.

“I’ll be right back, okay?” She whispered, pressing a soft kiss to your lips. You just nodded, too exhausted to speak.

Carrie was back in no time, carrying two pairs of soft pyjamas, and some apple juice with ice. She placed them down on the cabinet before turning the water off on the bath and adding in a bath bomb. She lit the candles surrounding the bath before turning her attention to you.

“Ready to get in?” She questioned.

“Yeah, I might need some help though.” You replied, your voice shaky. Carrie grinned, walking over to you and wrapping her arm around your waist to help you over to the bath. She helped you climb in before stripping off her clothes and climbing in with you, sitting herself behind you so that you could lean back against her.

“Feel better now?” You asked in a soft voice. Carrie pressed a kiss to your bare shoulder.

“I do. Thank you, I love you.” She murmured.

“I love you too. And anytime, I’ll always be here.” You responded, shutting your eyes as you snuggled against your girlfriend.

And you meant it.

#carrie wilson #carrie wilson x reader #carrie wilson x female reader #carrie wilson smut #reader insert #lesbian carrie rights #carrie is a good girlfriend #trevor is a good dad

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shintorikhazumi · 3 years

Text

“Diana.”

A/N: To be honest, I had wanted this to be a Diana-centric fic, from Diana’s perspective. I struggled to find a concept, and had a little help from a friend who sent me a random generator. (Thanks, Kate :>) And when I thought I’d just choose from a randomly generated idea, I came across this video on youtube which was actually a compilation of a tiktok series of the story of two neighbors. Of course, I changed bits of it, and obv the end so if you think you know what the source vid is, dw. I won’t hurt y’all like that ;-; And I’ll just link it at the bottom so no plot spoilers for those who don’t know what it is. Eyyyy.

This fic has a few song recs for y’all to listen to if you haven’t heard them already, lol. ;)

I had been looking for something... “emotional” for Diana’s bday fic. And I think... this works. At least for me, it does. It’s not from Diana’s perspective, but... I think this works. So without further ado, Happy birthday Diana and...

oh, thank you to @tracedinairlwa for some help with the music :> that y’all will see later in the fic :’>. Without further ado,

Enjoy?

~Shintori Khazumi

It all started with a sunset and a few familiar notes from a piano.

No, it isn’t Akko’s piano. Her piano has been sitting in a corner of her room, collecting dust- untouched for months. And that is just the thing. Unless her piano has somehow become cursed and has decided to ghostly play on its own, then there had to be some other source.

The source of that gentle sound, Akko eventually pinpoints, is her apartment wall- or more accurately, what lies beyond that separator.

As she sits on her couch, admiring the expressive tones, her mind has decided that it wants to capture this special moment, and keep it stored lest she never experiences it again.

Making a quick dash for her bedroom, she opens her bedside drawer and fishes for her old camera from her university days in film club, back when she was an actual student of the Arts and all that creative jazz. She has tried to maintain it, but being under lockdown allows her few chances of seeing the outside world, and the few corners of her home don’t exactly spark ‘inspiration’ for any project.

Dusting the device off gently, she takes it back to the living room, placing it on her coffee table facing herself. She clicks the record button, thinking of making an introduction; but she quickly abandons that idea as she realizes it may take away from the sounds she wants to ring more apparent on tape.

Maybe she can just edit a few captions later on her laptop. Yes. That sounds good.

So she sits.

And the notes kept playing.

[Video Diary(?) Diary? Is this a Diary? Day... Day 1. I hope it’s only Day 1. I hope there’s a day 2. And a three... and a five.

So anyway, Akko here. And uh... I got a new neighbor, I think. He/she plays the piano. I do too (kinda. Haven’t done that in a while, hehe).

I don’t know why I recorded this... this must seem like I’m being a creep, but... They just... played Chariot’s Melancholy from my favorite show and... it felt sadder than usual. The sound felt sorrowful. I don’t know...

I’m... moved.]

//-//-//-//-//

She does not know what compels her today, to slip that message under her neighbors door; but before she can even think about her actions, they’d already been done.

A simple, “can you please play ‘Ease My Mind’ by Ben Platt, maybe?” haphazardly scrawled on a piece of notebook paper is delivered with the anxious feelings of an interaction-craving Akko, starved of a social life since all this pandemic misfortune began.

She is sure she no longer knows how to string a proper introduction together after nearly a year of being by her lonesome.

This is about to change however. Starting today.

Maybe.

She counts down the hours ‘til sunset.

[Day 2! Yey! So uh... I kind of... went on the attack- no! I didn’t attack anyone! I just... You know how I have a new neighbor that plays the piano? I sent that neighbor a note.

And you might think that’s all fine and cute, but... I’ve never even met my neighbor... but...

I love his/her music. So much.

And I told them. On the note, of course. Duh, Akko.

I asked them to play ease my mind and... they did.

As you can hear in the video... I guess it was a yes. :>

...They eased my mind...

-Akko]

//-//-//-//-//

She wants to try something today.

She has been thinking about it the past few days after continually being blessed with such beautiful music. Music that had attracted her like moth to a flame. The piano’s daily sunset singing compels her to come reunite with her own.

She had wiped it clean earlier in the morning and now sits awkwardly on the bench, punching down a random note here and there.

What a nostalgic tone.

The C major scale then the G. She plays it. A few arpeggios to warm up. F sharp major doesn’t sound too good, with her fingers tangling up as she traverses the scale. What was the fingering supposed to be like again? Right. Start with the fourth and second finger on the left and right hand respectively.

That sounds much better.

She hums a few tunes, choosing from a playlist arranged in her mind. She settles on something gentle and sweet. A Yiruma song. Just to get the feeling back in her hands.

A river flows as notes along the plain that is her silent room, adorning the quiet flourishes and curves, bringing color to her atmosphere.

She misses this. This tingle in her heart as music fills up her entire soul, not allowing her to think of anything else but this exact moment.

Yes.

This... This is nice.

And Akko plays until the sunset comes.

She can’t wait for it to come.

[Day 6. I... I haven’t played the piano in a while, and I’m a little rusty. But brave ol’ Akko here thought it’d be great to ask for a duet from the virtuoso across the drywall, haha. I left a note...

And I though we had something going. I was excited... I said that they could play once I stopped my part, but... did they forget? Or I guess they didn’t hear me.

It’s okay... I can try again tomorrow.

I hope. Tomorrow...

-This has been Akko.]

//-//-//-//-//

She excitedly videos this weekend ‘meet-up’.

Akko still doesn’t know who lives across the wall, but she sure knows his or her favorite songs by now, hearing it daily at the same sunset hours.

She admires the music, as usual, but this time it’s different. This time, they had sent her a note. An apology for missing out last time.

They request a duet with her, to make up for it. Of course, Akko accepts. And now she starts it off, praying and hoping her sound is heard through the barrier that keeps their music apart.

She ends her part of the duet, waiting in the most agonizing few seconds of silence. She briefly worries that her neighbor had forgotten their proposition; or maybe they couldn’t hear her once more.

It’s fine, she thinks... It’s okay. She scratches her cheek, wondering if she should hold on until next time again-

There it is. That beautiful sound, so personal to the one living across the wall. A sound of emotion that could only belong to whoever it was living there.

Akko had never heard anyone else play the way her neighbor did.

She laughs, she feels herself tear up a little. It hurts so sweet in her chest. It��s a fizzy, bubbling excitement. It’s a stretched-out joy across her cheeks.

A success!

A beautiful one, indeed.

[Day 8: Akko here. My wish came true. I... got to play with my neighbor! Yay!

... Maybe I should go meet them now...]

//-//-//-//-//

They do it again.

Akko excitedly bounces in her warmed piano seat, listening to her neighbor go first this time around. She listens intently. Once the wall music stops, she starts. This was their agreement, their deal.

The river’s flow stills a moment, and that’s Akko’s cue to pick up the current’s pace once more.

She plays with shy gusto, caressing the keys in a way that shows how she’s fallen in love again. With the piano? With music? Yes. With- ...

Love, huh. It’s such perfect timing too.

Today is Valentine’s day.

Akko doesn’t know whether or not her neighbor has anyone special in her life like that, but if they share the same situation, all alone in their apartments, locked in by the pandemic, she just wants them to know she receives the message their music is trying to get across to one another.

Her heart feels it. It translates it.

It cherishes it.

[Day 13.

Dear Neighbor,

I just... wanted to share the words we’ve exchanged, not through any verbal means, but through the sounds that reverberate against the very foundations of our connected homes. Thank you for this message.

I know that music is... our way of simply saying

“I don’t know who you are ... But I’m here. You’re not Alone.” This is for you too.

-Sincerely, Akko.]

//-//-//-//-//

It is a challenge.

For Akko or for her neighbor, she doesn’t know. What she does know is that tomorrow is going to be the big day! She’s finally going to see the face behind the songs that have embraced her tenderly throughout the lonely struggle she hadn’t realized had weighed down on her so heavily.

The interactions they’ve had, the conversations, they brighten up her everyday, and Akko is somewhat afraid she’s gotten attached; addicted- if you will- to this unique bond she’s formed with another she has never actually met.

Her mind strays from her current piece, body autopiloting a song called, “Mind Conductor” that both of them just so happen to like, apparently. Another fact that makes Akko feel all giddy as they seem to share a taste in other media outside of music.

She feels herself vibrate with nerves and excitement.

It’s tomorrow. Tomorrow is the day.

[We’re Finally Meeting.

Tomorrow.]

//-//-//-//-//

Akko tells a story.

She’s met her neighbor, not knowing what to expect. Despite having a lack of said expectations, she could confidently say it was better than anything she could have anticipated.

She rolls up the sleeves of her flannel shirt, readying herself to write the melodious response to the already playing tune in the background of her video.

Though she tries to listen intently, waiting for her turn, she is distracted. She knows she is.

After meeting someone as wonderful as her neighbor.

Blonde hair and blue eyes invade her recall, flashes of a soft smile and calm voice playing over and over in her head.

Her neighbor is the most gorgeous woman she’s ever met. Breath-taking. Akko says this with utmost objectivity as her lungs struggle to function after first meeting the lady.

Hailing from Scotland, the twenty-five-year-old had introduced herself to Akko. They exchanged a few pleasantries, some questions and information.

Akko had asked how she’d never known she had such a talented neighbor, to which the response was an admission from the woman that she had just moved in and was only staying in the adjacent apartment temporarily while awaiting for a relative to come for her after selling their old house back in their hometown.

Her mother... rests. Having had a certain heart disease for a while, her immune system had proven very susceptible to the pandemic reaper that had claimed her life for its tallied count. She never knew her father, it seemed.

Akko’s heart breaks as she remembers these things.

“All I have left is the piano.”

That’s what she’d said to her earlier.

Akko’s fingers glide across the keys, playing her role in this drama for two.

“I play at sunset because my mother came home at that time from work... she was always stressed.

...I wanted to be of help to her. I was happy she loved it. As I grew up, it became a habit.”

Akko fumbles with a few keys, making a slight mistake. She hopes her neighbor can forgive her for being so distracted at the moment, and right after they’d finally met too.

“Thank you, Miss-”

“Akko is fine.”

“Thank you, Akko. You’re playing has, in truth, kept me motivated and less lonely.”

Akko remembers having promised before their parting to their respective units that she would keep playing with her until she moves out.

Akko blushes upon remembering the stunning smile she was offered afterwards.

Her neighbor had been camera shy and so Akko didn’t get the opportunity for a picture. She hopes for the best in the future. She’ll try again if ever the lovely lady was ready.

They have time, anyway.

They do.

[Day 20, folks! Akko here, writing another video caption entry, Diary, thing... haha. The song playing right now in the video is gorgeous right? It’s... her favorite song. It’s called, ‘In case you don’t live forever’. She said it keeps her loser to her mother. It keeps her in her heart.

She plays so beautifully...

She’s just as beautiful. She’s amazing.

She’s... a special soul.

I feel goosebumps.

I’m glad. For her. Her music doesn’t sound as sorrowful as when I first heard it. It’s still every bit as emotional, though. I could cry. Really, I could...

...I’m so happy she’s healing.

It’s a process, but... I’ll be here. I’ll be here for her.

I’ll be here for you,

“Diana.”]

//-//-//-//-//

There are times when Akko thinks she’d like to get to know her neighbor more, a little more chatting, a few more minutes talking.

However, it always seems as though there’s this unspoken rule. This... ‘don’t-get-too-close’, ‘don’t-ask-more-than-you-should’. It’s like a boundary that keeps Akko from learning more, discovering more.

Neither of them purposely meet-up outside their closed doors either, this lockdown and what-not all up in their face.

They see each other around the building sometimes, wave a hand, shake a plastic bag of groceries, but building protocols don’t really allow loitering in the halls, and Akko feels she’d be crossing a line in inviting the girl over, and she doesn’t see herself getting invited instead either.

Despite this longing, she isn’t all too dissatisfied with the current standing of their relationship. Peculiar as it may be, she rather likes this.

A relationship built on a communication based on raw emotion delivered through their music.

If Akko ponders it deeply, it’s quite an intimate relationship, what they have. Thoughts and feelings in their purest form- unspoken, but not hidden.

She might not know too much about Diana. She may not know much of her past, or even her present, or general objective facts about the woman.

But what Akko does feel she knows is Diana’s heart.

And Akko knows its utterly beautiful.

//-//-//-//-//

Moonlight Sonata has never felt so sad to her; its sounds reflecting something they both felt, Akko believed.

Akko feels her heart clench and ache in her chest, her face a little hot and her palms sweating.

Only a week left before the clock strikes twelve and the magic is broken.

Diana is finally moving out.

It is... their final duet.

How unfortunate.

Akko sighs, thinking about the pain she’ll feel later as she edits this portion of the video. Compared to the happy tones and build ups of all the others, this... is something she doesn’t know if she can do.

Maybe she can ask Amanda for a favor this time around?

She’s actually shown some of her closest friends her video logs, and they all had sent kind messages to Akko’s new friend, who in turn, felt worlds and worlds happier.

Akko feels happy as well.

Diana’s joy is contagious. It shows through her expressive music that gives away the feelings her face doesn’t show.

Speaking of Diana’s face... she still hasn’t agreed on showing her face on camera. Akko supposes it’s still too early. Maybe before she leaves? Oh Akko hopes so. She wants to have something to look at physically to remember Diana by. Not that she’d ever forget.

Still, a little memory help never hurt anyone.

Diana’s turn comes in smoothly through the wall, Akko unable to keep her smile from forming.

She’s going to miss this. The playing; the sometimes awkward, but unconventionally amazing duets; the letters shoved underneath door; and the very rare hallway meet-up where Akko can only smile at Diana as they exchange a literal word or two.

Akko reminisces.

The past... two months now, have been amazing. Incredible. Life-changing. Akko wonders what the future has in store for them both after they part.

Maybe they could meet again. Someday. Somehow. Somewhere.

Akko knows she’ll keep playing still. At the same time, on a weekend, as the sunsets. For Diana. She’s promised she’ll keep making the video logs. She’ll send them over to her so that they can still keep this music alive in some way.

//-//-//-//-//

[Day 62.

Hi, Diana. It’s me, Akko.

I... wrote you a song...? Or well, I started to... I’m not quite done yet, hihi. Got a little too ambitious and all... thought I could add some other instruments besides our- the piano... aha..haha...

When you first told me your story, I started picturing it out. A life dyed with all the colors of the spectrum. From the vivids to the grays, it was such a lovely imagery in my minds eye. A painting I could not get out of my head.

And so this song is... yeah. That.

A story.

A story about this wonderful twenty-five-year-old woman who so happened to move next door to this uninspired artist. She’d lost her mother to a stupid virus, and she’d never known her father. Her house got sold, and she had only one distant relative she knew of left.

She spends her days along in a box of white walls and empty silence. That is, until the sun decides to rest for the day, and it sends its golden rays of energy to the girl and to her piano that she thought to be her sole companion in this tragedy.

She plays her favorite songs, filling the emptiness with her own emotions; making the intangible manifest itself and cause a dumb girl next door to one day slip a scratch of paper underneath her door, asking for a song.

A note with a request... and with a message that she’d heard her feelings- her loneliness; and that she’d never let her be alone anymore.

And that’s how they became friends, huh, Diana?

Two pianos, Two people, and a wall that keeps them apart.

They didn’t know who was playing on the other side. But did it matter?

In this dreary, blackened time of the world,

‘You can be the light of somebody else’ darkness, so keep shining.’.

Dear Diana,

In case my playing isn’t as emotionally expressive as yours, I hope you at least know this now. Through this video.

That you were, and are... my light.

-Akko.

P.S. I hope I finish the song and give it to you before you leave.]

//-//-//-//-//

She feels herself hyperventilating, her vision bleary. She can barely stand. She feels like vomiting, and dying, and screaming all at once.

Her anxieties run rampant all over the room.

If this keeps up, she may as well hurt herself beyond help.

She trudges over to the one thing that could ground her at the moment.

The piano.

Her hands are shaky as they do multiple attempts to turn on the keyboard, hitting the wrong buttons and turning the volume knob up too loud that when Akko accidentally leans against the keyboard, hand pressing down on many keys, the sound almost blows up her eardrums.

She curses, smashing a hand against those same keys, the cluster of notes echoing through her apartment walls.

“aaaaAAAAGGHHHHHHHH!!!!”

She allows the scream to tear out of her throat; emotions, wild horses finally released into the open.

“AGH! AGGHHHH!!! RAAAAAAAAAAAAAAAHHH”

She falls face first onto the keys, now ignoring the loudness of their noise, momentarily thinking it would be better to allow her ears to bleed out so she’d never hear a thing again.

She wants something, anything, to drown out the pain she feels right now.

...

She sobs against the keys, head lifting as she apologizes to her piano, wiping off the tears that are quickly replaced by fresh ones.

Akko gives up and plays a note. Then two.

Then she’s playing ‘you’ll be in my heart’ and she’s crying more.

She lets herself cry as she plays.

Today, she was supposed to see Diana off. She had left a final note the day before yesterday, asking if she could do so. Help Diana carry her things, maybe swap numbers, and just... maybe keep this connection going for years to come.

Last night, she’d said good night at Diana’s door.

The girl gave her the sweetest smile, an almost unnoticeable blush on her features.

Oh, but Akko noticed anyway.

Of course, she would. With how shamelessly she stared at Diana at that moment.

Diana laughed, stepping closer and patted Akko on the cheek- kissed her there- before turning about to shut the door, along with the lights Akko saw go off from underneath it.

She was excited for the morning.

But when morning came... Diana was gone.

Akko had been thrown into confusion and a frantic state that she’d bolted all around, searching for signs or a left behind message.

Nothing.

She had then run down to ask the land lady, and that’s where she’d found out.

The heart disease Diana’s mother had was hereditary.

Diana had had an attack, and with an emergency alerting device, she’d been able to contact her only family, and had been taken to the hospital.

That was good.

That gave Akko relief and joy.

...so why is she despairing now?

...She didn’t know.

No, not the reason for her despair. She knows that.

The reason she was in this state is because she didn’t know.

She didn’t know what had happened.

She didn’t know Diana had suddenly disappeared in the middle of the night.

She didn’t know where she was, or where whoever took her.

She didn’t know that Diana had that heart disease too.

She didn’t know because she never got to ask.

She never got to learn more, know more.

... Did she not know Diana then?

Her mind taunts her, her heart hurts her.

She doesn’t know a lot about Diana. Not as much as she thinks.

That’s what they tell her.

For all the emotions they’d exchanged through music, that was the extent of it. Had Akko been too presumptuous in thinking she’d known Diana so deeply because of what they’d shared?

When in reality she may as well be a random stranger playing her show tunes and disturbing her neighbors.

Akko almost believes it.

But no... no. She can’t do that. She can’t assume those things. Not about their connection. Not about Diana.

Because Diana had told her once upon a song that she- that Akko had been her light. Her comfort. Akko believes in Diana. So she believes these feelings as well.

Yet these feelings of her own were so conflicting, so daunting. They battle in her mind, questioning and justifying every little thing. All things relating to Diana. Diana and... Diana.

Akko coughs out a few more sobs, throat incredibly dry.

She stops playing for a moment, dragging herself to the kitchen for a glass of water.

Then she goes back to the piano.

She... doesn’t feel like playing again.

What should she play anyway?

What song does she want to play? What song... Song... Song... Diana... What was Diana’s favorite song?

Diana? Song? A song for Diana? A song about-

Akko falls off her piano bench as she scrambles for her coffee table, sighing in relief as the papers for her composition are still there.

With shaky hands, she takes the sheets and a pencil and brings them over to the piano.

And she writes a few notes, then a few bars.

Diana.

Who is Diana.

What does Akko not know about her. Her other struggles? Her sickness? Her trials and her fears? Her past?

That melody... sounded too sad for a parting gift. Akko doesn’t want Diana to feel more sorrow when she moves out...

Then....

What does Akko know? About Diana?

“Diana is...”

Expressive, emotional.

Diana is intelligent, an intellectual.

Diana is sincere and sweet.

Diana is talented and tasteful in music.

Diana is... her neighbor, her... new friend,

....Akko’s... what?

What was she to Akko?

“You are my light.”

-Akko ends up writing as a title.

But that’s a little too embarrassing to give to someone who was just your neighbor and a new friend... right?

And maybe it didn’t exactly represent the whole thing Akko had written.

So she erases it, biting her pencil as she tries to come up with a new name, a new caption for this creation.

What could it be. That describes Diana in her entirety; her life, her struggles, her joys.

Who is she? Who is Akko’s neighbor?

Akko scratches her head in frustration, wracking her brains even more.

With a sigh, she replies to herself aloud, the simplest, somewhat plain, and stupidly obvious answer.

“Well, she’s Diana.”

And it clicks.

That she is.

She is Diana.

And Akko throws on a jacket, a mask, and some shoes and thinks no more.

//-//-//-//-//

[Dear Diana,

I know very little about you

But you’ve changed my life.

Really you have.

You gave me back my passion, and a little bit more of that even. Maybe aroused a new passion within me.

I’d say, “You’ll be in my heart”, but that sounds too much of a farewell, to be honest.

And I’d rather not say goodbye just yet.

Not like this.

Music... Is a powerful thing. Despite the rampaging emotions I’d felt as I found out what had happened to you today, I- I kept playing. It grounded me. It helped me.

Diana, you once told me I was your light.

And you know I’ve told you already. That you’ve been MINE.

Diana. This video might look incredibly shaky and chaotic.

But please forgive me for that, and know that it is because I’m running with all my might to find out where you are. I got a hint for the hospital you might have been taken too.

It kinda seems like I’m a stalker now, huh?

I’m sorry. I just... I-

I can’t say goodbye to you....

Not just yet...

I still... have a song for you.

So... wait for me?”]

//-//-//-//-//

Eyes blink, bright white melting into color. They scan the room, looking for hints to identify her location.

Her body aches, her chest hurts. Her throat is parched. Her head is throbbing.

What is that annoying beeping sound-

Ah. Of course.

The hospital.

Again.

She hates it. She hates the smell of antiseptic and sterile sheets. She hates the taste of badly prepared hospital meals, and too-dry food.

The water has this strange quality to it when you’re in the hospital.

She knows this well.

She hates that she does.

She sighs, sinking into her pillows. At least those are comfortable.

Ugh.

What bad timing, really. For an attack.

She was supposed to move out today. She was supposed to meet with her aunt- who actually has probably met up with her by now, seeing as Diana is in a hospital and her usual alert device seems to be charging within reach beside her. Also she sees Daryl’s purse on the seat.

Maybe the woman had gone out temporarily for something important.

That was fine.

It just meant Diana was left alone again. If only for a short while.

...Alone, huh.

These past two months, she hadn’t been that.

All because of one girl, one Atsuko Kagari that she’d met by chance through a piano and through a wall. The sound quite literally carrying over through a wall.

Diana can’t believe she used to be so skeptical of thin-walled living spaces, wondering how people kept their privacy.

Now, however, she feels blessed that that was the case.

Else she’d never have met... her light.

That’s right.

When everything, her vision, her hopes, her heart had steadily been dying out, through her dim came a glow. That glow was the connection she’d found through her neighbor across a wall.

It had surprised her the first time she realized someone was playing alongside her one sunset session, months ago. She would have thought it creepy had the person’s music been any less captivating.

There were just so many colors in the music, there was just so much warmth. It sounded a little rough, a few hinges rusty at first; but it came along after a few pseudo duets, and then Diana had found these duets to be a staple in her life.

Then she met Akko for the first time, and more warmth and color came into her life.

Diana found herself enjoying the musical conversations they had, intrigued by thoughts that they were actually able to communicate in that way and understand one another to that extent, no words attached.

And she enjoyed these nonverbal bonding moments.

But when they actually wrote to one another, or when they’d have their short greetings when they’d meet up in the hall, Diana found herself wanting to draw even closer, to get to know Akko even more.

And when Akko asked if she could do the same, Diana had found it so easy to open up.

She’d loved to know even more about the girl.

But how would she do it now?

They didn’t have the chance to exchange numbers, and Diana was probably moving as soon as she left the hospital. Her things were already being shipped to her new home, after all. There wasn’t much reason to return to her apartment, really.

“Idiot. Stupid, Diana. Not asking her sooner. What are you supposed to do no-”

Two knocks on her door.

It doesn’t open right away. It doesn’t seem to open at all.

Diana deduces it’s not a doctor or nurse then. And it might not be Daryl either because the woman would have already called the attending nurse to open the door already.

So then, who could it be?

Diana tries not to let her mind wander and get her hopes up, because there is no way- just no way- it’s who she hopes it will be.

The door opens, and her breath is unexpectedly bated- and she releases it, seeing it’s just the janitor.

Trying not to let disappointment leak into her tone, she greets him a good mor-

“I’m glad... I was right.... hah... hah... You’re here... Diana.”

And Diana really shouldn’t just assume things such as being wrong, and that maybe her neighbor was a creep two months back.

Because now her neighbor, all frazzled, sweaty, and out of breath, is right there in front of her, a bunch of papers crumpled in one hand as the other is held over her heart, trying to calm herself.

“You... hah... didn’t let m-me... Sa-ha-y goodbye... so... you’re not allowed... to leave me waiting in silence and never respond...” Akko huffs. “There’s no more wall preventing you from using words now.”

Her breathing finally slows, and she manages to look up.

“I still have a song for you, after all.”

Diana doesn’t realize, nor does she feel the tears flowing down her face.

Akko doesn’t either.

“L-Let me know what you think... It’s my first song and all...” She becomes this shy blushing school girl as she approaches Diana’s bedside, awkwardly handing over the worn pieces of paper, all wrinkled up from whatever adventure Akko had been on prior to arriving here. “... then maybe we could play a duet again or something...”

She mumbles it so quietly Diana almost didn’t catch it.

She smiles.

She doesn’t think about the reality that was supposed to occur today had she not been taken to the hospital.

Virtual duets aren’t really her thing. She much prefers hearing sound in person, in real-time. She prefers the ability to adapt and adjust to play alongside someone; to feel expression and emotion first hand; to experience a duet in full.

So it’s a simple reply that she has ready, along with a smile on her face as she takes Akko’s hand in hers.

“I’d love that.”

//-//-//-//-//

Diana has told her many times that it’s thanks to her that she was able to recover as quickly as she did, and be out of the hospital in only a week.

Akko sheepishly denies that every time.

They’re both just glad things seem to settle to be alright now.

Diana leans her head against Akko’s shoulder as they share a pair of earphones, listening to the composition play on the latter’s laptop.

“I love it.”

“I know. You’ve told me that the past 4 months, everyday.”

“And I will continue to.”

Akko tries her best to hide the smile that had grown on her face, but it’s impossible. It comes out in laughs and a few soft tears, and she rubs her head against Diana’s.

“You have all the time to, it seems.”

“Yes, and I won’t waste it.” Diana quips, turning her head up to look at Akko with the tenderest of smiles. “Care to play?”

Akko simply smiles, before wrapping Diana up in a hug so deep, and warm, and tender. Without a word, she stands them both up, walking them over to two keyboards now positioned side-by-side.

They take seat. With eyes meeting, and a small nod, they begin.

They don’t need words to figure out the rhythm they’ll fall into, or what they should do, or who plays what part for today.

Akko’s colors seep out, her warmth embedded in her music. Diana’s expressive emotions tell Akko all she needs to know, and they play in harmony.

Together, they tell a story.

A story that began with a sunset and a few familiar notes from a piano.

A story about its music and what lay beyond a wall.

A story once called, “Diana”.

Now,

“Diana and Akko”.

A/N: .... Hrmmm... I didn’t like how i ended it, tbh,,, hahaha. I just... lost my thought process now. I’m tired and lost.

Anyway.

Based off this story

The follow-up to this won’t be now, or anytime too soon. Or tbh, I could just end it like this. But there’s this ache in my heart that wants to know what happens next as well. Or more things such as how Diana ended up staying. But well,

...who knows.

Bye for now.

~Shintori Khazumi

#diakko #dianakko #lwa #Little Witch Academia #diana bday fic #sorry it's sloppy #fanfic #diana cavendish #kagari atsuko

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