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vivianweasley · 3 years

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Pride and Prejudice (Chapter 1)

Summary: You are Draco’s cousin, and after the war, it was really difficult for you to find a job because of your last name. So your mother and Mrs. Weasley came up with a crazy idea. A fake marriage between you and Fred Weasley.

Italics= flashback

Pairing: Fred Weasley x Malfoy!Fem!Reader

Warnings: workplace discrimination, slight slight mention of war

Word Count: 1.9k

Disclaimer: all the pictures used in the header are from Pinterest. Credit goes to the original owners.

Please do NOT repost or translate my work on another site without explicit permission! Thank you! Reblogs and comments are always welcome:)

Prologue

Two days after the dinner at the Burrow, you ran into your friend when you were shopping at Flourish and Blotts. She just got out of the Daily Prophet, and you could see a name tag on her chest stating that she’s now a reporter for the Daily Prophet.

“You got the job?” You didn’t know how to process this information. You and she were in the same year and same house. You both took the same classes, your grades were almost the same, and you both got the interview for Daily Prophet at the same time. The only difference was that she got the job, and you didn’t.

“Yes! Today’s the first day! Wait, you didn’t?” She was finding it hard to believe too.

Memories of the interview flashed back. You could still remember how the interviewer immediately furrowed his brows when he heard that your last name is Malfoy. The distrust, doubt, and even disgust on his face were so painfully visible.

You knew your background couldn’t provide any help when it comes to finding a job, but you still encouraged yourself by thinking that maybe it was because you weren’t good enough. If that’s so, you could always make up for it by working harder. But now you realized that, no matter how hard you worked, you would never be good enough for them because people would always make false assumptions about you based on your last name.

You felt dizzy. The whole Diagon Alley suddenly appeared foggy and dim, looking quite like your future, but you soon saw a lighthouse at the end of it. The brightness of the orange joke shop seemed to point out a way out for you as Mrs. Weasley and your mum’s suggestions rang in your ears.

“I need to go now!” The walk was only five minutes, but you couldn’t waste any time as you apparated right to the door of the joke shop.

“Well, this is rare!” The owner greeted you with a big grin on his face when you opened the door.

You didn’t have time to start this conversation with George, so you went right into your question, “I’m looking for Fred Weasley. Is he here?”

George was shocked as multiple questions ran through his brain. Wait, you could tell between him and Fred? But does he know you this well? Or maybe you have some history with Fred? Merlin! Y/N Malfoy? And Fred??

But he said nothing, just pointed at the back of the shop as he was still trying to process the situation.

“Thanks.” You rushed to the back of the shop and saw Fred sorting through the boxes in the storage.

“Fred Weasley.” You stated with a straight face.

“Y/N Malfoy?” Fred mimicked your tone as he still wasn’t sure what’s going on. What was this woman doing in his shop, anyway?

“Do you have a girlfriend?”

“No. Why? Do you fancy me? Did you fall in love with me after that one dinner?” he teased.

You ignored him and continued, “Do you fancy anyone? Are you dating someone? Talking to someone?”

“Not that I’m aware of?”

“Great. Let’s get married then.”

The boxes fell from Fred’s hands. This woman is absolutely mental! “I beg your pardon?”

“I said, let’s get married. After I got a steady job, we can get a divorce anytime.” You knew he’s going to laugh it off if you don’t up your game a little, so you frowned, pretending like you were disappointed, “Well, guess you don’t have the guts to do it.”

Fred knew what you were trying to do, but he was still completely under your control when you were basically giving him a dare. This should be fun, he decided. He never really hated you anyway. In fact, he actually really admired you back in Hogwarts.

Back in fifth year, Fred and George tried to prank you. It wasn’t because you did anything in particular. It was just because you were Draco Malfoy’s cousin, and Draco was really obnoxious that year.

The prank was simple. they estimated when you would walk down the stairs and set a tripwire on your way, waiting for you to trip over and fall.

Fred and George were hiding behind a pillar, waiting, but nothing happened. When you were walking down the stairs, you stopped and pulled out your wand. “Incendio,” you whispered, and the tripwire just burned into ashes.

Watching their prank being busted, the twins were frustrated. George gave up on pranking you again. It’s not like you did anything wrong anyway. But Fred suddenly felt motivated. He’s determined to get you one day.

Fred tried everything. Be it canary cream or portable swamp, you always had a way to avoid his pranks gracefully, and sometimes, the pranks would even backfire on him. After trying for a month, Fred finally admitted defeat. He admired how your brain worked, and he couldn’t help but think that if you weren’t a Malfoy, maybe you two would be really good friends.

“Who said I don’t have the guts?”

You smiled with satisfaction, for you knew your strategy worked, “Good, I will see you at the Ministry tomorrow then.”

“Wait, you could get a job, but what’s in it for me?”

You knew he wouldn’t agree so easily, so you had already prepared a plan, “How about, as long as it‘s not illegal or against my own moral standards, I can do three things for you. What do you say?”

“Deal!” The reason why Fred refused at first was that he hated being arranged and controlled by his parents. But now, when this arranged marriage became more like a game to him, he began finding it quite interesting. “The first thing I want you to do is to take care of my shop today!”

“I’m not stupid, Weasley. What if you run away after I spent the whole day working in your shop? The deal only works after I get the marriage certificate!”

Fred nodded in approval, “Not bad, Malfoy. So I will see you at the Ministry tomorrow at one pm then.”

“Deal! Don’t be late, Weasley!”

The next day, you were waiting at the Ministry at one pm. You repeatedly glanced at the clock and shuffled all the documents in your hands as you paced around.

Fred was late. Did he bail on you? Did he think you were only joking? Did he think you were a joke? Irritation and doubt rushed through your head, but you eventually calmed a bit down when you heard a familiar voice.

“Let’s just get this over with, shall we, my lovely bride-to-be?” he teased as he waltzed in.

“Not before we set some ground rules first.” You pulled him to a place where no one could hear you, and you finally took out the contract that you wrote yesterday night.

“Blimey, you actually wrote a contract?”

“Yes, Weasley, and you have to sign it,” you continued, “First, a year after I got a steady job, we will get a divorce.”

“A year?? Why does it have to be so long?”

“I don’t want the Ministry and my employer to think that I’m getting married only because I want to get a job.” You ignored his pout and went on with the list, “Second, if during this year, you actually met someone, you can date them. But you have to be discreet.”

He raised his eyebrows, “Aww, didn’t know you were such a thoughtful person.”

“Third, the fewer people know the truth, the better.”

“Sorry love, but my family already knew, and that’s already a lot of people.”

You glared at him, “You know what I mean!”

Your expression successfully elicited a small laugh from him, making you suspect that he actually enjoyed annoying you.

You rolled your eyes, “That’s all. Anything you want to add?”

Fred shook his head, and you handed him a pen, “Brilliant!”

After signing his name on your contract, he held out his arm, “Shall we?”

You smiled, taking his arm, “We shall.”

“Fred Weasley? And Y/N Malfoy?” The lady at the Ministry looked at you and then looked at Fred several times, and finally asked in a surprised tone.

“That’s us!” Fred answered and wrapped his arm around your shoulders while you both tried to put on the biggest smile.

But her eyes were still scanning you from head to toe, and finally stopped at your fingers, “So, no rings, huh?” She was looking into your eyes as if she just found out the whole marriage was a scam.

You cursed yourself for not remembering something this important, but your smile didn’t disappear, “Yes, Freddie and I aren’t conventional people. We don’t need a piece of metal to prove our love.”

Fred was surprised when he heard your nickname for him, but he didn’t let it show. It’s weird hearing you calling him that, but he had to admit he liked the sound of it. “That’s right, my love.”

You smiled and rested your head on his shoulder to display your affection. You wanted to stay focused so you won’t blow your cover, but hearing that pet name had caused a weird tingle in your stomach.

A few questions later, and before you could fully comprehend the situation, you were officially married to Fred Weasley. Looking at your marriage certificate, you felt surreal. Just in a few days, you and Fred went from classmates who never really talked to each other to a married couple. You two were legally bonded now, and it felt strange, but you had no time to process all these, for you had a more important task.

“Where are you going?” you heard Fred yelling behind you as you started running.

“I’ve got a job interview!”

The interview went well. The interviewer even thanked your husband and his family for their service during the war. You were disgusted by how people’s attitudes could change so drastically simply when you changed your last name. You didn’t fight in the war, but your family took in many muggle-born kids during those dark days, yet nobody cared. All they knew was your last name.

You walked home with mixed feelings running in your head. You knew your life was about to change, but you didn’t know if it was for better or worse. So many things have happened in the past few days, and you were just confused.

But what awaited you at home didn’t resolve any of your doubts. You saw your mum moving suitcases to the door. They were your suitcases.

“Mum, what’s going on?”

“Oh, darling, you’re back! How did the interview go?”

“It went well, I guess. Why are you moving my things out?”

“Oh, Mrs. Weasley and I figured it would look more authentic if you were staying with your husband. You know, just in case someone suspects anything.”

“Mum! But I barely know him!”

“Well, then this is the perfect chance to get to know each other!

So this was how you ended up knocking on the Weasley twins’ door at night, with all your suitcases.

The door cracked open, and Fred’s eyes widened when he saw you and your suitcases at his door.

You smiled sincerely at him, “Hello husband, mind if I stay the night?”

Chapter 2

A/N: this chapter is still setting things up. The next chapter will be longer!

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rocknrollarticles · 3 years

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The Artwoods Story

The Artwoods’ 100 Oxford Street is a UK compilation album released in 1983 that features a four-page booklet (pictured above) that tells the band’s story, written by guitarist Derek Griffiths.

Since there's a limit on the number of photos that can be added to one post, I'll be reblogging this a couple times until I have all the info up. To see this post with all the info added in reblogs, click here.

Thanks for reading, and I hope you enjoy Derek’s words as much as I do!

Transcript under the cut (main text + Record Mirror article from page three's rightmost side)

“ It's difficult to pinpoint exactly when the Artwoods came into being because everything just seemed to evolve naturally. The one date however that does stick in my mind is the 1st October 1964 which is the date I turned professional, thus depriving the accountancy profession of a valuable addition to its ranks! But seriously, one must go back to previous events in order to trace the history of the group.

I first met Jon Lord at a party in West Hampstead when he was a drama student at The Central School of Speech & Drama. He was introduced to me by Don Wilson whose claim to fame was his membership of the famous skiffle group Dickie Bishop & His Sidekicks. They had had a hit years previously with "No Other Baby But You", and Don now ran a band on a semi-pro basis called Red Bludd's Bluesicians in which I played guitar. Well, I say we were called this, but only when we were fortunate enough to cop an R&B gig. We used to play The Flamingo Allnighter and lots of U.S. air bases. The rest of the time we played weddings and tennis club dances as The Don Wilson Quartet! Jon Lord was brought in on piano and was a very valuable addition especially as he could get his hands around a little jazz and all the old standards. Jon used to ring me at work and interrupt my vouching of sales ledger invoices in order to discuss the coming weekends gigs. We would bubble with excitement at the approach of an R&B gig as we really hated all the weddings and barmitzvahs.

Around this time Don made a very important policy decision and we suddenly became the proud owners of a Lowrey Holiday organ for Jon to play. Shortly after this Don contrived to drive the band-wagon into the back of a lorry on the North Circular, doing himself considerable mischief in the process. This brought about the unfortunate end of Don's career with us, but not before he had masterminded an important merger of two local bands.

For some time we had been aware, and not a little envious, of The Art Wood Combo led by none other than Art Wood himself. His band underwent a split at that time and Red Bludd's Bluesicians, alias The Don Wilson Quartet, were neatly grafted on. We really felt we were moving into the big league by doing this as Art not only had more work than us but, wait for it, used to sing with Alexis Korner's Blues Incorporated with Charlie Watts on drums and Cyril Davies on harmonica! The next problem was a replacement for Don, and this was solved by stealing the bass player from another local group The Roadrunners, a good looking cove who went by the name of Malcolm Pool. The offer and acceptance of the gig were transacted in a pub car park somewhere in West Drayton staring into the murky waters of the Grand Union Canal clutching pints of local bitter (Fullers?). (Authors note: drugs had not been invented at this stage, as far as most groups were concerned, apart from the odd pill to keep one awake on an all nighter!)

The next personnel change took place some time in 1964 and this involved the retirement of drummer Reg Dunnage, who did not want to turn pro. Auditions were held in London and lots of drummers attended. However it was more or less a foregone conclusion that Keef Hartley would get the job. You see we'd already decided that what The Artwoods needed above all else was a Liverpool drummer! Unfortunately none came to the audition, but Keef hailed from Preston which was near enough for us. Keef had previously played with Rory Storm & The Hurricanes, replacing Ringo Starr in the process (heady stuff this), and Freddy Starr & The Midnighters. Both were such influential bands of their time that these credentials combined with Keef's quasi Liverpool accent (at least to our ears) provided him with a faultless pedigree.

So that was it, the line-up that would take us through to 1967 when Colin Martin eventually replaced Keef Hartley on drums.

For a while we worked as The Art Wood Combo but then decided it was hipper to drop the Combo and become The Artwoods.

The period when The Artwoods were operating was one of musical change when groups went from recording and performing other writers' material to writing their own. In fact the last year of the group's existence was 1967 which heralded the arrival of "Hendrix", "Flower-Power". "Festivals" and experimental use of mind expanding drugs! 1966/67 were particularly exciting years to be based in London and every night would be spent in one of the many clubs which had recently sprung up. The Ad Lib, The Scotch of St. James, The Cromwellian, Blaises and of course The Speakeasy to mention a few. Many of these we played in and the trick was to be well known enough not to have to pay the entrance fee on nights off. Any night you could be sure to meet your mates "down The Speak" and it became the unofficial market place for rock musicians.

It was also the days before huge amounts of equipment took over. Equipment meant road-crew and trucks and in turn financial hardship. This simple equation has been the downfall of many bands over the years. We used to travel in a 15 cwt van together with all the gear-no roadies, just us. It's amusing to recall but after recording the TV show "Ready, Steady, Go" (in Kingsway in those days?) one would be besieged by autograph hunters on the way to the van with the gear. Even really 'big groups of the day like The Zombies would hump their own equipment and apologetically place an amp on the ground in order to sign an autograph! Because it was financially viable to travel to small clubs in this way, we would often average 6 or 7 nights a week, every week, on the road. A bad month would probably mean less than twenty gigs. This meant we were living, sleeping and eating in close, and I mean close, proximity. You really found out who your friends were.

The subject of equipment is an interesting one as it really distinguishes the bands then from those of today. The average pub band of today would carry more equipment than we did. As I've already mentioned we were quick to realise that we could elevate ourselves musically by investing in a proper electric organ as opposed to a Vox Continental or Farfisa that many groups used. Consequently the group purchased a Lowrey Holiday and we thought this alone would provide us with the Booker T and Jimmy Smith sound.

What we failed to realize was that we also needed a Leslie cabinet with a special built-in rotor to get that "wobbly" sound. Our friend and mentor Graham Bond, the legendary organist/saxophonist, was quick to point out the error of our ways one night when we were gigging at Klooks Kleek in West Hampstead. We groaned inwardly when we discovered the extra cost and humping involved, but it had to be bought. We were fortunate very early on to score a deal with Selmers, who provided us with free amps and P.A., but we had to make the trek to Theobalds Road once a week to get it all serviced as they were not as reliable in those days. I used a Selmer Zodiac 50 watt amp and Malcolm had Goliath bass cabinets with a stereo amp.

The P.A. comprised two 4 x 12 cabinets and a 100 watt amp! When we toured Poland we played in vast auditoria and linked our system with the Vox system being used on tour by Billy J Kramer & The Dakotas. This meant we were pumping out no more than 300 watts which is laughable by today's standards. Although it would never have compared in quality, I can remember standing at the back of extremely large halls and being able to hear clearly all the words Billy J sang. One day in 1963 Alexis Korner sent me off foraging in and around Charing Cross Road for a new guitar, with instructions to mention his name whereupon I would receive a discount of 10%. Previously I played a Burns Trisonic (collectors will appreciate this model did not have "Wild Dog" treble) but fancied owning a Gibson ES335 as favoured by many blues players. Sure enough one was hanging invitingly in the window of Lew Davis's shop.

I ended up paying £135 and still use it regularly today although its value has multiplied five fold. Malcolm came with me that day and bought an Epiphone bass, the same colour and shape as my guitar. For years we looked like matching book-ends on either end of the group! Keef started off using a Rodgers drum kit, but somewhere along the line changed to, I think, Ludwig. There was no out-front mixing as is common today, just the P.A. amp on stage with the vocalist. Primitive I know, but everything revolved around bands being able to travel economically with their gear and perform at small clubs anywhere in Britain. The college circuit was much sought after and provided the icing on the cake while package tours were not necessarily well paid. We did our first with P. J. Proby and got £25 per night (for the lot of us) and we had to pay for our own accommodation!

I have already mentioned "Ready, Steady, Go" a show on which we appeared on more than one occasion. The original format called for groups to mime to their records but after a time it was decided that it would become "live" and that the show would be re-titled "Ready Steady Goes Live". We were proud to be picked for the first "live" show and learnt the news via a telephone call to our agent in London from a phone box high in the Pennines. We managed a drunken war-dance of celebration round the phone box believing that this meant we'd really cracked it. As I remember the first show we did featured Tom Jones (complete with lucky rabbits foot) miming to "It's Not Unusual", The Kinks, Donovan and Adam Faith's Roulettes playing live (without Adam). We were promoting our first single "Sweet Mary" and I would put the date at around late 1964.

Our first recording deal was with a subsidiary of Southern Music Publishing called Iver Productions and I reckon that would have been mid 1964. Southern had a four track studio in the basement of their offices in Denmark Street ("The Street") and getting the gear downstairs, especially the organ, was "murder". Our first producer was Terry Kennedy and we recorded several tracks with him. Without going too deeply into all the details of recording techniques of the period, one tended to compensate for the lack of tracking facilities available, by attempting to duplicate the live excitement. In many ways it was a frustrating experience particularly for ambitious guitar-players. I was a Steve Cropper freak and I knew as a musician that a lot of his sound on record resulted from him working his amplifier hard in the studio— thus the speaker would emit the sound he was used to on stage. In Britain however, engineers would say "You don't need to play loud man, we can turn you up on the desk". The result was a weedy, thin guitar sound. From way back I'd been experimenting with "feed back" on stage and I really had to dig my heels in about the guitar sound in the studio. Once when I turned my amp up to give it a bit of "wellie" on a solo the engineer bounded out of the control room screaming that the level would bust his microphones!

Sometime during the career of The Artwoods it was decided that we should graduate to a better studio. This was arranged by Mike Vernon who also became our producer. Our records had all been released through the Decca Record Co. and Mike was a staff producer with them. Mike w also an authority on "The Blues" and the relationship led to our only single chart record "I Take What I Want" a cover of a Sam & Dave U.S. R&B hit. Mike was also producing John Mayall at the time and it seemed only natural that Mike and The Artwoods should team up. From this point on we recorded at the Decca studio in Broadhurst Gardens, West Hampstead, but I can't honestly say it did any more for us than our previous efforts in the Southern Music basement, although we could now indulge ourselves in the comparative luxury of the eight track studio. Later on, towards the end of the groups life we were signed by Jack Baverstock at Philips Records who was looking for a group to cash in on the thirties-style gangster craze which had been triggered off by the film "Bonnie & Clyde". As a result we changed our name to "St. Valentines Day Massacre" and released a single of the old Bing Crosby hit "Brother Can You Spare A Dime?" It was an ill- fated venture, which I would prefer not to dwell on, virtually signalling the end of the band apart from a few heavy-hearted gigs with a changed line-up.

Before that though, there were many great times to remember, and a fair number of gigs that were memorable in one way or another.

One of our favourite gigs was Eel Pie Island which we regularly played once a month; in fact we held the attendance record there for a while until the ageing blues artist Jesse Fuller took it from us. Eel Pie Island is literally an island in the middle of the River Thames at Twickenham and there's never been a gig like it since. It was an Edwardian ballroom originally I believe, that achieved notoriety in the 50's with the Trad Jazz boom. At that time, an overloaded chain ferry was used to convey the crowd across the river, but during the 60's a small bridge was in existence although it was only wide enough to take the promoter Art Chisnall's mini van. He had to make three separate trips across with the gear strapped to the roof and hanging out the back doors.

The audiences were exceptional for those times and I don't know where they all came from... very much like art students and very much more like the 70's than 60's. Long hair predominated and this was before 'hippies' had officially been invented! If you can imagine a ramshackle wooden ballroom, bursting at the seams, condensation pouring from the walls, the audience on each others shoulders leaping up and down, the sprung dance floor bending alarmingly in the middle, in the summer couples strolling outside and lounging on the river bank ... all this and not a disc jockey in sight! One other bonus was that it was a “free” house and therefore sold many different types of beer— we always favoured Newcastle Brown. Back on the 'mainland' afterwards it was always riotous packing the gear into the truck. I don't know how he managed it but one night Malcolm drove our truck over the support band's guitar which happened to be lying about, thus breaking the neck. I'll never forget the shocked look on that poor guitarist's face as Malcolm smoothly slipped the van into gear, apologised and drove off in that order!

No trip up north was complete without stopping at the famed Blue Boar on the M1 for a "grease-up" on the way home. I do not refer to truck lubrication but to a particular rock'n'roll delicacy known as “full-house”. This comprised double egg, sausage, chips, beans, tomatoes, fried slice, tea, and (if you were man enough) toast. It was considered a Herculean task to break successfully the 10 bob' (50p) barrier-all served on wobbly cardboard plates that doubled as items to sign autographs on for the self service waitresses.

Waitress: What band are you?

Me: You won't have heard of us.

Waitress: Oh go on, tell us.

Me: OK. The Artwoods.

Waitress: Never 'eard of you!

It was everybody’s dream to walk into the Blue Boar just as their hit of the moment was playing on the Juke Box.

One time we were chosen to represent the twentieth century at the centenary celebrations of the State of Monte Carlo— a most lavish affair which the aristocracy and dignatories of Europe attended. Princess Grace and Prince Ranier were the hosts and people like Gina Lollobrigida and the like were there. The ball was held in the famous Casino at Monte Carlo and we stayed in an opulent hotel called The Hermitage, I think. All I can remember is that we all had single rooms (a rare luxury) which were massive, and you could have pitched a tent under one of the bath towels, they were so big. After this we jetted off up to Paris where we played next door to the Moulin Rouge at a club called The Locomotive.

Whilst we were there we were taken out by our friend Mae Mercer, the American lady blues singer who we backed in England. She lived in Paris and took us out to Memphis Slim's club where we all set about drinking like it was going out of style. At the end there was an embarrassing scene concerning the bill with the result that Mae ended up in tears. Whilst we were bumbling about in an alcoholic stupor, an upright looking gentleman put his arm round Mae to comfort her and a wallet appeared magically from his inside pocket. Without further ado the bill was despatched and we later learned that our anonymous benefactor was none other than Peter O'Toole who was busy in the street outside filming 'Night Of The Generals' and was an old buddy of Mae's.

One Boxing Day we loaded up with turkey sandwiches and Xmas pudding and headed off for a gig down in Devon or Cornwall somewhere. We arrived to find the club closed and boarded up, and as usual we were broke. Naturally we were livid, checked into an hotel and located the promoter who lived with his mum. Next morning we drove round to where he lived and burst our way past his confused mum. We found him in his bedroom nervously cowering against some fruit machines which he collected. He had no money so we forced him to empty his damned machines with the result that we drove back to London with 50 quids' worth of 'tanners' (approx 22p for the younger reader!)

Whilst on the subject of disasters I suppose I am duty bound to mention Denmark. The first time we went there we caught the ferry to the continent, drove up through Germany, then caught another ferry to Denmark. There was no promoter to meet us when we arrived so all we could do was drive to Copenhagen and check in at the Grand Hotel. It cost us an arm and a leg but at least we got a good nights sleep after being awake for nearly two days travelling. The next day we made a few phone calls and finally tracked down the promoter. He said: "Didn't you get my telegram cancelling the tour?" We politely said no we hadn't and what did he intend doing with us? He checked us into another hotel (cheaper of course) and set about booking us at places that were similar to English coffee bars and youth clubs. We made enough to survive on and paved the way to more successful tours of that country. In fact by now we had Colin Martin on drums and were pursuing a much more adventurous musical policy and writing our own material. It was just right for Denmark who had taken Hendrix to their hearts to name but one, and we subsequently became quite big there in 1967.

The Artwoods achieved modest success-a minor hit single in "I Take What I Want", but we worked constantly, travelled abroad, had fantastic fun and made a living doing so. We had seven single releases, one album, and one EP, and we broadcast both on radio and TV many times. We did stage tours such as the P. J. Proby tour and covered most aspects of "show-biz" apart from actually making a movie. It was the era when bands still had to prove themselves as a live act before being offered a recording contract. now frequently happens of course that an act can become huge record sellers without so much as venturing to do a live gig.

So what happened to everyone? Well Art returned to his former occupation as a commercial artist and finds some time to fit in free-lance work between accompanying brother Ron Wood on raving excursions between Rolling Stones gigs. Malcolm moved into the same field as Art and they now work in the same building. Both of them gig occasionally on a semi-pro basis although Malcolm spent some time playing with Jon Hiseman's Colosseum and Don Partridge in the early 70's. Jon Lord became famous with Deep Purple and Whitesnake as did Keef Hartley with John Mayall and various bands of his own. Colin Martin is now a BBC Radio producer of repute. I played in various bands such as Lucas and The Mike Cotton Sound, Colin Blunstone's band, Dog Soldier (with Keef again), before I somehow drifted into studio and theatre work. Recently I formed an R'n'B band called the G.B. Blues Company, and it's great to be back on the road again. ”

Derek Griffiths.

Clipping from Record Mirror on June 5, 1965, by Norman Jopling.

“We aim to excite!” … say the Art Woods

Just for the record, the Art Woods aren't a part of Epping Forest. In fact they're a group of five interesting young men, named after the group's leader Art Wood. They also happen to be one of the most realistic groups on the scene.

For a start, they are the awkward position of having a large following, a club residency but no hit record. Secondly. they don't mind pandering to commercial tastes, even though they have been hailed as one of the most authentic R & B groups in the land.

NO PULL

“But authentic R&B just isn't pulling the crowds any more,” says Art. “The audiences want to be excited, not to be lectured on what is 'good' and what is 'bad'. Although there was a time when you could spend half an hour on one number with long solos by everybody, it didn't last long. And although there are some clubs like that still, most of them want something fresh and new.

“And we try to cater for them. We like authentic R&B, but we also like playing everything and anything else. So far, our two discs haven't meant a light. Of course we'd love a hit. But we're lucky enough to make a good living without one.”

DISCS

The Art Woods latest disc is "Oh My Love" and the one before that “Sweet Mary”. Of them Little Walter has said that he couldn't believe any white group could sing and play the blues like they do.

Line-up of the group is Art Wood, leader. vocalist and harmonica. Derek Griffiths, lead guitar, Jon Lord, organ and piano. Malcolm Pool— base guitar, and Keef Hartley on drums. The boys use a specially adapted Lowrie organ, and get a sound that's really different.

But even if the boys sometimes become depressed about no hits records, they should remember groups like Cliff Bennett, the Barron-Knights, the Rockin' Berries and the Yardbirds, and how long THEY waited before they had a hit!

N.J.

#the artwoods #the art woods #art wood #derek griffiths #malcolm pool #jon lord #keef hartley #colin martin #100 oxford street #the 100 club #articles #liner notes #newspaper clippings #record mirror #my posts

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trashyswitch · 4 years

Text

The Superior Security Guard

Mike Schmidt and Jeremy Bond over the fact that both of them worked part-time for a week, at a Pizzeria run by Freddy Fazbear Entertainment.

I was inspired by a friend to try branching away from the Afton's this time. So, I spent around 3 hours looking up other FNAF characters' statistics and stuff...

Let's just say: The Five Night's at Freddy's Franchise is even MORE CONFUSING THAN EVER!

But, I can't change that. So, I'm choosing to take advantage of a Fanon headcannon! (Mike and Jeremy are best friends)

DISCLAIMER: A bit of mild language.

Jeremy and Mike met each other during Jeremy's work week at Freddy Fazbear's Pizzeria. When Jeremy was leaving Wednesday morning at 6AM, Jeremy had walked out the door to find a man standing outside, staring at the new pizzeria joint. Recognizing the security outfit from his own experience, Mike asked Jeremy about the job and brought up his own experiences. So, instead of sleeping the day away (Which was his original plan), Jeremy invited Mike to go buy a soda with him.

Before they knew it, they became quick friends.

Over the years, they leaned on each other to mentally deal with their weird, and eventually quite terrifying, job experiences. When the company was hit with missing/murder charges, Jeremy and Mike talked each other through the terrifying nightmare, that was child murderers in animatronic costumes/children being stuffed in the animatronic robots. Once in a while, to cope with the experiences and make light of it, they would make silly jokes while they talked.

One day, Jeremy and Mike were walking around Mike's neighborhood, each holding a take-out cup of coffee. It was somewhat peaceful just walking on the sidewalks, listening to the spring birds singing and watching them fly from tree to tree.

"Hey Mike?" Jeremy called calmly.

"Yeah?" Jeremy replied.

"Which animatronic was your favorite when you were younger?" Mike asked.

Jeremy chuckled. "You seriously don't remember? I've told you so many times! It was Chica." Jeremy replied.

"Why though?" Mike asked.

"I don't know. I like yellow, and Chica's a yellow chicken. Plus, she's the one that holds the cute, pink cupcake!" Jeremy explained.

"Oh yeah, I forgot about that cupcake. I think it was actually named something...something that started with a C. Carly?" Mike attempted.

"Maybe?...No, Carl! That was its name! Carl!" Jeremy replied. "Oh! and the other reason I liked Chica, was because she was the only girl animatronic." Jeremy explained.

Mike laughed at the last remark. "Chica wasn't the only girl. There was Bonnie-"

"Bonnie was a male! He just...had a lot of 'robot make-up'." Jeremy replied, making quotation marks with his fingers. "Bonnie, playing his bright red electric guitar, looking like a drag queen back then." Jeremy joked, playing the air guitar to add to the humor.

"Wait, really? I don't really remember that part." Mike reacted.

"I'm just over-exaggerating a little bit." Jeremy mentioned.

"Alright...Since Chica was the only girl animatronic, did that influence your decision on which robot was deemed your favorite?" Mike asked.

Jeremy's eyes widened. He looked away quickly, as to not raise suspicion. "...What are you implying if it did?" Jeremy asked.

"Oh nothing." Mike replied, shutting his mouth with a smug look.

"You know what? No! We're having this conversation! What were you suggesting?" Jeremy asked.

"Oh I don't know...Have you heard of the term...'Furry' before?" Mike hinted.

Jeremy's jaw dropped. How DARE he?!

"Dude!" Jeremy yelled, lightly pushing him with a smile on his face. "What is wrong with you! I am NOT a furry! And I am CERTAINLY not in love with those creepy, toy-looking robots." Jeremy argued.

"Okay, okay. I believe you." Mike said, still wearing his smug look. Jeremy narrowed his eyes suspiciously.

"Something tells me you don't..." Jeremy suspected.

Mike raised his eyebrows. "Are you suggesting I SHOULDN'T believe you?" Mike asked.

"Wha-NO, I'M saying that your freaking eyebrows were telling me a different story!" Jeremy reacted.

"Oh...were they now?" Mike asked in a smug voice, before making waves with both his eyebrows.

Jeremy chuckled in both amusement and frustration. "Do you want a punch to the face?" Jeremy warned.

"Oh please!" Mike exclaimed, pinching Jeremy's bicep muscles with his right arm. "Where's the muscle? I don't feel any muscle." Mike joked.

"I may not have arm muscles, but I can skill kick your ass!" Jeremy shot back.

"How? You kinda need arms, in order to do any sort of fighting..." Mike mentioned.

"How about this: Let's stick a pin into this conversation, and open it back up when we get to your house. Alright?" Jeremy suggested.

Mike rolled his eyes with a smile, but nodded in agreement. "Okay. The conversation's been pinned." Mike replied.

The boys decided to take a side road, to head back to Mike's house. After another 10 minutes or so of walking, they finally arrived back to Mike's house. Mike and Jeremy walked up the driveway, and up the stairs to the door. Mike pulled out his keys and unlocked the door. After removing the key and opening it up, both men walked into the house and closed the door behind them. Unbeknownst to Mike, Jeremy had already been spending the 10 minute walk trying to come up with a plan. By the time they reached the house, Jeremy was ready.

"Okay. I'm pulling the pin out. Let's figure out who can beat the other in a match." Mike decided.

Jeremy walked towards each other. They cracked their knuckles as they stood, getting ready to fight each other. In the background, energetic music played to intensify the moment. Both men readied themselves, and waited for the countdown.

2! Both men clicked the 2 button...

GO!

And, they're off! Both men managed to get the extra boost, and were zooming down the raceway. The selected track for this game, was Luigi Circuit. Though Mike managed to completely miss the question mark power ups, Jeremy successfully got a power up! On the top left side of Jeremy's screen, the cube spun, revealing all the power ups he could get. He ended up getting a banana!

"Aw, come on! Banana's suck! Whatever." Jeremy commented, before clicking the button to get Luigi to throw the banana.

As you probably would've guessed by now: The boys were playing Mario Kart Wii for their competition! Whoever got at least 2 wins against their opponent, was deemed the winner.

"What?! Bowser, get outta here!" Jeremy shouted at the CPU who just passed him.

Mike (King Boo) quickly began to catch up, thanks to the speed boosts littered all over the track. Mike passed baby daily, Wario and Birdo, quickly putting him in 4th place.

Soon, both men passed the finish line again. Lap 2! Both men managed to get a power up each, this time! Mike got a shrinking power up, while Jeremy got a red shell!

Mike activated his power up almost immediately.

"Hey! Who made everyone small?!" Jeremy asked. Suddenly, as if the game was deliberately answering his question, a large King Boo drove past the tiny Luigi.

"Aww! Look at the wittle tiny Luigi." Mike teased.

Jeremy smirked and waited for his character to grow bigger again. Once his character grew back to his normal size, Luigi threw the red shell at King Boo.

"Suck on that, Mike!" Jeremy yelled.

"Ha! Says the character with the ghost vacuum." Mike replied with a smug face.

"I- HEY!" Jeremy yelled, elbowing Mike in the arm.

"Oh, you wanna play THAT game, huh?" Mike asked, elbowing Jeremy back.

"Yeah! Fight me bro!" Jeremy yelled.

Mike shrugged his shoulders. "You asked for it..." Mike replied before tackling the man down.

"Mike! Get off me! OHOHOW! YOUR ELBOWS ARE JABBING INTO ME!" Jeremy shouted, attempting to push Mike off him.

As Jeremy tried to push at him, Jeremy accidentally squeezed his side while he was pushing against it with his hand. This caused a sudden jolt and a short spurt of laughter to leave his mouth. Jeremy paused his actions for a split second, and looked at Mike with a smug, suspicious glare. "What are you laughing at? Is squishing me considered funny to you?" Jeremy asked.

"Kinda, yeah. Your body is just so tiny and squish-able!" Mike teased, squeezing Jeremy's side.

"Dohohon't you eheven tryhyhy tihihicklihihing me, you bahahahastahahard!" Jeremy warned through his giggles, before giving Mike a few squeezes and pokes back.

"AAAAH! Nohohohoho! Quihihit thahahat! Dohohon't yohohohou eheheven ahahahattempt ihihit! I am much bigger, and stronger than you. I could RUIN YOU-" Mike warned. Unfortunately for Mike, Jeremy moved his fingers up to his bottom ribs, and began tweaking and digging into them. "AAAHAHAHAHAHAHA! AAAH! NO! JEREMY! PLEHEHEHEHEHEHAHAHAHAHAHA!" Mike bursted out, falling beside his friend.

"I think you keep on forgetting what tiny people are capable of. I can climb all over you and destroy you!" Jeremy mentioned as he jumped onto his best friend to dig his fingers into the farthest side of Mike's ribs.

"DAHAHAHAHAMIHIHIHIT! HAHAHAHAHAHAHAHA!" Mike shouted, pausing his squirming to just let out all the laughter in his lungs. Jeremy's smile began to grow wider as he tickled him. Jeremy just adored Mike's laugh! It was so bubbly and fun to hear. There had been times in his life where Mike would laugh out loud for a good 5 minutes, and Jeremy would just be over the moon to hear his laugh. It was really contagious, and usually made Jeremy laugh along with him. When they first met, Jeremy would use as many stupid or funny jokes on him, just to hear Mike's laugh. It was kind of silly in a way. Is it normal to appreciate a person's laugh that much? Or is it weird? Jeremy wasn't really sure. So, the best thing Jeremy decided to do with it, was to just enjoy the laughter for as long as it lasted. Jeremy had drifted off into a daydream amidst the fight. He was so deep into the trance, that he didn't even realize what was going on in front of him!

Meanwhile, Mike had decided to take advantage of Jeremy's dreamy state, to tickle him back.

Suddenly, Jeremy knocked himself out of dreamland with his own bout of laughter! By the time Jeremy found out what was going on, Jeremy was giggling and laughing under Mike's wiggly fingers.

"Hehehehehehehe! Mihihihike! Cohohohome ohohohon!" Jeremy giggled.

"What do you mean 'come on'? You were the one who lost his concentration in the middle of beating me! I'm just getting my revenge now." Mike teased.

"Ihihihi dihihidn't mehehehehean tohohoho!" Jeremy mentioned.

"Well obviously, you didn't. I don't think you could've controlled it! But, I'm still gonna make you regret it." Mike replied with a wink.

Mike shoved his hands into Jeremy's armpits next. Jeremy gasped and squealed before rolling into a fit full of laughter. "NAHAHAHAT THEHEHEHERE! HAHAHAHAHAHAHA! PLEHEHEHEASE! IHIT'S TOHOHO MUHUHUHUCH! HAHAHAHAHAHA!" Jeremy shouted.

"Hahaha! This is awesome! Now, how would you feel if I just..." Mike asked, drifting off as he lifted Jeremy's arm above his head.

"Nonononono! Don't you even TRY TO DOTHATPLE-EEEEEAAAAAAAHAHAHAHAHAHAHAHAHAHA! NAHAHAHAHAHAHAHOHOHOHOHO!" Jeremy screamed.

Mike jumped and retreated his hands out of pure panic. "I'm not killing you! I swear, I'm not killing you!" Mike reacted, putting his hands up in arrest.

"Yohohohou wehehere clohohohose..." Jeremy warned.

"Oh really? Well, now I wanna tickle you more." Mike reacted before shoving his fingers into Jeremy's armpits again.

"WAHAHAHAHAIT! NO! MIKE PLEHEHEHEHEHEHEHEASE!" Jeremy shouted.

"Please? Please what? Please tickle you more? Gladly!" Mike replied smugly as he lifted Jeremy's arm up and wiggled his fingers on Jeremy's exposed armpit.

"MIKE! PLEASE, I'M BEGGING YOHOHOHOU! DOHOHOHOHOHOHAHAHAHAHAHAHA! HAHAHAHAHAHAHAHAHAHAHA!" Jeremy shouted before dissolving into endless hysterical laughter.

Mike began to giggle along with Jeremy. He was enjoying this way too much...But, who cares? Mike certainly didn't! He liked bringing Jeremy down to just a puddle of laughter. Normally, that involved a really good story. Today though, it was achieved through simple play-fighting.

After another minute of tickling his armpits, Mike brought his hands down to his sides again, to let him breath more. Jeremy happily took in as much air as he could, and allowed himself to still giggle through the tickly squeezes on his sides. It was a more comfortable laughing pace. It felt better to laugh lightly, than to laugh hysterically.

So, Jeremy decided to get Mike laughing as well. Jeremy ran his fingers around Mike's sides for a bit. When he felt curious, Jeremy reached his hand under Mike's shirt and discovered something new: Mike's pretty ticklish on his belly! Specifically, his belly button! Jeremy gladly took advantage of it, and listened to Mike's inner music, that was his laughter.

"Hehehehehehehe! Dohohohon't yohohohou dahahahare! Yohohou'll rehehehegrehehet ihihit...GAHAHAHAHAHA! JEHEHEREMY NOHOHOHOHO!" Mike laughed joyfully.

Jeremy's smirk began to widen, as he swirled his finger inside Mike's belly button. "Is someone a little ticky-ticky-ticky-ticklish?" Jeremy teased.

Mike's face almost immediately began to glow a red hue. "SHUHUHUT UHUHUHUHUP!" Mike spat.

Jeremy gasped. "Is Mike a little flustered? Is Mikey-Wikey getting flustered from the ticky-ticky's on his belly button?" Jeremy teased, treating him like a toddler.

Mike was slowly going insane. Teasing his belly button?! Talking to him like a TODDLER?! UH...NO THANK YOU! MIKE IS AN ADULT, THANK YOU VERY MUCH!

"Quihihihit teheheheasihihing mehehehe! Ihihi'm nahahahat a chihihihihild!" Mike shot back at Jeremy. Before Jeremy could do anything else, Mike had grabbed Jeremy's upper arms and pulled him down onto Mike's lap! Mike sat up and flipped Jeremy over onto his back, before experimentally digging his fingers into Jeremy's ribs.

"NAHAHAHAHAHA! OHOHOHOH, YOHOHOHOHOU SUHUHUHUHUCK SOHOHOHOHO BAHAHAHAHAD!" Jeremy shouted.

"Wow! You're entire upper body is ticklish! And not just a little ticklish, but SUPER ticklish! We'd better make sure no animatronics find out about this." Mike suggested.

"WHAHAHAHAHAT?! WHAHAHAT AHAHARE YOHOHOU TAHAHAHAHALKIHIHING ABOHOHOHOUT?!" Jeremy asked through his hysterical laughter.

"Didn't you hear? The animatronics are able to scan kids and make comments on certain objects and decorations now. For example: the patterns on your shirt!" Mike explained, poking the stomach underneath Jeremy's shirt.

Jeremy's eyes visibly widened, as he bit his lip.

"One of them might scan your body up and down, up and down, up and down..." Mike teased, pointing his index finger at Jeremy as he raised and lowered it to imitate the scanning. "-And they may find out some pretty interesting information:" Mike added as he lowered his hand down to Jeremy's stomach. Next, Mike focused his eyes on a specific tickle spot before lifting his head up and leaning his head in towards Jeremy's head.

"Mr. Security Guard?" Mike asked, in a silly Freddy voice that somewhat resembled Goofy's voice. "You have some very sensitive spots on your body. Are you ticklish?" Mike (Freddy) asked. Despite the small bits of nervous panic going through Jeremy's head, his body began betraying him by instinctively making him smile and giggle like a complete goof. So, Mike began poking, squeezing, and wiggling his fingers on Jeremy's stomach, ribs, and sides.

"DOHOHOHOHON'T! IHIHIHIT'S NAHAHAHAT FUHUHUHUNNY! IHIHIHIHIT'S CREHEHEHEHEHEPPY!" Jeremy yelled back.

Mike smirked and resorted to his Freddy Fazbear voice again. "Don't worry! I'm not gonna kill ya. I'm just gonna tickle you a little!" Mike replied as he skittered his fingers higher up on Jeremy's ribs. "What's that saying again?...Oh yeah! Coochy-Coochy-Coo!" Mike teased in his Freddy voice.

Next, Mike left his right hand at his ribs, and brought his left hand down to his belly again. Jeremy's laughter turned into cackles rather quickly. "Hey kids! Look! This security guard is very ticklish!" Mike (Freddy) exclaimed. "Next thing you know, children are gonna come running over and cheer excitedly as they watch a security guard get tickled!" Mike reenacted. "They'll giggle at the security guard stuck in Freddy's tickle trap, and they'll even give their own little pokes as well!" Mike reenacted further, adding in little pokes everywhere he could reach to add to the silliness. "It will be such a giggly mess, that someone may have to turn the machine off!" Mike added.

Immediately after that part, Mike stopped his fingers and pulled them away from him. Jeremy just flopped himself onto the floor, breathing in as much air as he could.

Jeremy was just about done for. He couldn't even IMAGINE such an embarrassing thought! "Next thing you know: You're getting laid off by your supervisor for 'being too ticklish'. Like you can control that, of course..." Mike concluded. Jeremy rolled his eyes, but giggled at the silly conclusion.

"Shuhuhut uhuhup...Yohohou wohohouldn't behe ahahahable to suhurvihihihive either..." Jeremy replied.

"Mm...Maybe not...Maybe yes, though..." Mike replied.

Mike only continued to giggle as he laid there on the ground. Looking around the room, Jeremy couldn't help but notice the flashing Wii remotes. Looking up at the TV, Jeremy noticed that the TV was still on! The Race statistics were playing on the screen as well! Jeremy looked down the list of places, and looked at the statistics on the bottom:

[11th | Luigi | DNF | +0 | 0pts]

[12th | King Boo| DNF | +0 | 0pts]

Well...So much for THAT challenge...

#ticklefic #switch!jeremy #switch!mike #fnaf

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interrupted-for-special-report · 3 years

Text

Scott Cawthon Controversy and my Unoriginal Opinion (NOT BY ME, I’M JUST REPOSTING)

”Before I begin this conversation, I would like to make sure that everyone understands my intentions here. I am an active fan of Five Nights at Freddy's, and will continue to be a fan of the series, regardless of my own opinions that may contrast with Scott's beliefs. Within this discussion, I am going to address both sides of the conflict, respectfully, of course being slightly biased towards Scott's side. The reason I am openly addressing my bias towards Scott is because I want to be as upfront and straightforward as possible, as to not mislead others of my true intentions here.

All of that aside, what exactly is the problem going on here? To put it simply, Scott Cawthon, creator of iconic franchise, Five Nights at Freddy's, supports right leaning causes that have been cause for controversy among the general public for some time. From a more detailed standpoint: Scott was a supporter of Donald Trump (I say was, because he is no longer a candidate), is a supporter of pro-life, and donated to many other Republican charities, (NOTE FROM ME: As far as I am aware Scott has not donated to any organizations with an outright LGBTQ+ stances; the extension of that was the political candidates he gave money to) some of which being anti-LGBTQ+. Many of these topics are generally stereotypically associated with being Christian, a religion which of course, is nothing to be ashamed of practicing in my personal opinion. When looking at this from both ends of the bias, we have one argument essentially saying: Scott Cawthon is a homophobic right leaning individual, who donated to anti-LGBTQ+ associations; and the other addressing that, whilst this is partially and undeniably true, that there is more to this: Scott Cawthon is not homophobic, and cares deeply for everyone, instead, he has opinions and controversial beliefs. I think it is very important that we realize that it is okay to no longer support Scott after learning the previous, and that it is okay to continue to support him through and through. This should not mean that anyone who continues to support Scott is immediately homophobic, or agrees with what he supports. It is natural to have opposing opinions, and what you make of that is up to you. However, what is not okay (at least to me) includes the (alleged) doxxing, and harassment of Scott.

Do I support republicans? Ultimately, no - although I tend to have some conservative beliefs. Do I believe in pro-life? No. I believe that a woman should be able to do what they please with their body, especially since I am female. However, I have many family members who are pro-life, and I think it's important to see both sides of the argument here. I can see why aborting a baby who hasn't even begun to experience life is upsetting to some, I can certainly sympathize with that. But, I believe that it is the woman's choice in the end, her body, her decision. Just as I can sympathize with my family, and see their point of view, I can see Scott's point of view. Am I a Christian? No, I do not practice any kind of religion. However, I do have family that practices Christianity and Catholicism, and I do not think that someone's religion should be used against them just because it is generally associated with negative stereotypes. Do I support organizations that are anti-LGBTQ+? No! Certainly not. I believe that everyone should be seen, appreciated, and loved for whatever sexual, or gender orientation they identify with. Especially growing up in the younger half of Generation Z, I have always been open minded and accepting of anyone and everyone! Do I think supporting these organizations is wrong? Yes, I do think this is wrong. However - I believe that Scott was just donating to political campaigns that supported anti-LGBTQ+ causes as an underlying factor. He has made it very clear that he is in support of whatever orientation someone chooses to associate with. Some direct quotes including: "I've debated greatly how to best address this, including not addressing this at all, but with so many people from the LGBT community in the fanbase that I love, that's not an option," and "I treat everyone the same, and I ended up with people from all walks of life in my professional life and my personal life as well. That's the way it should be. That's the way I want it to be,". He has also made it apparent that he chooses people based on how well he thinks they can do the job. This is a matter of personal opinion, and of course, isn't going to be the same as everyone else's.

I will not deny that he has supported and donated to many causes that are against the personal freedom of expression and choice as mentioned above, and I will not deny that I do not personally support those causes. I also will not deny that there is physical proof of these donations, you can find them anywhere at this point, but I discourage you from visiting some of these pages due to location privacy on Scott's behalf. This is the same reason I am not including these links and receipts in this response.

I am not including the following part of my response to force you, the reader, to like Scott Cawthon if you have already decided against doing so. That is certainly not up to me, and you and I can have our respective opinions. But rather, I am including the following to at least prove that Scott is not a horrible person. Scott has donated to several beneficial and non-controversial charities such as: the American Heart Association, St. Judes Hospital (seven times, totaling to ~$750k), WWF (seven times, totaling to ~$55k), as well as supporting several other creators reach their charity goals, overall amounting to more than $1.2M donated. These are just donations made publicly/on stream. Of course, Scott has done much more than just donate money. He has made a community of almost 7 years, full of people to this day. It was, and I hope continues to be, a thriving community of people who can bond and theorize together for many years to come. He has even made it clear that these projects are no longer about the money like they once were. He has gone from a struggling creator trying to make a living off of something he loves, to truly doing what he loves to make others happy and, of course, terrified!

According to many accounts on Twitter, Scott has ultimately been respectful of their pronouns, gender orientation, race, and religion. Further emphasizing his claim of voting for certain political candidates based on who he thinks can get the job done in the most efficient way (once again, this is not to suggest he is objectively right, nor wrong). A direct quote from one fan of the game series will be included below, with a link of course. From MichealO2000 "Actually Scott was very accepting of my transition. He respected my name, pronouns, and gave me support during my transition!". I think it's incredibly wrong to say that someone is homophobic when it has been made clear on several different occasions that he appreciates and loves everyone equally. Whether it be from supporting and donating to creators, or helping others on a personal level, he doesn't discriminate, even mentioned in his response to this controversy. I will also include the fact that he works with companies that openly support LGBTQ+ organizations, and that he has worked closely with several artists of very diverse backgrounds - once again proving that Scott does not discriminate, just believed that he should choose the best for the job. (https://twitter.com/TrennelCMC/status/1403204330170335234?s=20)

(https://twitter.com/MichaelO2k/status/1403652335084126209?s=20)

On a side note, I would like to point out the gross over-exaggerations some people have applied to Scott, one of which compared him and his followers to a particular anti-Semitic group of people. (https://twitter.com/dank__deku/status/1403960971509616640?s=20). I will also include a post of someone on Scott's side of the argument saying a similar thing: (https://twitter.com/retropIatinum/status/1403893975635828736?s=20). In all honesty, a lot of this controversy has gotten out of hand on both sides. I thought I would include this side tangent to showcase the extremes everything has escalated to from both parties.

As to not make this response incredibly long, this is my final conclusion. I do not support the right leaning causes he has donated to, and it's okay if you agree with me, or not. However, while I don't support everything he has done, I can continue to enjoy his content and himself as a person without viewing his political beliefs. I don't think he had any ill intent when donating to these campaigns, and really just made a crucial mistake. Ultimately, it is okay for people to continue supporting Scott and his creations, just as it is okay to stop supporting him. What's not okay is to harass him, and immediately assume the worst when we will never truly know the full story. All in all, I stand by Scott, and I also stand by you, the reader, regardless of what you think about everything. I respect your opinion, and I hope you will see this from my point of view too.”

Original Essay Here

#scott cawthon

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