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redhoodssweetheart · 3 years

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Things That Go Bump In the Night

Genre: Paranormal/Supernatural AU

Pairing: Jason Todd x Fem!Reader

Requested: Yes @im--multi--fandom--trash (This is apart of my 1.5K follower celebration, requests are now closed)

Word Count: 1.4K

Warnings: Swearing

Description: You, Jason, Dick, and Kori got to what’s supposed to be one of those stereotypical Halloween haunted houses, but you all have bit off more than you could chew.

A/N: I’m not gonna lie I kinda got the idea of an actual haunted house from Scooby Doo: The Goblin King. Scooby and Shaggy find out monsters are real and the character of Mystic in this is based off the dude who runs that shop Scooby and Shaggy go to (except Mystic is more of a dick). Anyway, enjoy!

Halloween was Jason’s favorite time of year. Given that you lived in Gotham that was surprising to you. “Don’t you get enough of the costumes and scary things as it is?” You had asked him once.

His response, “Okay, but that’s work, this is fun.”

This year you, Jason, Kori, and Dick had all decided to go to one of those fake haunted houses and be scared by the likes of Freddie Krueger, Jason, Mike Myers, and all the other horror movie legends. You had researched and found a house on the outskirts of Gotham that looked like a good place to go and the four of you had hopped in the car and headed to the location.

Kori had never gone to a haunted house before and was excited to experience it for the first time. “Just remember not to blast anyone,” Dick was telling her, a teasing look on his face.

She rolled her eyes at him, “I am not that bad.”

“Kori, I watched you almost fry the toaster one time because you weren’t ready for the toast to come out,” Jason said with a smirk. “Try to remember these aren’t bad guys that need to be shot down.”

“All right everyone, place your bets now on who you think is going to crack first and be the most scared,” you said as you placed a cup on the center console. “Last person to crack or get scared takes everything.”

Money was dumped into the cup and you hid it from sight so no one who passed your car would notice it and try to break in. Even though you weren’t in Gotham proper you were still in Gotham.

The four of you climbed out of the car and toward the ticket counter. The older gentleman behind the counter smiled at you and said, “Welcome to Mystic’s Halloween Mayhem, just the four of you?”

Dick nodded, “Yep!” And handed over the money for the tickets.

“Have a good evening and enjoy the thrills and chills of my haunted house!” The man said with a flourish letting them walk up the little dirt path toward the house. He watched them a chuckle escaping him, “They’re in for the scare of their lives.” Then he and the ticket counter disappeared.

The house was your stereotypical haunted house. You were pretty sure you’d seen it on an episode of Scooby Doo once. “It’s like someone built this place specifically to be used as a haunted house,” you said as you began to step up onto the rickety old porch.

“Yes, I agree with Y/N,” Kori said. “But something does not feel right,” as if on queue a gust of wind blew past time and caused each of them to shiver.

“Well that wasn’t odd at all,” Jason remarked.

The front door opened of its own accord and Dick hid behind Kori and said, “This place is really pulling out all the stops.”

“Come on,” you tugged them inside and just as you all made it through the door slammed shut behind you causing you to jump. You had known it was gonna happen, but it still got you anyway.

Candles lit by some unseen force and showed you the path you were supposed to follow. The four of you shared a look, but moved forward. At first everything was fine and then a shadow slithered up the wall causing Jason to jump since he was the closest one to it. “What that fuck?!” He looked at the three of you, “Did you see that?!”

Dick and Kori shook their heads, but you were eyeing the wall. “You okay there, Jaybird?”

He turned back to where he had seen the shadow and said a bit absentmindedly, “Yeah… yeah I’m all right. Let’s go.”

You all started to move again, but a new sound had you freezing again.

“AARRWOOO!”

You felt the hairs on your body stand at attention and Jason’s hand tightened around yours. Kori stiffened, “What was that?”

“It sounded like a… like a--”

“Werewolf,” Jason finished for you.

A low growl came from behind and when the four of you turned you saw somewhere wearing the best werewolf costume you had ever seen. It was on two legs and there was saliva dripping from its mouth. “Run,” you said, your voice shaking as your adrenaline and fear spiked.

They didn’t need to be told twice and you all bolted down the hall, you heard the werewolf chasing you, but when you made it through a doorway the door slammed shut and the body of the werewolf hit it. “That felt too real,” Dick said as he bent over to try and catch his breath and calm down.

“Did you hear the way it slammed into the door?” Jason shivered. “I’ve got a bad feeling about this place.”

“We need to look for an exit,” you chimed in. “I don’t like this either.”

“Do you think it’s fear toxin?” Kori asked. “Could this be a trick, someone altering our minds?”

Dick and Jason shared a look, “This doesn’t feel like Scarecrow’s fear toxin. We would be seeing things with each other as well.”

Something glowing caught your attention and you saw a corporeal form of a woman watching you from around the corner. You patted Jason on the arm and pointed toward her. He jumped slightly, a hand covering his heart when he realized that it wasn’t another werewolf hellbent on eating them. “Do you think she can lead us out of here?” You asked him as the four of you huddled together.

“What if the innocent façade is just an act?” Dick asked as he glanced over toward you. “She could turn into some hideous monster and chase us.”

“She is currently blocking our only path of escape,” Kori chimed in. “Unless you want to risk it with the werewolf.”

“Forward it is,” you said, and you cautiously took a few steps toward the glowing girl. “Um excuse me? Could you possibly show us the way out?”

She let out a terrifying wail at your words and leapt back just as Jason let out a terrified scream. “Man fuck this place!”

You walked over to the lone window in the room and tried to pry it open. When it wouldn’t budge you turned to Jason and asked, “Jay sweetie do you have your gun on you?

“You told me no weapons!”

“The one time we need your trigger happy ass to have a gun and you don’t have one,” Dick sighed.

“Y/N said that we wouldn’t need it! It was supposed to be a normal date night, not trapped in the house from Hell!”

“I may be of some assistance,” Kori stepped up and used her powers to try and burst through the window, but it bounced off the glass and hit the wall.

It was then that you all realized you would have to make your way through the rest of the house to get out. If you could get out…

There were a few more jump scares and you were chased by some sort of demon. Jason was practically dragging you through that house and when you reached a door that led back to where you had come in at. Dick was the one that tried it and when it swung open without any problems the four of you bolted out of there quicker than the Flash, the door slamming shut behind you.

All four of you were bent over trying to catch your breath and thank whoever was watching out for you that you had managed to get out of there in one piece. When you turned back to look at the house it was gone. “Uh guys, look.” Everyone turned. “It’s gone.”

“Next year,” Jason said as he stood up straight. “We’re staying home and passing out candy.”

“Deal,” you all agreed.

“What do you guys say we go buy some candy and go back to the manor to watch some comedies for the rest of the evening? I could use something happy.” A round of agreements once again rang through your small group as you made your way back to the car.

In the shadows of the night Mystic watched the group leave and laughed to himself. “Another year, another successful scare.” He patted the werewolf on the back, “Come on buddy, we’ve got a whole year to prep before our next opening.” The werewolf growled in response and the two of them disappeared into the astral plane.

#Jason Todd x Reader #Jason Todd x Fem!Reader #Jason Todd x Reader fluff #Dick Grayson x Koriand'r #Jason Todd #Jason Todd fanfic #Jason Todd fanfiction #Jason Todd fluff #Requested

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kingofthewilderwest · 4 years

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"#just because you have a bias about certain socioeconomic groups which tend to listen to country doesn't mean" // Yup. I tend to side-eye folks who are like "I like all kinds of music except country and [Insert a genre of music usually associated with Black creators like rap and hip hop]" You're not slick, ppl. I know what you're saying.

^^^^^^^^^ You hit the nail on the head.

It’s racial bias. It’s socioeconomic bias. It’s bias against people groups who have less respect and say in society.

From my tags on this post:

#don’t get me started on a long rant of the progressive side of country music and what’s been progressive FOR DECADES#from times near its BEGINNInGS#through the modern age#just because you have a bias about certain socioeconomic groups which tend to listen to country doesn’t mean#that that’s actually what the genre is or who the artists are#I could go for a LONNNNG time about this#a LONG time#some of the best protest songs I know of today’s current political situation#are country#or have like ya’ll forgotten about the folk revival#of the 1960s#or…#gahghfnfddhgnghfngh#I AM GAY AND I LISTEN TO COUNTRY#NYEH!!!!

Now. I understand disinterest in a genre because it’s not your aesthetic, but when people express their feelings for country, R&B, hip-hop, etc. …the dialogue isn’t casual “It’s not my thing.” The dialogue is a hateful, passionate retaliation.

Other genres aren’t treated like this. It’s normalized and encouraged to hate on country and rap. These genres are systematically treated with less respect and that disrespect culturally arose because these genres are associated with less-respected demographics.

(Country music is associated with people of low socioeconomic status, for people who aren’t explicitly aware.)

Anecdotally: I’ve caught something interesting about anti-country music sentiment. Many people tell me they can’t stand the “twang.” Half the time, I’ve noticed that their internalized definition of “twang” isn’t the vocal technique; it’s that they can’t stand the presence of a Southern accent. And hooboy does that have TONS of sociocultural bias issues. As a linguist, I’ve read endless sociolinguistic studies about how Southern dialects are treated as “lesser,” and how speakers of the dialect are automatically judged to be less intelligent, etc. It’s not good, folks.

Sometimes, to help friends get out of their anti-country mindset, I’ve “tricked” them into liking country. See, genres like bluegrass grew closely out of Scots-Irish folk music. Often, we’re playing the same tunes on both sides of the Atlantic. So I play a few instrumentals, my friend goes, “Oh! I love Celtic music

The biases against those demographics color how people view the music. There’s endless things that can be said about hip-hop bias, holy shit. I won’t focus on that today because I don’t believe I am qualified to be a spokesman. Someone who understands that genre better, and other genres associated with the African-American community, and is African-American, would be a better human to listen to than me. I defer to their knowledge and experience. It’s hella important to understand what bias has been reflected against those genres.

But there’s just as much bias against country music, against another demographic. And I’ve found it wild how it gets treated on places like tumblr, which wants to stand up for underprivileged groups, but somewhat inaccurately associates country music as “anti-gay conservative evil white person music” rather than music of people historically of lower socioeconomic status.

Yes, some of the demographic that listens to country music or plays country music are bad apples. But like… thinking the music is JUST THAT is a huge disservice to what country actually is and who the music artists actually are.

The history of country music is one giant collaborative melting pot of people from many different cultural backgrounds. Broad West African influence. Mexican influence. Italian influence. German influence. Scots-Irish influence. Cherokee influence. More. Early record labels like OKEH foolishly separated “hillbilly music” (presumably white folk music) from “rhythm and blues” (presumably Black folk music) without understanding the constant racial, demographic, regional, and cultural cross-pollination that occurred between the musicians from country music’s origins. And while there ARE certain issues in country music’s past and present, and we can’t let those issues go forgotten, that’s far from the whole story. We shouldn’t romanticize issues, but we should acknowledge that this music genre has given us major strides too.

Country music is the banjo, brought from Africa, combined with the mandolin, brought from Italy, combined with the fiddle, brought from Ireland, combined with the guitar and the dobro and the accordion and the upright bass and the electric guitar and the electric bass and whatever instruments you want to put in there.

Country music is African-American musicians like DeFord Bailey, the first radio star ever introduced on the Grand Ole Opry (THE most revered country music hub out there), blues harmonica performer, playing to crowds decades before segregation was de-legalized. He toured with white Opry musicians who treated him as one of their own. It’s soul music genre pioneer Ray Charles producing a studio album entirely dedicated to country music hits like “Hey Good Lookin’” from Hank Williams. It’s country star Charley Pride, who despite the racism against him in the 1960s rose to fame and made audiences fall in love with his beautiful voice. It’s the African-American musicians who inspired many commercial country stars, like Arnold Shultz influencing Bill Monroe and the railroad workers inspiring Jimmie Rodgers.

Country music is stars like Johnny Rodriguez and Rick Treviño, singing country music in Spanish, and using obvious Latin flavors in the genre.

Country music is filled with badass women like the ladies who STARTED THE GENRE ROLLING IN THE FIRST PLACE, Sara Carter and Mother Maybelle Carter (whose guitar style is hugely influential to this day) and Maybelle’s daughters Helen, June, and Anita; the first female music manager in the music industry, Louise Scruggs; songwriters like Felice Bryant and Loretta Lynn; the most awarded female artist in Grammy history Alison Krauss; and powerhouses like Dolly Parton who stepped out of an over-controlling entertainer’s shadow to become a badass in all things like supporting the LGBTQ community, contributing to pro-transgender films ahead of their time, and starring in sex worker positive productions like “The Best Little Whorehouse in Texas.”

Country music is filled with activism. Johnny Cash showed a heart for those forgotten by society. He toured many times in prisons. Cash especially was an activist for Native American rights. He toured with Native American songwriters so audiences could hear their own words (I’ve been trying to find names but I’m having difficulties re-finding that information, so my apologies for not giving names of those who deserve to be mentioned). Cash released albums dedicated to exposing past and present injustices against the Native American people. He went on tours specifically to Native American reservations.

And it’s not just Johnny Cash!

Country music is many stars from the Grand Ole Opry banding together to release AIDS benefit albums - big names like Alison Krauss, Willie Nelson, Marty Stuart, aurgh I’m too lazy to write them all, PEOPLE.

Country music is Earl Scruggs and his sons playing at the Vietnam War Protests.

Country music is tied in with the fucking folk revival of the 1960s, which was deep in left-wing activism and the Civil Rights Movement. Folk singers sang traditional Appalachian and English ballads alongside their own compositions, topical pieces protesting the current political situation. You can call one artist “folk” or “Americana” and another one “country,” but the influences were intermingling, and it’s why we have Bob Dylan and Woody Guthrie and Joan Baez and John Denver and Pete Seeger owning a banjo that says, “This machine surrounds hate and forces it to surrender.”

Dammit, I have a full BOOK that discusses country music and political ties.

There’s another book out there, which I haven’t read, that discusses the relationship between country music and the queer community, and how bias against country music is NOT as reflective of the listening demographic as we stereotype. I’ll take the word of one reviewer who said:

[Nadine Hubbs] explores country music lyrics, presenting a great deal of evidence suggesting that working class America is not inherently homophobic, but that as middle class cultural taste has changed to include formal acceptance of homosexuality, this process has included pinning homophobic ideas on the working class.

Country music is lyrics like this 1975 controversial song “The Pill”:

You wined me and dined meWhen I was your girlPromised if I’d be your wifeYou’d show me the worldBut all I’ve seen of this old worldIs a bed and a doctor billI’m tearing down your brooder house‘Cause now I’ve got the pillAll these years I’ve stayed at homeWhile you had all your funAnd every year that’s gone byAnother baby’s comeThere’s a-gonna be some changes madeRight here on nursery hillYou’ve set this chicken your last time‘Cause now I’ve got the pill

Country music is lyrics like this 2013 song that feels as relevant than ever:

If crooks are in charge, should we let them pick our pockets?If we don’t want trouble, should we not try to stop it?We could just sink into the quicksand slavery we’re born inBut fighting endless wars for greedy liars is getting pretty boringThey think they got us trained, so we’ll think we’re living freeIf we got time and money for junk food and TVBut it’s plain honest people never stand a chance of winning electionsThey just let us pick which liars take our rights away for our own protectionThe corporate propaganda paralyzes us with fearDestroying our ability to trustFear keeps us fighting with each other over scrapsStarving to death in the dustOrganized religion really helps you submitBut the meek are inheriting the short end of the stickFear surrounds compassion like a layer of moldAnd weakens our defenses so we’re too weak to be boldLife could be heaven, but this corrupted systemTakes away our rights, expects us not to miss themThe middle class is shrinking while the lower class growsIf we don’t wake up soon, we’ll have no class left to lose

Country music is Christians themselves criticizing the hypocritical Evangelical culture in the USA for the bullshit hatefulness stewing inside it:

Every house has got a Bible and a loaded gunWe got preachers and politicians‘Round here it’s kinda hard to tell which oneIs gonna do more talkin’ with a crooked tongue

And as that one post I just reblogged shows, there’s MANY queer country musicians out there producing explicitly pro-LGBTQ+ music.

I’m brushing over so much. I’m sorry for the simplification that goes with me doing such a pass-by overview. I’m sorry I’m focusing more on history than the present (I know more about the 1920s-1960s eras, so I’m talking from my strong suit). I hope the information is at least strong enough to get my point across.

There are definitely listeners and artists in country music who are uber-conservative white hateful Christians. Yes. I know why country music gets associated with that. But.

Country music is not ABOUT this uber-conservative white hateful Christian side. The genre is not “polluted”. It is a thousand voices from a thousand perspectives of people from many backgrounds and beliefs. And many of those thousand voices are old traditional songs that came from Black communities, or were composed by Mexican-Americans, or were performed by folk artists as part of a protest for equal rights.

(Note: I’m *NOT* saying all Christians are bad or that different political angles don’t have merits. I’m Christian myself! And you don’t know my political party. I’m just trying to get the point across that country music isn’t ENTRENCHED in one questionable demographic.)

You don’t have to like country music. It doesn’t have to be your aesthetic. But if you find it fun to get in on society’s popular country hate roasting… please rethink this. The reason country music has been hated from its roots is because it’s associated with the socioeconomically disadvantaged.

I’m with you 100%, Ashley. When someone says they like all genres “except country music and rap,” I get a little leery. I used to be one of those people when I was younger. I had to learn to grow past those biases. But once I did, I realized there was so much I was hating on that I didn’t understand. Now, I hope I can help people overcome their own biases, such as ones they don’t realize they’ve had - for things like music.

Hi ya’lls. I’m queer and I love country.

P.S. If anyone has anything to add or correct, please feel free to add on! I’m doing my best but I do not know everything and would be happy to learn more, too!

#ashleybenlove #long post #music #non-dragons #that banjo business #analysis #my analysis #music analysis #note that there's a version of this post where it's been reblogged and added on and I chat about Elvis and stuff #but the starting text is from an earlier version of this post #where I had a number of typos #XD I know they're there but I can't change those hahahahaha #I changed them here #reblog whichever version you desire though of course!#but just so you know there's a few minor factual typos in the non-edited version #I was hahaha so excited that I typed fast when I wrote it XD

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