Hobo international

They are now considered an essential accessory and are often coordinated with the rest of one's outfit for a fashionable look. hobo international have become far more than a functional item to carry everyday items. With so many colors, sizes and styles available, the cheap hobo bag will be one of your favorites.About products and suppliers: Whether for a sophisticated party, for office, or for a casual outing, find the perfect hobo international on. Choose a dark gray for a formal look to use with a business suit and black for everything else. These colors will cheer you up and keep you going. Bright yellow or orange is perfect for summer days. Wrap the handle around your bike's handlebars and keep the hobo bag close by in case you stop for a quick excursion to a shopping center. If you enjoy exercise, a hobo bag would be your best friend as it can be small enough to keep at your side while running or walking briskly, taking your dog for a nice stroll in the park or riding a bike. It will go with anything you wear and become an important part of your overall wardrobe. Tassels, pom poms and other fun extras add charm and whimsy to the cheap hobo bag so you can use it for work and keep it long into the evening for that special dinner party. If you like two or more colors in the same bag, choose a cheap hobo bag with a lovely, elegant gray leather exterior and black lining with gold clasps closures, zipper and floral charm that dangles from one of the long straps. Gold and silver metal accents give the hobo bag a look of class and elegance. Colorful cheap hobos may include hand painted designs or airbrushed colors in a variety of motifs and patterns. Tasseled zipper pulls are useful and a quick to get inside the bag. Add an external zipper for even more uses and places to keep most used items. Easy to remove and get into, this versatile bag is one of the most popular of cheap hobo bags chosen for today's busy woman. Single strapped hobo bags have a rounded top with a strap that rests easily on your shoulder so the bottom of the bag fits snugly under your arm. Also available in many sizes from tiny to oversized, the hobo bag finds its way into each woman's home eventually because they are so cute and practical. You can choose a cheap hobo bag with long shoulder straps and shorter handles so you can carry them over your shoulder or close to your body, which is the safe way to carry a handbag. There are endless ways to decorate a cheap hobo bag and dress it up if you want. Commonly used materials include leather, plain or textured, faux leather, canvas, polyester, suede or cotton fibers. Hobo bags are fun and fashionable with many colors, sizes and materials available to choose from. The price for cheap hobo bags can range from very inexpensive if made from faux leather to quite pricey if real leather is used and it is embellished with matching items. Some cheap hobo bags are crescent shaped with a curved top, often employing a zippered closure. These bags are made from soft, flexible materials which tend to slump, pouch or slouch in the center and then flop down when they are placed on a surface and don't retain their shape. The name "Hobo bag" originated from hobos that were portrayed carrying a bag on a stick over their shoulders.

Hobo international

He has a secret.” “Pockets.” “This is humiliating.” “No, this is love.” “Holly’s oblivious.” “Free to go.” “You didn’t check my shoes.” “Then Holly becomes concerned. There’s this dangerous something coursing through him. Lucas as Ben has this rich inner life at the beginning of the scene. They start in very different places from where they end up. Ben is in recovery from heroin addiction.” “Looks like she’s gonna have you try on the whole store.” “I love what both actors are bringing to this scene. They’ve just come from a 12-step meeting. She’s taken him Christmas shopping so he’ll have appropriate clothes to wear at church that night. And he’s with his mother Holly, played by Julia Roberts. I’m Peter Hedges, writer and director of “Ben Is Back.” Ben Burns, played by Lucas Hedges, comes home unexpectedly on Christmas Eve Day. The best of both worlds.Transcript ‘Ben Is Back’ | Anatomy of a Scene Peter Hedges narrates a scene from his film featuring Lucas Hedges and Julia Roberts. The most genius bit, however? A hobo bag is made to carry just about anything, including your very trendy teeny-tiny purse. Vogue Market Editor Alexandra Gurvitch also pointed out several hobo bags from Spring 2019, including the hang-low souvenir-style at Loewe, the hulking denim pieces at Proenza Schouler, and leather incarnations shaped like a boxer’s maize ball at Paco Rabanne. The piece was rounded like a soft boomerang and made with an earthy, buttery suede. I saw a stellar rendition in the Kate Spade New York Pre-Fall 2019 collection. Lucky for me-and you, if schlepping is your thing-the hobo bag is quietly coming back. But this year, I want to lug I want that same freedom to haul my belongings wherever I may want to go. What were they carrying? We may never know. It reminds me of the Olsen twins in their peak boho period, slinging toddler-size bags over their shoulders and looking both chic and ridiculous. I have fond memories of the polarizing shape. I personally need to touch actual paper pages and not my phone, which is one reason why I’m making a public (and possibly unpopular) plea for the return of the hobo bag in 2019. It’s made for a day of shopping-stuff a pair of vintage jeans in there!-and one can even fit a liter of water (to stay hydrated all day). Its strap is strong, its body is expandable, curvy, and carefree, sometimes with a bit of slouch. It’s been great for the sake of organization, but I have to ask: Where’s the fun? In a way, that no-frills look has been great, even life-changing: My bag’s daily contents have been cut down to the essentials, such as a spare contact, a foundation stick, a card wallet-no cash-and a pack of gum. This year, my bags have been structured, restrained, pared-back, and, yes, very small. Whatever happened to all the hobo bags? Are they lost forever among the party-gal pages of noughties Vogue? Stuck in a box in the back of Sienna Miller’s closet, a relic of her bohemian-Brit phase circa 2004? I had long forgotten about the iconic carryall, having been too focused on micro purses (fit for Polly Pocket and her miniature makeup sets) and shoulder bags (minimalist, sitting right below the armpit).

my physical, biological isn’t logical it’s astronomical

Yeah I want to give birth to your baby, baby

Scream all night long, exercise our breathing

So they hear it in your cum

I tangle my umbilicle there's no need to be political

Let's not get too serious just try to stay predictable

'Cause I I can't help that I think you're really kickin'

'Cause I I can't help that I think you're really kickin'

'Cause I I can't help that I think you're really kickin'

I can't help I think you're really, think you're really (kickin') (kickin')

I met you on a Tuesday or maybe was it Wednesday?

You befriended me, defended me,

Shortly after you offended (affected) me

I asked you "what's your name?" and looked at you the same

Is that a raw possibility

That you can check out my fertility?

'Cause I, I can't help that I think you're really kickin'

'Cause I, I can't help that I think you're really kickin'

'Cause I, I can't help that I think you're really kickin'

I can't help I think you're really, think you're really (kickin')

Can't you feel that my climax isn't awfully cool?

My physical, biological isn't logical it's astronomical

[X3]

I can't help that I think you're really kickin'

I can't help that I think you're really kickin'

I can't help that I think you're really kickin'

I can't help that I think you're really kickin'

Kickin' by Whale produced by tricky (on YouTube)

ok, got the travel bug and 1 week of paid vacation saved up. Whether or not I can actually use it— where should I go in April?

top of the list so far:

• Munich (mmm german food. Maybe I'd go to some museums and visit old friends.)

• India (idk where exactly I'd start but I want to do a big travel by train tour from North to South along the west coast. I want to eat great food, see ancient castles, and ride TRAINS. Not sure if I'd have enough time to plan and research this but I've wanted to do this since I was 16 years old.)

• Athens, Greece (it looks cheap, pretty, and I've never been there.)

• Amsterdam (not sure what I'd do here either but I'd like to check it out sometime. Big Van Gogh fan so maybe I could check out the Netherlands and Belgium too. I may also have friends in Belgium.)

I did glance at some tour group options but since all of those started in the $4000 range I'm gonna say 'nah.' I wish I could travel with a group again but it's so much more expensive than just being me, chilling in cheap hostels and drinking shelf stable protein shakes at bus stops.

You follow the sound of buzzing and are amused to see the hobo sign for “bad tempered owner” chalked on the doorway. Then you step inside.

…whoa.

Jimmy said “clockwork bees” and it’s not that you doubted him, but that was like describing the Mona Lisa as “some paint on wood.” The bees gleam in the lantern light, striped with oiled bronze and shining brass, their eyes like beautifully faceted gems. And they fly! How can they fly? They’re far too heavy, surely, the internal workings must be full of gears and tiny mechanisms. Nevertheless they fly.

It’s not that you weren’t impressed with the labyrinth, but it’s mostly just looked like a bunker with gears and a few impressively dead guys. This, though…this is something.

You stand very still, admiring the huge mass of honeycomb that drapes across the enormous gears, and the honey gone red and black with age. You could sell a pound of that honey for a small fortune to the right collector. The money should just about cover your funeral expenses, because the bees will absolutely murder the fuck out of you.

Ah, well. Stealing a “live” bee is probably right out as well. You really would rather not add to Jimmy’s therapy bill. You take a last appreciative look at the graceful flight of the mechanical insects, then step back into the hall.

idk if i already said it here but i think level-5 is a monument for character design. their characters are memorable in any games or series they produce, even when they're a little too much, their designs have a peculiar, lovable charm, i really really like them.

anyway here's me rating the GO designs of the OG characters :

endou is the fucking favorite. you can tell the studio really did their best for him. even without watching GO, you can tell he's still his old passionate self but in a cool and matured way. you can tell he's coaching kids and you can tell the kids love him and he loves them in return. 10/10.

kidou is great. of course he would be wearing a suit to coach middle schoolers, this is what being kidou is about !

i do think the new goggles are a little goofy, but haruna gave them to him, so of course he would wear them without hesitation. you can tell he's still awfully serious, but also no longer ashamed to monologue about his (occasionally stupid) special interest of the week if asked.

i would have advocated for longer dreads rather than, idk sorta untangled dreads ? but you know what, this is great. 9/10

i'm in love with kazemaru. always has been. his hair is perfect.

i just don't get why he got the coraline's yellow raincoat drip. it tells me nothing about him. i can't guess if he is an athlete, a hairdresser, a mangaka, a drag queen, a military sergeant, a carpenter or a sugarbaby. i'm left alone with my headcannons, and no clue how to prove they make sense. 5/10

i love that fubuki shirou, canonically the prettiest boy in the world, decided by himself to dress like sheldon cooper.

i like that when he put his coat on, he looks like a hobo. he didn't even had to try the hot snowboarder style, he already knew he'll be a good-looking hobo. i like that for him. choose for yourself king, you don't need anything. 8/10

my man looks so good in this. he doesn't realize he looks like the lovechild of yakuza and a mafioso. he doesn't realize why the grandmas are scared of him at the supermarket, but it's okay. i know he's well paid, he's still hardworking and professional, he's stable in all aspects, and he smells like a very masculine, expensive perfume. 11/10

of course, fubuki and him are happy and in love, and nobody gets how it could have happened when they walk side by side.

ah, fudou. some would say his new style is a glowdown, but i almost disagree.

true, he doesn't look punk and alt anymore, but i can tell that now, he's a true leftist. he looks like he doesn't have a job. he always smells like *spicy* cigarettes. everybody in his neighborhood knows and likes him. he owns almost nothing, yet everybody owes him something. he's an anarchist but he still votes, because he wants to do his part for a more peaceful future. he does throw rocks at cops during social movements. 8/10

kidou and him are also happy and in love. they fight all the time for petty things, but it's their way to say 'i love you'.

kabeyama almost didn't change, and that's good. he looks nice and polite and like a wonderful freehugger. i trust him. i could give him my firstborn, i know the kid would be well-fed and in bed at a reasonable hour. 10/10

i don't remember why kogure was in GO. it had to do with haruna i think, which is good, i like haruna. whatever he's just taller. 4/10

sakuma looks nice. the longer hair looks good. he would look better if genda was with him though. 6/10

tobitaka. my boy. he found his place. giving him the rai rai ken was such a good idea. it's not about the looks for him. it's about happiness, and he looks happier now. 10/10

tsunami ! the last member of the B4. he didn't change that much, which saddens me a little, but maybe it was because his design was always good. 7/10

toramaru. same boy but taller. they made an effort with his hair, i'll give them that. he looks like a lost management firm intern. i hope he finds the printer next to the coffee machine. i also don't remember what he does in the series. 5/10

glasses suit hiroto. he looks serious enough to do a serious job well, and still weird enough to say some deranged stoner shit without anyone asking after one (1) sip of unalcoholic beer. good for him. 7/10

midorikawa lost a bit of his theater kid charm, but i guess this is what happens when you work in foster care. he looks like a great mom though. 6/10

i'm disappointed. aphrodi deserves better than a boring ass suit. i mean come on, that man doesn't NEED to look professional, he is literally named after the goddess of beauty, he deserved better than that.

the side ponytail looks good. so sad for the little bleaching accident. he should cut that. 4/10

i can't clown megane. i look like that man. i wish him well. 7/10

WELL THAT'S THE END, I HOPE I DIDN'T FORGOT ANYBODY :D

(gouenji will have his own post.)

I saw a post noting the Hitchhiker's Guide vibes in Wild Blue Yonder, and noticed the replies were full of Doctor Who fans to whom the references were news - fair enough, obviously, Tumblr has a young and international population.

Most Who fans probably know the name Douglas Adams if only vaguely - that this independently successful author was also at once stage in the late 70s Script Editor for Doctor Who and himself wrote three very well-regarded serials for the show.

They may also be aware that he's a particular influence on New Who partly because of that direct connection, and partly because he's kind of to British and/or comedic science fiction what was Tolkein is to fantasy.

So the suggestion you try some Adams if you're a Doctor Who fan is probably not a new idea. But for many, diving into fairly tangentially related fiction from 40+ years ago might not seem very tempting on those grounds alone.

But just in case no one's told you, what Hitchhiker's Guide can offer you as a New Who fan is kind of more New Who.

As I say, though Adams was only briefly (though significantly) in charge of Who itself, his influence on modern Who writing is almost as big on its own as the rest of Classic Who combined.

And it's not just the voice and humour that will ring a bell.

The Hitchhiker's Guide to the Galaxy is what happens when you tell the Doctor Who story but take away the Tardis from the Doctor figure. It's a twist on the Doctor Who format where an alien grabs a human away from Earth to travel through a mad galaxy with them, but this alien has no transport of his own and must thumb a ride, and instead of a Littlest Hobo urge to fix every bad situation he stumbles into wishes only to have a good time (bit of a Hartnell touch there I guess).

Crucially I'm not describing a parody of Doctor Who. I don't now that Adams was even super conscious of this read of his most famous tale. But he had certain archetypes in his brain and the comedy writer's habit of wondering 'what if X but Y' and what you get from it could absolutely be described as the Doctor Who show of a different timeline. Something which offers all the pleasures of Doctor Who approached from a different angle.

Finally, in terms of what format to seek out (because Hitchhiker's exists as a radio serial, a set of novels, a TV series and a much later film adaptation) I'd strongly recommend the radio series. In general, and specifically as having the most of offer Doctor Who fans.

The books have become often regarded as somehow the central 'canon' because people assume as books they must have come first. In fact the radio series came first.

I also think it couldn't be more perfect for Doctor Who fans because like that show it's got all the pleasures of great performances as well as the great writing (there is a Hitchhiker's TV series but trust me when I say this is tale built for audio). It's not just full of great performances delivering Adams' comedy perfectly, it also feels huge; the music and sound design evoking such an existentially big, grand, weird, thrilling universe. So especially if you already like Big Finish stories but haven't listened to Hitchhiker's Guide before, you've got such a Who-ish treat awaiting you.

(Toppodcast dot com has it all available.)

i've been thinking a lot about this post and while the idea of Onision Jack Slash is incredibly funny, i wanted to do an actual dissection of what i think Earth Aleph Jack Slash would be like

i imagine that his trauma would not change since it has no relation to the existence of parahumans, so while he is not an actively dangerous person to be around due to the combination of his powers and mental state, he still has a rabid need to be in control, and a strong dislike of other people, particularly authority figures.

he is removed from his parents custody but has no murder hobos to take him in this time, so i imagine he'd experience something similar to Rachel in which he is cycled through foster homes because he's unstable in a way that is not palatable enough for the assholes to keep him around and too intense for the more genuinely well-meaning people to manage him - and where Rachel is aggressive and defiant and has a need to assert herself as the 'alpha', Jacob is too, but in the other direction. his desperate need for control would manifest in semi-similar ways that it does on Earth Bet, so he's often trying to assert dominance over the other kids via violence, and keeping them compliant and quiet by scaring them. generally, he would play the part of A Good Little Boy so he'll be kept around, however he is still as easily provoked as he is in canon, so he'd still wind up physically lashing out and being moved around a lot.

i think, eventually, he would wind up with a family that is patient enough to adopt him and get him a therapist. make no mistake, however, because while this would make him appear significantly more like a normal person than Jack Slash and make his issues somewhat more manageable, he'd still retain the meat of his problems (resentment at the feeling of helplessness/weakness) because no therapist in the world could ever get him to confront and unpack that

as an adult i imagine he's, again, pretty normal seeming. suburban house, no wife no kids, typical job (not a desk job that would make his complex fucking unbearable but something regular enough), has a garden. still visits a therapist after work (it's not helping). he's like Patrick Bateman if Patrick Bateman had a lot more self control I think (i have not seen American Psycho). completely average in every way on the outside but constantly internally monologuing about how everyone around him is weak and stupid and a cog in the machine (not him, though, he's Smart and Superior).

tl;dr:

Hobo Heart: [Thinking] I bet they're waiting for me to say something...

(Y/N): [Internally] Wolverine can never be circumcised.

More RadioMoon, yay. Impromptu marriage arc that happened after 4-5 years since Creon crash-landed in this timeline. They adopted.

Thanks everyone who came to my streams, watch me draw and talk cringe.

The rando in the first batch, he was a new comedian trying to break into the industry. While on the same way to work, Barry (placeholder name) introduced himself and started sharing some puns and jokes. Alastor didn’t find Barry impressive, and he refused to break his facade. Fun fact, Alastor would’ve murdered Barry later after that encounter, if not for Creon.

Barry got to live, because Alastor’s fecked-up face made Creon laugh so hard, it caused a chain reaction of laughter within the vicinity. So Barry became another reluctant friend in Alastor’s tiny circle. Occasionally Barry was a 3rd guest on Alastor’s radio program. Sadly the Great Depression wasn’t kind to Barry.

It took Alastor and Creon some time to figure out that their feelings for each other. They were quite comfortable staying a couple without the whole marriage ordeal. That changed when Creon stumbled on their soon-to-be son, Daniel. Creon was initially going to find another family who could take the kid in, but she grew attached. Alastor also warmed up to Daniel, especially when they bonded over their trauma of having garbage fathers.

I hadn’t thought about Alastor’s mother. Originally she would’ve passed away before Creon crashed. But where’s the fun in that? I wanted to add more chaos. Creon had returned from her international hobo trek, and accidentally bumped into Al’s mother Léonore. While staying as a paying tenant at her home, Creon saved Léonore from her canon death.

So Al’s mom got to be a grandmother later on. Didn’t really think about how she’d react to finding out Creon’s secret. I think Léonore would treasure Alastor’s happiness of finding love, even if the future daughter-in-law is a bio-engineered vampire.

Daniel grew to have an eccentric, but happy childhood after being adopted. Creon elected to stay home and raise and homeschool Daniel, instead of having Alastor split his time.

During the Great Depression, the “Marriage Bar” allowed employers to fire newly-wed women, or not hire married women. Creon still kept some side hustles, like doing tailoring. Also education wasn’t a huge priority for kids helping to bring money to the table. Some schools closed down, or were horribly underfunded.

Spy's OCs: Zak Kaiyo

art by my good friend, the wonderful @wildegeist!

Realm: Arcverse Species: Tokaya Homeworld: Terotewaukia (Teroteaumia system) Age: 26 annua (29 Earth years) Gender (human analogue): cismasculine (he/him, xe/xen*) Height: 1.8 m Weight: 72.5 kg Occupation: Captain and pilot of the starship Free Spirit; freelance cargo-hauler; occasional mercenary; jack-of-all-trades [Suggested Listening: Burn Out Brighter by Anberlin]

Zakane "Zak" Kaiyo is the co-owner, captain, and pilot of the heavily-modified light hauler Aum Hara (otherwise known as the "Free Spirit") and the leader of a small band of freelance spacers that make their home aboard the ship. He's just one more spark in the great spiral; one more restless soul trying to make a living doing what he can in a galaxy that's always moving and yet always standing still. From the Tyrian Shallows to the Drift and everywhere in between, Zak and his small but loyal crew of misfits can be found anywhere something interesting is happening.

Zak's talented -albeit reckless- piloting skills earned himself and his copilot Arkto a spot in the Galactic Spacecraft Pilots Association Hall of Fame, having broken the record for the smallest crewed ship by mass to exceed 10 million times the speed of light with a hyperdrive. His performative stuntwork is also renowned, and he frequently attends the annual Galactic Pilot Convention.

Most of the "swashbuckling freelance ace pilot" tropes apply to this space hobo, whose personal creed is "do good recklessly." His confidence, determination, and cheerful sarcasm make for an extremely charismatic, if reckless, leader. He's very mischievous and likes to get into trouble, but can be relied on to get out of it as quickly as he gets into it… most of the time. Zak acts fearless but, go figure, this man has Attachment Issues. He hates the idea of getting tied down to one place or thing, yet at the same time he is fiercely protective of his crew. (Shhh. Nobody tell him.)

Zak's homeworld is a backwater: connected to the galaxy and participant in its affairs, but hardly anyone there actually got out beyond the system. He was constantly told that he ought to be happy on Terotewaukia, fixing up interplanetary haulers and maybe going to the outer moons of the system once in a while. He and his two best friends always wanted more. The three of them had plans to quietly fix up one of the written-off hauler derelicts on company time and get the hell out, making their way around the wild starry yonder to see what could be seen.

And then one of them decided they wanted to stay and settle down.

That was the last straw for Zak. As soon as the opportunity arose, he and Arkto (his other bff) took off in their souped-up light hauler and never looked back. But once they were out there... Zak came to realize that the galaxy isn't a really adventurous place.

See, Arcverse is a universe that everyone thinks has been more or less figured out. Galactic civilization has been around for something like a million years or so, and the Arcadian Order have been sort of running the Galactic Assembly for about that long (mostly because they got off their planet first and they do a pretty decent job of wrangling the rowdier civilizations with diplomacy). The entire galaxy is, broadly speaking, at peace. The clash of titans already happened; the fate-of-the-galaxy-level stakes were sorted out thousands of generations ago. All the major starfaring powers, while independent in principle, are constrained by the bureaucracy of the Galactic Assembly. There's mild internal turmoil —and there's always an underbelly— but it's still quite tame. There's a whole galaxy out there with lots to see but nothing to really strive for in it.

Zak Kaiyo is someone who desperately, fundamentally, needs to strive. He wants to live fast and die young in a galaxy where everyone lives at a reasonable pace and dies basically never. He exists to challenge the stagnancy of a world that's as close to utopia as it can reasonably be. Zak wants so badly to save the galaxy, but he lives in a galaxy that doesn't need saving. And that's tearing him to pieces.

I’m usually not a fan of Invader ZIM roleswap AUs bc I think ZIM and Dib’s personalities and motivations are very intrinsically connected to their respective race/role but realistically if one were to happen I think both would actually end up being COMPETENT in their roles.

Hear me out.

ZIM mostly fails as an Invader not just because he doesn’t think things through but because he’s not subtle enough to sneak under the radar and effectively gain the trust of the humans/quality information because he’s too busy fighting Dib. Remember that his role as an Invader is not to destroy Earth but to exploit weaknesses and gather intel - something Tallest Red reminds him of. // But if he was a human that wanted to expose someone he would be loud and persistent and sadistic enough to get the attention needed to expose the alien and would probably use underhanded tactics such as planting “evidence” and setting traps to capture the creature. He is also self assured and arrogant enough to gain confidence from his fellow humans and manipulating them into believing what he says (as seen in FBI Warning of Doom and Hobo 13)

Meanwhile Dib is a lot less self confident and loud than ZIM and is dismissed by most of his peers because he lacks the blind confidence and manipulative nature that ZIM has. // But he is an effective spy as shown in Rise of Zitboy where he finds a break in ZIM’s security system and is quiet enough to go unnoticed to the point that ZIM takes him in as an intern in the comics and doesn’t figure it out until he exposes himself intentionally. He would probably make an excellent invader.

So when it comes to Bakugou I can take him or leave him. I don't really care, but this, oh my god. The kick in the ego that the hobo teacher, the one he disrespected all the time, landed Izuku. Who, let's be real here there's some kind of emotion from the get that's more than just an inferiority complex, he's had strong feelings around since he was a tiny little curtain crawler, and who *got hot*. Oh my god, I can imagine the internal nuclear explosion!

God Bakugou would lose his fucking shit. Aizawa, the first person to ever tell him no and who did so often (rightfully tbh. Bakugou needs to be told no way more) managed to get the one person he oriented most of his life around (for the worse tbh) and waved it in his face.

Once his brain boots back up he’s going to be apoplectic.

DRACULA, THE COUNT — "I'm shivering different. This shit ain't nothing to me, man. I'm a black hound. I'm licking my wounds in the grass. We smoking opportunistic microorganisms. Smoking that Roustame Diodore south Advesperascit page-three girl deluxe cryptozoological protoplasmic kush. We smoking Col Do Ma Ma Daqua. I'm on twelve Pyrholidons, smoking on phasmatodean dick. We smoking that Boogie Street boogers? We snorting that good Franconigerian cavalry jibbies. They must have retrograde amnesia, they forgot that I'm *Raphaël Ambrosius Costeau*. That Pox pack hittin' that pussy smell, like a Coupris Kineema. We smoking shit in apricot faïence, blowing Her Innocence's bubbles. I'm sick in the head. I'm on them Coal City tic-tacs. I'm on them Yekokataa apple nibblers. I'm on them Tioumoutiri geronimos. I left my prybar in the lorry, I'll have to can-open them next time. I don't give a fuck if I go hobo. I don't need to see the hostel bill anyway. We s-- ...I'm high on twelve Dick Mullens looking to beat the viscous goo out of a fresh Puta peone. We smoking spirit bombs, you stupid piece of shit! I'll fucking eat your mind! Call that pussy the Coalition Government, 'cause I'm in this bitch, and I *can't get out*. Last guy who ran off on the precinct got choked out by some Fairweather T-500 gauntlets. The last thing he ever saw was the kinetic redistributors on them. Slowly faded into the pale, and I let the Angel of History take him. I need some Boogie Street boogers! Don't be shy girl, *I want to have fuck with you*. I'm shivering like Arno van Eyck. Bwee?! Welcome to the Apricot Suzerainty, bitch, open up! Guillaume le Million, I suck his cocaine out of another man's eyeballs. My hetero-sexual life partner a speedfreak, he look like Guillaume Bevy. You ain't seen ten centims in your life, bino! Reach for my wrist and you'll get turned into a Game Over. Y'all gotta stop playing with me, man. I threw the Filippian crown jewels at Le Petit Rat catacombs under Corpus Mundi. I have built 0.000% of Communism. This shit ain't *nothing* to me, man. Tied the SKULLS to the back of a motor carriage and dragged 'em around Rue de Saint Ghislaine for twenty-four hours. Motherfucker! Looked like a pinball goat after we was done with him. SKULLS wanted some initiative, blew up their entire tenement. I'm shivering like Franconegro. She drop that ass on me from an internally coherent angle, they thought I was Kras Mazov. Top-shelf pilsner, disrupted my infra-materialism. I have seen the March decree, I have seen *le Retour*. I was Jamrock shuffling for the Perikarnassian before you all even became an isola. This shit ain't nothing to me, you stupid piece of shit. Drive the Motorway South and you will *dither*. That pussy feel like Samaran butter. You think I care about this shit? Ask me if I care about this shit, 'cause I don't give a shit. If I had a reál for every time they said I gave a shit, I'd be broke, 'cause I don't give a shit. My ex-something look like Dolores Dei. I grooved so hard they thought I was Ostentatious Orchestrations. This shit ain't *nothing* to me, man, I'll pale-bomb you, you stupid piece of shit!"

Ok but, imagine if Lambert and Aiden's first meeting ended up being like one of those romcom moments.

They're both met by this other, unexpected Witcher from the absolute worst school possible for this to be happening. Both of them just looking full murder hobo: Covered in road dust and week old stubble/beard growth, smelling slightly fusty and borderline sleep deprived after however long camping outdoors, trying to murder each other by the power of their glares alone and just not in the mood for this shit but fuck it. They've both been hired apparently and neither wants to give up the coin. What else can they do?

They manage the job, grudgingly admitting that they worked pretty well together but that doesn't mean they're friends or anything - if they could've got away with lightly stabbing one another at any point back there, they would have.

Once back at their employers house, this strange little man not so subtly suggests that perhaps all three of them should wash up after such an exciting and dirty ordeal (causing the two Witchers to exchange a look 'cos at worse this guy just has a little cave mud on his clothes) and they both looked so "ahem...exhausted" already beforehand. He'd have baths arranged for them and then they'd meet back downstairs to once again hash out the subject of a final, satisfactory payment. Aiden has to hide a smirk when Lambert suggests they call it an additional service charge, considering they had to stop his ass from getting flattened after he intentionally got in the way (fuck, this Wolf was actually pretty funny).

Fast forward to 30 minutes later and Lambert and Aiden run into each other again outside the guys office. Both of them now looking clean and shiny and a little more put together.

Both of them immediately are just internally like:

Country Trip: A Talk With Gram Parsons

Fusion magazine, March 26 1969 {x} transcript ↓

Gram: "There's a very good music scene in L.A., a lot of good musicians have been playing together lately and getting together... but not so much at the whiskey and places like that, as in honky-tonks out in the valley - groups like Delanie and Bonnie, Taj Mahal, the Tulsa Rhythm Review... a lot of funky people coming from the south - Texas, Tennessee, and Tulsa - coming out to L.A. to make a little dough, and they find out that you can't really because there aren't many clubs in L.A. to play at, unless you're the Four Ragas...

Someone: "Actually, there's only one club that's left, you know, and that's the Whiskey. The city has clamped down on dancing - you can not dance in clubs anymore, which just kills the business. The Whiskey is on its last legs fighting to keep the wolf away."

Gram: "What was happening in L.A. was Snoopy's Opera House, Peacock Alley, the Laurel Room, the Prehade, the Palamino, the Ace's Club and the Red Volure, and the Hobo - clubs like that that nobody knows about that are like in the San Fernando Valley, the City of Industry, Orange County, I mean the clubs out in the Valley are really honky-tonks, and they're really funky, and they're nicer than like the honky-tonks in Nashville, because the people there are less liable to rap on you for having long hair - they see more of it - and you can go out there and Boogie all you want. So that's real nice - that's the most positive thing I can think of about L.A. - these places out in the Valley, like out on the Strip itself... with all the people addicted to carbon monoxide."

WH: "You were at Harvard-"

Gram: "Briefly - very briefly."

WH: "But up here with the International Submarine Band, and up here with country and western - and you thought you could do best with it out on the coast, rather than like going back to Nashville and playing around there...?"

Gram: "I wanted to go out where it was warm. I was really tired of the cold - here and in New York - and I wanted to go out to the coast for awhile - 'cause it was warm, and everybody was saying it was nice, and I hadn't been there yet. And in two years I sort of surmised what it was all about, and now I'm ready to go someplace else."

WH: "Is it the Bakersfield influence that comes down to people in the San Fernando Valley-"

Gram: "Yeah, it is."

Someone: "Not really, you know. Bakersfield is sort of its own little thing - Buck Owens, Merle Haggard - and southern California, from L.A. down, has always been a very big country and western thing: located in the little suburban communities like Norwalk, Downing, the Valley - all those places around L.A."

Gram: "But the Bakersfield thing is what really got me into it: like four years ago, I was digging Buck Owens, some of the people like that. I mean, I dug the older country artists before then - but I just got started getting into the real hot, electric thing they had. And I sat around and said it sure would be nice to like do a recording session and have Don Rich come down, and cats like that - that's ultimately what happened before we split there, we got together with all those guys, and we all dig each other. Maybe Liza Williams doesn't know who we are, best they do."

WH: "You yourself were in with Billy James in Laurel Canyon foe awhile, weren't you?"

Gram: "Yeah... enjoyed that you know - a nice thing to do. It's too bad that it couldn't be a little cooler - it couldn't be a little bit cooler... It's all like a great [illegible sentence] don't know who you're talking to... Mod Squad time... you don't know... chick comes on to everybody in the band... I'm beginning to wonder about Hippies in general... You can just tell by looking at a person's eyes... but they got all the gear, the blonde hair, everything, and they're so damn ready... but you don't know... When people on Sunset Strip ask you what your sign is, they're really asking if you're bisexual or not - because the chicks who ask you are the chicks who dig bisexual cats, sort of, and the guys who ask you are the guys who dig bisexual cats, sort of - and and they're asking you what your sign is, because they want to know if you're earthy or firey, or airy, or watery - you know, what are you. Nobody knows anything about astrology there, I mean very few people do. What your rising sign is doesn't mean anything."

WH: "Why not San Francisco?"

Gram: "I hate San Francisco. San Francisco is just the jivest town in the world. It's beautiful, and everyone loves its morning fog that fills the air and everything - but listen, when people start playing the 'Star Spangled Banner' by Kate Smith on the radio just to put down the United States - nothing good can come of it. And San Francisco is the home of the Onk."

Someone: "All the long hair and the Hippie freakery has filtered down no through the entire Establishment and has manifested itself in Onk."

Gram: "Both cities though, have their good and bad points, but they're due for a - I don't know - a lot of people say earthquake; I'd say that both cities are ready to pay a lot of dues, because old people and young people are jiving each other, and not getting together... It's time to get ourselves together. I mean, we can all be positive if we want to - but we've got to really love each other; we can't just do this to each other, you know, all the time. We've got to find a way and be consistent in it, or you're gonna meet with hysteria - and I think that both cities are going toward hysteria.

We're writing a song called 'The San Francisco Gold Rush' right now, and it's on the theory that San Francisco has done approximately the same thing to the music scene in the 60's that Philadelphia did to the 50's, you know, and this is really obvious to me the way that Philadelphia affected Elvis Presley with its satin shirts, and losing the real... I don't mean the clothes that he wore. I just use that to project an image of... Do you know what I mean? Well so there you go; San Francisco has made everyone want to be Ginger Baker, or Eric Clapton, and have ribbons hanging from your shirt and the whole thing. I'm using clothes because clothes are the most obvious thing you can point at... to see what a person is doing. And the other side uses clothes too; Richard Nixon and Governor Reagan see a bunch of little girls in peajackets and wearing Onks, and they think they're the enemies of educational wisdom, you know. Maybe everyone would be a lot safer wearing sequins. We're wearing them 'cause they're bullet proof."

WH: Has Bakersfield been coaslatent all the while?

Gram: "Not really, because country music is going through its fad so rapidly too. I mean, its being affected by the Nehru shirt scene, Glen Campbell, for instance, is a very, very good guitar player - one of the best, but he has been hyped, ruined - destroyed. So many of the country artists are just trying to pick up gimmicks. They always have but they're getting more and more into it - but the same thing with the spades, man, they're getting into a real jive protest scene. They're saying that we are where it's at - you can't have soul unless you're black; and country people are saying you can't have a soul unless you're white unless its one a [illegible word] in it, nothing [illegible word] unless it has a steel guitar. Now I don't go along with that, you see. I think horns are really great and everything, but I want to play with a steel guitar because it's where I'm at now. I love steel. But I'm perfectly willing to listen to B.B. King. The problem is that country radio stations are not playing the real country songs: they're playing "Gentle on My Mind" because they want pop people to get into country music. They think that's the way to do it, but it's not... Yeah, Glen Campbell sang tenor on the International Submarine Band record. He's funky you know."

WH: "What's (James) Burton doing?"

Someone: "Sessions - eighty zillion sessions, you know, work."

Gram: "We run into him a lot. I think he's on sort of the same level that we are, you know; he's eyeing the whole scene very skeptically, and he's a very funky cat-"

Chris Ethridge: "He's got real long hair now, and a beard..."

Gram: "And his brother calls him in the middle of - he called him in the middle of a session Chris and I did with him the other week, looking for a 64 Chevrolet engine in a 49 frame or something... James is really all right, you know, and he's just waiting, he's just waiting..."

Gram: "The Tulsa guys, the Memphis guys - ten years ago, they were playing with Buddy Holly, they were playing with the Crickets, they were playing with Little Richard, they were playing with guys like that; and now they're doing their brand new 1969 thing. It's the same with us. And Jerry Lee Lewis is back, Fats Domino is back - I couldn't be happier. Conway Twitty's back. He's got the hottest new country band around, and he's out of sight. In his own right, he's better than all of us new country groups - 'cause he's paid more dues, he's older. As soon as young kids start digging old funky white artists like they dig old funky black artists... Like they can listen to B.B. King but can they listen to George Jones, they can listen to George Jones, they can listen to Albert King and Ike and Tina Turner, and so on, but can they listen to Conway Twitty... You've got your Otis Redding, but you've also got your Merle Haggard. I suppose that we would correspond and parallel - we would be on the same level as the newest things that are happening in Rhythm & Blues, like down in Muscle Shoals that's our scene. It's a bunch of young white people who are starting to play white music.

You really can't put music in geographical places, because country music probably came out of the Midwest as opposed to the south. But I'd say Muscle Shoals is one of the hottest recording scenes in the United States, and it's one that we relate to more than we relate to Nashville or L.A. We try to make our recording sessions sort of like Muscles Shoals rather than Nashville. We didn't hire a bunch of X musicians, we all concentrated within ourselves on doing it. And we just hung out - and did it together.

Chris Ethridge: "You remember all of those cats that did 'Where Have You Been,' and a real good song, 'You Better Move On' - all of those tunes, remember those tunes? Those were some of the first ones cut down in Muscle Shoals, and that was like ten years ago, or eight years ago. Old Rick Hall, you know, he got himself a studio, and started getting the local cats from around there coming in. And Joe South and Tommy Roe would come in from Atlanta, and they'd cut some stuff, like 'Carol' - do you remember that record 'Carol'? there was a guy in the background going 'Ompah, ompah,' like that; well, that was a farmer from Dewy, Alabama who was a friend of Dan Penn's, and he came up to visit - so they put him on a record; and there he was, you know, he made it.

Gram: "On 'Hippie Boy' ...I mean, the album (The Gilded Palace of Sin) goes from like Everly Bros. cuts to more modern, polished things. But at the end of the album, there's like all of our friends there singing: the GTO's, Joel Scott Hill, Johnny Barbatoes, Henry Louie, Larry March, Bobby McMann - we're all like singing together, 'There'll be peace in the valley.' We had a real good time doing the album.

WH: "The thing is with that song ('Hippie Boy') - the talking kind of country song has the potential for being sentimental, and yet it doesn't become so."

Gram: "Yeah, well - that song - We had the idea from the very beginning; we kept saying, we got to do a song called 'Hippie Boy' about Chicago, and it's got to be a narrative song, and Chris Hillman has to do it; and he has to drink a fifth of scotch before he does it - just to really feel the whole thing; not smoke an ounce of grass - but drink a fifth of scotch and do a narrative. And let's see someone else do that - let's see McGuinn do it."

WH: "It seemed like the toughest challenge of the record."

Gram: "Right, it was. We went through 'Hot Burrito 1 & 2,' and we saw that we had the high polished musical thing by the nuts - we had it and we could do it. My piano playing and organ playing came back to where it used to be, before I was with the Byrds. I started getting funky again, and everybody started getting funky again; and it was time to do 'Hippie Boy' - It was time to end the album. And after we did it, it was time to beat it - it was time to get out of L.A. We would love to have our next album called 'Ray of Hope', you know. We'd like to find some place over in Europe where we're really happy and we write about all the funky nice farmers. We dig to do that; I mean, we are not a negative, put-down group, like people seem to think. They're so uptight about our sequined suits - I just can't believe it. Just because we wear sequined suits doesn't mean that we think we're great. It means we think sequins are great. We think sequins are good taste. Rolling Stone, the Free Press - they think that we're a bunch of... show offs, and we're trying to put everything down. We're merely reflecting everything, because real music is supposed to reflect reality. You can't build a reality in music, you have to reflect it. Like 'original' music was made to get people together - like religious music, to sort of form a bond between you and your ancestors, let's say. In church, you would have music that would make you nostalgic, and think of the oldies times and what the reality really was that has led you up to right now. That's where music's at You can't build your own reality - that's why psychedelic music is so jive; it's every a everybody's own bag. No, I'm sorry, you know, we're all in it together - like it or not.

To do the album in L.A., we had to close ourselves off. When the smog was heavy we had to wear tanks of oxygen, and luckily we were blessed with a fellow named Henry Louie who can just cool out. He's an engineer unlike any engineer I've ever worked with, and projected an attitude of; 'we're not in L.A. boys, we're together.'"

WH: "You had to go through three years of L.A. to do this - with the Submarine Band, and the Byrds."

Gram: "We paid a lot of dues, but we dug it. I mean, while everybody else was going to the Whiskey building up their egos, and everything, we were saying; 'Jesus Christ, man, nobody likes us. Jesus, what are we doing'. In the meantime, we were going out to places like all those clubs I mentioned, and to forget our troubles, we were getting smashed - and rocking 'n rolling every night, you know, just as hard as we could. And after three years, somebody finally bought country music, someone finally bought the Internal Submarine Band - and then they sold the name, and everything; we paid more dues - but country music was being accepted and we didn't care. And now, everybody wants to get on the bandwagon; everybody want to say they're country as Crawdaddy seems to think he is."

Someone: "I don't think he himself is trying to project that image, but that it's imposed-"

Gram: "Oh right, he's always been funky. People hated him when he started out. They said rotten things about him, but now they're trying to project the country scene onto him. And he isn't country. He's a poet-"

Someone: "He's and old fashioned minstrel."

Gram: - "a beautiful poet, but Columbia records does the same thing with him that they did with the Byrds; they hype him. And I don't know, you just can't believe that sort of stuff..."

WH: "Has A & M been good to you?"

Gram: "They have been real good. They've let us follow our concepts, so to speak. I mean, they're in it for the money like every other record company, and if people start buying out records, they'll let us run with the ball. That's all I can say. I don't know what will happen - otherwise, I don't even want to think about it. If I have to pay more dues I'm willing to because I dig honky-tonk, and rock and roll - and being on the street doesn't bug me at all. I don't need to have an image... So it doesn't matter, one record company or the other. When we got together there were a lot of record companies that were eager to sign us - and anything we wanted, they were willing to do - but we just happened to sign with A & M, mainly because of Mike Vosse, who came and got us. I mean, he was actually interested. He didn't set up appointments for us to come and see him; he came and saw us. Tom Wilkes, in the graphics department, was a friend of Chris', you know. So we had a personal contact and they took a personal interest in us. It's not the big executives - like Herb Alpert and everything did - but who cares about big executives? Who knows where they're at anyway? Herb Alpert's a nice cat, he's a brilliant cat, he's got a beautiful smile - and that's all I know."