#she has consistently done the album/tour thing
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I’m confused as to how rich parents = industry plant though people just learn words and then use them wrong 😭
Yeah industry plant def wasn’t the right term to use for Taylor
#the whole point of IPs is that they don’t have to work or do anything#the INDUSTRY does it all for them and they just sit back and reap the benefits#did her family’s money give her a leg up?? sure#but that woman has worked her ass off#I won’t take that from her#she has consistently done the album/tour thing#something most artists nowadays shy away from#and the eras tour is basically a compilation tour of ALL her albums#because she re-released them ….that is unheard of#Taylor is a rare example of ‘I took the 300k my family gave me and made something of myself ‘#I mean she actually did it and worked herself like a dog#I really think it was just the biased view of country music#anybody who isnt really into country thinks all those artists are just redneck hicks from nowhere and no lol#lots of these country artists come from money where their dad mom or both had a thriving business or was a pastor or something lol
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which albums do you think took the shortest amount of time to put together? i think that evermore was very quick (only two or three months?), am i right in thinking that lover and folklore were pretty quick too?
evermore was super quick! there were about five songs written from october-december, but about 12 songs were written in about a month, between mid august and mid september. which is just crazy. like that’s more songs than the standard edition of debut like that’s insane
the bulk of folklore was written in two months, between may and june, though the jack songs were mostly written between march and april, with some pre pandemic songs (my tears in dec 2019 and trying in jan/feb 2020)
midnights was a bit more spread out— high infidelity and would’ve could’ve should’ve were written in march 2021, i believe bigger than the whole sky and snow on the beach were in early 2022– but still the bulk of it came together in november/december 2021, making it a year in total but mostly done in two months.
rep took almost exactly a year— she starts writing it in september 2016 and finishes in september 2017. the bulk of the album was likely finished by july 2017 though, so it goes was just a super last minute addition.
lover was recorded in about four months— the bulk of the album was between november 2018 and february 2019. there are some exceptions, like death by a thousand cuts in late april and likely london boy in early june, and maybe a few jack songs throughout 2018, but we don’t know for sure which. she was also probably stockpiling songs a bit before jumping into the studio, but we don’t know for sure.
1989 was another stockpiling album— she did this love in 2012, a couple songs jan 2013, and then that aforementioned stockpiling period while she’s on tour, and then a big rush in oct/nov 2013, and then another rush in jan/feb 2014. it sounds like now that we don’t talk came fairly late in the process though, possibly as late as fall 2014, which would make it a two year long writing period, but as far as the original album goes, about a year and a half.
red was also about a year and a half— we have all too well being finalized in march 2011 (after being started in dec 2010), and then 22 and i knew you were trouble in june 2012. there are probably some outliers— stay stay stay might’ve been as early as summer 2010, some stuff on the vault might’ve gone up until september 2012– but that’s at most about two years of consistent writing and recording.
if we’re counting sparks fly (halloween 2006) then it took four years to write speak now, but excluding sparks fly georg the earliest song we know for sure was if this was a movie in april 2009, and then it ended with the story of us in june 2010, which is a little over a year. she was likely writing songs for speak now earlier in 2009 though, making it her standard year and a half, but we just don’t know for sure. the recording process was also spread out throughout both years— the first session for the album was in march 2009, and the orchestra sections were the last thing recorded, in july 2010.
fearless had two big recording sessions, in december 2007 and march 2008, so recording wise the album came together super quickly. that being said, if we just take the first and last songs written for the album, fearless has a pretty big stretch— she had stuff from the vault from like 2005, and then come in with the rain in september 2006, and white horse in december 2006. and then the last song is similarly up for interpretation, with forever and always in late september 2008, and mr perfectly fine in march 2009. so even though it came together very quickly once she got in the studio, counting the vault it was four years to write it, making it one of the longest timeframes, but standard edition is still a fairly long two years.
and then debut! i’m a bit more hazy on debut’s timeline, but a perfectly good heart was written sometime in 2003, and should’ve said no was the last thing written and recorded, on august 10, 2006, making it about three years.
so it’s pretty much an exercise in counting— the earlier and album came in her career, the longer it took her to make it, until we get to post pandemic where she’s busting out almost complete albums in two month periods (ts11 looks like it’s bucking that trend though, so let’s see!!)
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I have seen maybe half a season of TUA and didn’t read the comics so let me tell you seeing those panels where Vanya is yelling “We belong on that stage” (and in reference to herself and her taller blonde bass-playing brother) drawn in profile with literally Gerard’s haircut and outfit was a big shock to the system. I never even considered that he’d inserted elements of himself and his bandmates into TUA except for a bunch of weird edits people made comparing how much Aiden Gallagher looks like Frank but now I feel like I really need to read it.
im really looking forward to rereading all of the comics after this semester's over because i haven't done that since volume 3's run ended and i'll definitely make more coherent posts about it then but like. it's really really interesting to compare to all of gerard's other art because he is just...so distinctively him, even across different mediums and genres. tua and mcr and hesitant alien and kjna and his visual art etc etc etc like his artistic fingerprint is stamped so boldly and unapologetically all over them and that's something i really love about him. like his art, love it or hate it, is sooooo genuine always. even when he's purposely imitating other artists, he's very consciously doing it in his own voice, putting his own spin on it.
when i say tua and mcr are completely separate projects i mean it - i don't think one should only ever be discussed in relation to/in the context of the other - and, above all, tua is certainly not like...autobiographical, or a direct representation of real people/events. it's led by gerard but it has a different creative team than mcr does and that really shows as well - i definitely wanna talk ant this when i have more time but part of the reason im not sold on conweap as an album is because it's too umbrella academy - it's really evident that gerard was working on both of them at the same time, and letting one influence the other too directly. mcr's a band, not a Gerard Project, and umbrella academy is largely a duo (w gabriel bá), so they can't just be transplanted onto each other yk.
anyway I'm rambling but all this to say - tua isn't meant to be "about" mcr any more than bullets is "about" 9/11. but gerard's life was changed and shaped by his experiences in the music scene throughout his life, by dropping everything and living as a penniless artist, by becoming suddenly (in)famous, and that really shines through in tua. he says he drew inspiration from touring band life to write a dysfunctional family, and the dehumanising effects of fame and attention, and of being categorised and scrutinised on a private or public level, are huge themes - as is addiction, mental health, complicated grief.
like...i actually got into mcr through the tua comics lmaooo. i read volume 1 because of wonderful @blackmoldmp3 talking about it and immediately said oh. i need more from this dude's brain right now. and i was soooo not disappointed haha. i really am obsessed with quite a lot of the things gerard is also obsessed with as an artist. the particular themes and imagery and scenarios he's fixated on are really very consistent throughout everything he does - only the way they're discussed or portrayed does change over time. i don't rly subscribe to the idea of gleaning specifics abt artists' personal lives from their works because, beside all else, it just does them a huge disservice (that's my number one gripe with the popular talking pounts around hes alien and frank's solo work in particular; however "confessional" you wanna read art as, it's still art that was created with skill and intent.)
anyway that's way off topic dkfnfj. what i do love about this kind of thing is looking at distinct creations in the context of the rest of an artist's body of work. like...yeah, gerard's said there's a lot of mikey in klaus. has dressed similarly to vanya and the kraken and the seance at times etc etc. has compared himself to the rumor, because she's the one he relates to most. puts a lot of his familiar ideology surrounding music and performance into vanya. puts angry teenage vanya in a shitty punk band with her disillusioned teenage brother on bass, and puts a classical music prodigy in a punk band as an excellent guitarist, writing songs about killing the president etc etc. i could go on! because these things are just scattered everywhere through the comic, just like all of gerard thematic and aesthetic and ideologic fingerprints.
so what's reallyyy interesting to me is looking at umbrella academy as something gerard wrote on the road with mcr across multiple years. volume one was released while the tbp world tour was ongoing, and volume two only a few months after. the progression of parade -> tua -> conweap -> danger days is SOOOO fascinating to me, especially because one of the things that really works about danger days imo is the way it kind of shakes off some of the tua-style gritty cynicism and returns to mcr's defiant, extravagant theatricality. if you go through tua with a fine-tooth comb you'll definitely find the most direct comparisons to conweap, in terms of mcr. the way dd approaches the themes it has in common with tua is just.....so different, and so so mcr. and then you can see the at times self-referential development on those things in hesitant alien - AND THEN VOLUME 3 COMES AROUND AND LIKE. AUUUGGGGHHHHH the change and growth there is SO apparent. btw i don't mean "growth" "progression" etc in this post to mean "improving" - i just mean change and development in a neutral sense, bc it's so interesting to see it laid out there in an artist's body of work. but like. man it makes me crazeeee actually the way gerard picked tua back up....almost certainly around the same time mcr started discussing a potential reunion. and the way that foundations revisits and reconceptualises mcr's existing catalogue is paralleled in the way vol 3 of tua is, like...........like there's so much life lived there, between those things. gerard's even said he's changed his plan for the ending (if we ever see it 🥲) because he has more compassion for his own characters now and doesn't want to see them broken down for good. he says he's gotten better at listening to other people - for starters, he's a lot more conscious of his own subconscious racism/whiteness that came through at times in the original run and has expressed regret for that (namely, the entire main cast being white, with a couple of side characters being uncomfortably stereotyped).
but just like. augh. im not gonna lie man i have no idea what i've just typed im sorry it's probably so rambly bc I'm so dizzy rn and definitely am not gonna proofread it or whatever skdjfj but. I LOVE ART! I LOVE ARTISTS! I LOVE DIVING DEEP INTO AN ARTIST'S BODY OF WORK AND WATCHING THEM REINVENT THEMSELF AND/OR DOUBLE DOWN ON THEMSELF (SOMETIMES FOR BETTER, SOMETIMES FOR WORSE). obvs this fandom genuinely does have a big issue with invasive/un-self-aware parasocial behaviour but there's a difference between that and like. getting obsessed with a particular artist. that's so normal and in fact necessary to life imo. i think every artist literally has to have ppl like that i can't imagine any other way to live it's just a specific type of human connection at a distance baby. don't get me wrong tho i also wanna chew on his thigh. anyway.
my god. how did i get here what even was your question. tua. yes it's crazy. it's not for everyone for sure but it has enough of the shit that makes me crazzzzyyyyy that it got me into mcr which made me crazierrrr so. yes i can recommend. especially if ur like me and lovvvve stories that are a little bit fractured by design. that dance around big parts of the story, where there's as much significance in an absence or in a tiny background detail than there is in any dialogue or action scene. most of the criticism i see of tua is about the pacing but like. to my tastes it's a really great use of the comic medium yk? lmk if you want content warnings or something there are plenty skdjfj.
#how was i completely braindead today and then too dizzy to read text. and then somehow type this shit on my phone with my eyes half-closed.#am i literally just lazy or is a hyperfixation strong enough to kvercome any illness lolz#sorry if this went in a billion circles but the room im in is also spinning a little so. skfndkfndjdjfjdj#umbrella academy#tua#mcr talk#*#answered
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hello. i really enjoy your content, but i have to say i'm kinda disappointed on you still being a ts fan. this woman knows what disney does and yet she still gave them the rights, meaning she either doesn't care or actively supports the genocide. or maybe she decided to turn her morals off because money is more important. not to mention how she consistently associates herself with questionable people and how a person literally died in one of her shows on brazil and she gave zero fucks. this woman is not a good person and there are no excuses to being her fan anymore.
no, i fully understand what you're saying and where you're coming from. over the last like. idk year and a half? ive been pretty vocal about my disappointment, distaste, and disagreement with a multitude of the choices she's made lately. i 100% agree that her silence on the subject of palestinian genocide (as well as many other human rights/social causes) is at best a sign of apathy and at worst a sign of support. especially when miss americana was all about her wanting to be more outspoken and be an activist. that all feels so incredibly performative now -- and has for a while. a lot of things that she's said and done since midnights, which is when i became more active in the tumblr swiftie community, have left a bad taste in my mouth for her as a person.
like i said, i genuinely agree with what you're saying. the only thing i take issue with is that she didn't care that a fan died at her show. she donated money to the fan's family and took time to meet them. regardless of my many issues with her, i do think she can be an empathetic person and i don't think that she just straight up didn't care that someone died before her show. it's one of those things (of which there are many) where we'll never know her true thoughts bc she doesn't talk about things. which is frustrating in itself.
now that's not the point of your message, so feel free to write that off as a digression. i strongly disagree with her making yet another version of the eras tour movie and hosting it on disney+. I'm personally boycotting disney+ and have been for a while. I don't even intend on watching the new version and like the vast majority of everything I gif, that shit is pirated -- that's how I watched the original release of the movie. obviously my consumption/boycotting is just one person compared to blondie, who has influence over millions, who could make real change if she spoke out against genocide.
at this point, im not supporting her financially either apart from listening to her music. which i love. im sorry, but I do. if I didn't, we wouldn't be having this conversation. i think her constant churning out different exclusive versions of the same albums are a transparent money grab and maybe an effort to set more records as far as sales or streams or however that all works. and I'm not just saying that bc I literally couldn't even afford to buy a digital copy of an album right now.
so yeah. I appreciate that you enjoy my content and thank you for saying so, but if you need to unfollow or block, i understand. I've definitely toned down/completely stopped sharing posts about her as a person bc I'd much rather focus on just the music. and maybe that makes me a bad person for continuing to listen to and enjoy her music. im not saying i necessarily feel good about it, but i think the fact of the matter is that a lot of the celebrities, actors, musicians, etc. we like or whose content we enjoy hold views we disagree with and have different values or priorities. nuance exists. right now, im someone who is vocal about the palestinian genocide and I try to share resources/posts about it when they come across my dash and im also someone who is a fan of Taylor's music.
Idk, I hope what I'm saying makes sense at least on some level. I've done my best to word things coherently, but brain fog fucks w me a lot. and like. it's probably whatever, but I do plan on changing my url after ttpd releases. That probably upsets you more and I can see how people might think im a hypocrite or something and yeah, I get it. Idk, I just want to enjoy someone's music without endorsing them as a person, but that's extra difficult when the person in question is the biggest singer in the industry. but you'll never see me making excuses for her on things like this or the m*tty situation or numerous other things she's said and done that gross me out. im not so far up her ass that I think she's perfect or that I feel the need to defend her at every turn. like I said, nuance. anyway, if you feel the need to respond, i welcome you to do so as long as we both remain respectful, which I think we've done. this is a difficult topic, but that doesn't mean we can't discuss it. I appreciate your point of view and I'm sorry that I've disappointed you!
#answered#anonymous#sorry for the novel 😬#i put a lot of thought into this and wanted to be thorough!
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Hello stuck, hello people
So I've been reading many old camren post on your blog and others blog... I think I had a little camren crisis and I can't help but thinking again about Camila's departure from 5h...
First of let me be clear about one thing: I don't not believe 5h and camila's feud !!! Second, please don't hate me because I'm bringing this back... I love this blog and love sharing my thoughts here with all you
I don't want hurt anybody it was a hard time 5h members and 5h fandom went through and that's what leads to think of what if Camila left in that specific moment because she knew what is coming with outing Lauren plans and she couldn't stand to watch laucy circus while being physically close to her lover ??
I mean she had solos while being there, she and others girls could have done the same while being a group and step by step announcing a hiatus like BTS strategy... Solo could have promoted another album or tour or songs... I mean management could have done rational decisions instead of an emotional scenario that fade away years later
What if when management told them only one of you both can come out and here is the way (a pr show with a woman) and then some way some how Lauren was the chosen one to come out and Camila put the condition of leaving the band as a non negotiable clause to escape pr show premier with her lover in front of her eyes and then !!!! Vile management came with feud plans and put it all on camila's plate not punish her but to make it hard on her like she made it hard on them a non negotiable clause... And it's presented as a consequence of her decision
Think about consequences song... What is the message exactly?? I loved you, you loved me, we had fun time and then hard time and I'm still in love with you and I know you still love me but loving you had consequences 💔
What is she acknowledging her lover about??? A couple is about two person being in a relationship... What is your partner do know/doesn't know about your relationship (you both in) that had consequences you need to acknowledge them about ???
That certain things went out of her (Camila)/their (camren) control ?? And she's subtly acknowledging her lover and her fandom ?? And mostly why this song is so damn important to her when she poured her heart on IHQ and SGG but still the important mention goes only to Consequences
And not to mention Camila agreed all of what happened (since solos, to leaving, to feud scenarios, to laucy show) only to properly free Lauren from the closet (I'll risk it all UTT)
Please don't be sad, it's just my theory (I fell in love with Camila writing this 💖🤭)
Hey buddy, thank you for your long comment.
About everything you mentioned, a few years ago when I joined the fandom, I discovered a post about Camren's long-term plans
Those plans consisted of taking one of the girls out of the closet while the other released her first album, then the one who had to come out of the closet came out and the one who had to release her first album took it out.
The bastards at Sony, along with the tremendous sons of bitches that were the people at Maverick, couldn't think of anything better than to capitalize on both. Fifth Harmony and Camila separately. From there the feud was born.
A feud that punished Camila and the girls of 5H to this day, so no, the feud was never real
I'm sure the girls had their dramas and problems but nothing that has to do with everything that has been seen since they kicked Camila out of the band.
It is more than certain that Camila must have felt bad about the whole Laucy circus, but everything that is happening to Camila now makes me understand that the next step is Camila out of the closet. In the present tense and leaving her heterosexuality intact in the past, that means that Camren does not exist in the past at least in front of the general public. At the fandom level WE KNOW THE TRUTH.
But... as always, they are theories. I don't even know what the hell Camila wants from this era. All I hope is that CC4 is good. I don't care about anything else.
Lastly, regarding Camren having to die, Camila is not making that mission easy for us.
We need Camren to die, but our mija keeps reliving it and like that we can't, folks, we can't 🤦🏾♀️🤦🏾♀️🤦🏾♀️💀
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i had a reporter asking me the other day why, from a fan’s perspective, i think this album has done such insane numbers even compared to taylor’s own best work. we bounced around a few ideas - the album version strategy, the anticipation built with the rollout but no single, the use of social media etc etc - but all of those things have had similarities to previous album cycles that didn’t do these kinds of numbers.
the only explanation i could really come up with is that it’s not the strategy or the album or the marketing or the timing by itself. it’s a mix of all those things, sure, but when you get right down to it, it’s 16 years of consistently building a foundational relationship with people. all those radio tours she did when she was younger and maintaining those connections. all the forging of productive but more importantly friendly relationships with other artists and writers and people across the industry. the thousands and thousands of hours she has spent meeting and interacting with fans across the years. they all come back and show up and sell out for HER. because of who she has always been and continues to be across every interaction she has.
these numbers don’t just happen by a magic marketing recipe. and you can’t fake that kind of genuine willingness to connect with other humans for 16 whole years. it’s her.
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Personally believe Taylor's activism is largely performative, predominantly because most of it came in the form of something that was related to her career and helped her pocketbook and reputation once it was safe or almost expected to be political.
Seeing people act as if she is a massive activist has been eye opening, and almost insulting to actual activists.
That said, I think the big issue isn't so much her not being an activist, but her fans having her on the massive pedestal where they place her so much higher than everyone else. If she dates someone, they aren't good enough for most fans. When she breaks up with them, it was their fault and they are evil incarnate.
The "but she's such an activist" side seems to use it mainly as a shield to her and to paint Matty in a worse light (people comparing things they've both said as an example even though some is out of context).
The reason I don't see it as performative is because Taylor Swift hasn't gained anything new since she started speaking up. Furthermore, I don't consider her expressing support for gay people or voicing her dislike for Trump as activism.
Even before she began speaking out, she was seen as an advocate for certain causes. In fact, speaking up may have even harmed her brand. I recall when she posted something against Trump, and the media predicted that her sales would suffer. However, she was already successful, and her fan base, to my knowledge, consists mostly of young, straight girls and women aged 17-30.
It would be performative if she didn't actively contribute to various causes or constantly boast about her contributions. I recently discovered that she is donating to local food banks in every city she visits on her tour. I only found out because I was looking up food banks and came across an article thanking her. Besides that, she has a long list of charitable activities and has been vocal about the importance of voting. However, she receives praise from her fans regardless of what she does or doesn't say.
Despite being aware of all the charitable work she has done, I still don't consider her an activist. I see her as someone who is using her resources to do what she can. If her fans use her as a tool to enhance their own image within their echo chambers, I don't believe that is Taylor's fault. Of course, everyone is entitled to their own beliefs. Her albums consistently perform well, which is why I don't view it as performative activism. It would be performative if I tried to promote my music in every blog post.
#taylor swift eras#matty healy#taylor and matty#taylor swift#the 1975#matty healy icons#celebrities#ice spice#taylor swift icons#taylors version#opinion#stan twitter#music#lol
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Meta for Face to Face Chapter 54
First off, thank to anyone who read this chapter and this long post. This chapter was one of the most self indulgant things I have ever written. XD So many concert memories went into it. I'll talk about some of them below. There are also links to the songs "performed in the chapter" as well as some videos of each band performing live. As I told my sister after I wrote the scenes at the beginning when the trio met Josh and Travis, writing dialogue for the real people felt like playing with dolls, but in the worst, most embarrassing possible way. (Don't worry, I actually got permission from everyone featured, but more about that at the end). So I watched a lot of videos and tried my best to make everything accurate and use actual quotes when I could.
Chaotic Resemblance- Travis and the rest of the guys are from Oklahoma if that helps with imagining his accent. It's not particularly unique but when I was writing him this chapter and trying to remember how he speaks, that twang is what my brain kept remembering. Travis and all the guys are super nice, awesome to talk to. And on the short list of irl people who know about my fic writing.
Two songs are mentioned in the chapter. First- "Virtual Reality"
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And Second- "Riot Anthem". Live video here. The band played this song the first time I saw them and I remember that set vividly for how much fun this song was. It definitely pushed me to run back to the merch table and buy a cd.
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Relent- The first song mentioned is "Ghost," of the famed T shirt which I have Danny buy and which I bought irl. XD
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"Heavy" - (Video of this song at Uprise 2022). The words I have Miggy say before the song are based on his commentary on the lyric book for their album. "Rape. Sexual Manipulation. Sex Trafficking. The devasting emotions that come with it. This song is my wife’s story, and I'm honored to tell it. She’s been through so much. She has come out victorious, and now her story will help millions, breaking the silence around topics not talked about enough." Admittedly, much heavier (no pun intended) than the blurb in the fic. But when applying the song to Danny and his story, I needed to make some changes.
I have Heavy be a emotionally significant song for Danny in this chapter. When I was thinking about his reaction to each band and songs I wanted to feature, I realized that it made sense for that song to be the token "song you cry to". It just made sense, having previously said that he listened to the album a bunch of times and having him list Heavy as a favorite, that that song would have had an emotional impact. I really wish I had thought to put that fact in the text before now so that little character moment doesn't feel like it come from nowhere. But what are you gonna do? 🤷♀️
(A bit of religious discussion below)
Also, I have Danny talk to the band a little bit about what the song meant to him, something I've done and seen done with many bands before. The band offers to pray with him and though that has never happened personally with me with Relent (of the 4 bands here, they are actually the one I have seen the fewest times and know the least), I have had other Christian musicianaries (musicians who view their touring and performing as a ministry) offer to pray with me and I have accepted that offer. Not including that moment would have been a disservice, considering how much I love all these groups and respect what they stand for. But I decided to cut away from the actual scene to give a sense of privacy. It felt right for something often so tender.
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And the last song, played when Danny first spots Johnny- "Last Days"
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GFM- Cries in GFM broken up. 😭 Seriously though, this band consisted of three sisters, who went they started we all teens. I realized after writing the chapter that for the time I am imaging for the story (just before they disbanded last year), calling the oldest two teens would be inaccurate; CJ and Maggie are both in their early twenties. But I decided to keep it since them all being teens would make the group cooler in the Phantom trio's eyes. And I should mention, they're not entirely out of the scene though; the basest and screamer, Maggie, still tours and makes music under her name, Magdalene Rose.
As for the songs featured- The one during sound check is "Give me a Sign"
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S.M.I.L.E- (Live video) The song where Jack gets in the circle pit. XD Inspired by my dad getting in circle pit at metal shows. He's 53 now and broke his leg last year, messing up his knee pretty badly, so his moshing days are over. But as recently as Warped tour 2017, he was still doing it. I'm over here too clumsy and short to even think about it; just head banging is good enough for me, thanks. 🤣
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And the last song- "I don't need your fantasy" A Sam Manson song if I've ever heard one. Also, this is the song with the famed cupcakes. (Sadly, I couldn't find a video of this on YouTube to demo 😥) I really wanted to write about the ridiculous fanatical joy that comes with having icing and cake thrown at you during a metal show. 🤣 Words can't really capture the experience but I tried.
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The Protest- In the chapter, the trio meets Josh at the merch tables before the show. This is very reminiscent of when I met him actually. This was in 2016. My sister and I drove about 2 hrs for the show; they were playing with another band we knew of and we'd heard a few songs by The Protest on a local radio station. We arrived super early and went to the door of the tiny church they were playing in to beg to use the restroom before the doors opened. Josh came right up to us before we even got to the restroom. He introduced himself as Josh, asked our names, shook our hands, and said he was excited we were here tonight. And the whole time, I was thinking about needing to use toilet and didn't even realize who he was until the show started. XD The band was significantly less popular then but I know from going to a dozen plus shows since then, he (and the rest of the guys in the band) are like that with everyone. So I am being absolutly serious in the chapter; Josh Bramlett is one of the kindest, most genuine people I know.
The first song is "Paper Tiger." The sound goes out because of Shadow, during this song and the guitarist stales for time. His name is Adam, nickname Sarge, but I couldn't figure out how to put that in the text. The joke that he tells in the one his real life counterpart suggested when I asked him in March. I also based rest of the what he said during technical malfunctions (the joke about being voted out of the band) during their set when I saw them last October with Disciple.
The next song- "Welcome to the Freakshow" This is my favorite song of theirs to hear live. It's so much fun to head-bang/dance to! Also, Maddie films her son instead of the band, as my mom likes to do to me and my sister. 😝
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This message in between the songs- This is word for word part of what Josh said during their set at Kingdom Come Festival 2022; I looked up the video (Message starts at 31:40) and recorded what he said word-for-word to be accurate to Josh and the guy's conviction and the heart behind what they do. It was really important to me that I was authentic there, since I love these guys and what they stand for so much.
And the last song- "Valor." When I was trying to pick which song to end on, I wanted a very specific feeling. I told my sister I was trying to describe that rare moment when you're singing your heart out and you met someone else's eyes and they're singing the same words with the same passion. There's a moment of connection and you know you both believe every single word. I asked what Protest song it should be and she said "Valor." So I went with it.
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Guardians of the Children- From their website.
Guardians of the Children is a nonprofit 501(c)3 organization comprised of motorcycle enthusiasts that use motorcycles as tools to help children who have overcome child abuse, ages 0-17, become strong, confident, and courageous again. Once a child has made an outcry of abuse and the criteria for our support is met, that child is “adopted” into our family as a Little Guardian. Members of G.O.C will escort the child to court, attend school and social events at the child’s request, provide protection and support, and sponsor “Little Guardian” private events, yearly. The goal of these events is to provide a safe space where the Little Guardians can have fun,socialize with others that have experienced similar trauma, and forget for a moment about the fear, doubt, and insecurity that was forced upon them at such a young age. Every child has all the power and strength within themselves, just like a motorcycle on the open road, and the biker behind it, we just encourage them to unleash it as we fight their demons together.
A few years I went to a show they hosted at a local park, featuring GFM and Chaotic Resemblance, hence the similarities to the concert here.
Gotta Rock ‘em all Tour - This is the name of the tour The Protest hosted in March this year, thought the line up was different from the one imagined here (In real life, Behold the Beloved, Relentless Flood, and The Protest). I was lucky enough to see them on this tour. And got to tell the guys about this chapter. 😳😅😊 Honestly, it was one of the most embarrassing thing's I've ever done but in good conscious, I couldn't not say anything, especially since I have talked to Josh about my writing before.
(Religious discussion to follow)
Their song "Greater" had been really important for me, to remind me about why I do what I do. And at KCF last year, I talked with him about that song and our shared conviction for a little bit. From the song:
"I don't do it for the money
Don't do it for the fame
As long as someone listens, I don't care who knows my name
I don't do it for the glory
Don't do it for the game
I do it all to make them see this is all for something greater than me"
My goal isn't to write for the comments, hits, or bookmarks. Not being well known in the fandom or well liked by people. I write for a greater purse. And this greater thing is Jesus Christ and his kingdom. I love Jesus for who He is and what He's done for me, in and through me (and that is a whole long, complex story there). But a small part: I fervently believe writing these stories is one of the reasons God put me here and gave me the interests I do (yes, including DP) and the talent in writing I have. From the messages I sent to The Protest and the other bands in this chapter, asking if they wanted to take a look at the chapter.
"I write this story for fun and post because I love the characters and the community of other people who do too. But I also see it as a mission field, as a way to write about God's love and grace and show it to people who otherwise wouldn't hear. This chapter is also a love letter to the Christian Rock community as a whole. I love you guys, your music, and the community a lot. The Protest, other bands, and fellow fans have had a huge impact on my life: encouraging me, inspiring me, reminding me of Jesus's love and strengthening my conviction to serve Him. The Protest inspires me to write, ministering in the way I know I've been called."
The point is: I put a lot of heart into this story and all my others. I pray that God will guide my words and be glorified in them. I pray that the people who need to read them will, and they will be encouraged, strengthened and inspired. And most importantly- that God will speak to them, not me. That they will, that you will, see just a hint of His love and grace in what I write and in how I interact with people in this community. I pray that lives will be changed, even in small ways. That seeds will be planted, even if I never see them grow.
I love all of you.
#Youtube#My fic#My Fic extras#Face to Face#My post#christianity#tw christianity#tw religious#religious
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OMG OKAY GUYS I AM SO EXCITED. @gaydeanwinchester @thursday111 @hollywoodforevercemeterymp3 HERE YOU GUYS GO.
So Fleetwood Mac formed in the UK in the sixties. It was this guy Mick Fleetwood (drummer) and his friend John McVie (bass guitar), and they did not have a steady guitarist OR singer for a while. I think Peter Green was the founding guitarist but he left like two or three years in.
So for this one song they get some backup singers and one of them is this girl Christine. Her and John have this whirlwind romance and get married. Christine can sing and she can play keyboard so she decides she’s part of the band now and they don’t complain because they need her but they STILL don’t have a steady guitarist and they are not making enough money by any means. The band relocates to LA for better luck in the mid-70s.
In LA in the mid-70s there’s this duo called Buckingham-Nicks, consisting of Lindsey Buckingham (guitar, singer) and Stevie Nicks (singer). Stevie is working three jobs to support her and her boyfriend Lindsey, who spends his time playing guitar and smoking weed with his friends or sick with mono sometimes. Their album (Buckingham Nicks) does not sell well at all and they are both wondering if music is the right career for them.
Mick Fleetwood (the band manager) hears one of Stevie and Lindsey’s songs and contacts Lindsey to ask if he’d like to play guitar. Lindsey says, “Sure, but ONLY if my girlfriend, who is a singer, gets to sing with me.” But Fleetwood Mac already has a singer. So Christine and Stevie have dinner together. If they don’t like each other the band can’t happen. Luckily they hit it off and agree that they can each write and perform their own songs.
So now, finally, Fleetwood Mac has a steady lineup. Five people, three singers, and a guitar (!!). It’s important to note that John and Christine’s marriage was kind of on the rocks, but they put that whole thing on hold because they had a chance to actually make money. They could sort their marriage out later.
It’s also important to note that Stevie and Lindsey’s relationship was shaky at best, but they put it on hold to focus on the band.
It’s also important to note that Mick Fleetwood’s wife was cheating on him with one of the other guitarists from their lineups, Bob Weston.
So the five of them write an album and then tour it relentlessly throughout 1975. During the tour, Stevie and Lindsey break up and John and Christine hurdle towards divorce faster than Mick Fleetwood is! They gain attention but the damage to their personal lives has been done. So it takes almost two years and a divorce for John and Christine for the band to release another album, Rumours (1977), which is the best album ever made.
Every single song on Rumours is either about another band member or it’s a fuck you to another band member. All three singers contributed: Lindsey wrote “Second Hand News,” “Never Going Back Again,” and most famously “Go Your Own Way” about his breakup with Stevie. Christine wrote “Don’t Stop” about John, “You Make Loving Fun” about her sidepiece, “Songbird” about John, and “Oh Daddy” about Mick OR her sidepiece. Stevie wrote “Dreams” about Lindsey, and “Gold Dust Woman” about living in Los Angeles, as well as “Silver Springs” about Lindsey. But “Silver Springs” wasn’t on the album when it released, because Mick felt it was too personal. So it was not released, and they reworked an old song “I Don’t Want To Know” and replaced “Silver Springs.”
There’s only one song that all five of them ever worked on, and that’s “The Chain” which is a composite of at least three other songs which makes it absolutely BRILLIANT but anyways. Yeah. Rumours is a ginormous hit. Also Stevie and Mick start having an affair, but it’s over by their next album...
Two years later the band releases Tusk, which is a much more experimental album (they gave Lindsey more creative control) and doesn’t do nearly as well as Rumours. They also release Mirage and record Last Tango in Paris before Lindsey quits. The band falls apart after this because everyone hates each other and no one wants to work together ever again.
But in Bill Clinton’s presidential campaign, he used “Don’t Stop” as his campaign song. So when he wins the 1992 election, he reaches out to the band and asks them to play at his Inauguration. Every single member says that if it had been more than one song they would have refused.
So they play “Don’t Stop” and they’re done. Right? Except this little reunion made them all realize that maaaaybe they don’t despise each other. So in 1997 the band gets back together and does a reunion tour. Christine leaves the band again in 2003 but gets back together with them in 2017 because they’re doing another reunion tour I think? Things are fuzzy here because no one could agree on anything as we will see in literally the next sentence.
It becomes apparent that old tensions are alive and well when Lindsey is fired from the band in 2018 because of a “touring disagreement.” It comes to light that Stevie approached the other members of the band and told them to fire her or fire Lindsey, because she refused to work with him anymore. Because Lindsey Buckingham is an asshole, they fired him, not Stevie, and he was very petty about it.
When Lindsey released his latest solo album, he was even more petty about it and basically killed any chance that the five of them would ever reunite.
This isn’t even all of it
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Rec some more music please Field Bears i really like Tanerelle!
I'd love to! I need a theme of some kind so I'm going to go with "underappreciated Black artists".
Click the readmore for: Tricky, Martina Topley-Bird, Saul Williams, Le1f, Stromae
(Disclaimer: underappreciated is a subjective personal opinion, and in this case means 'talented and crowd-pleasing enough that they should be on the radio, but, where I live, they aren't.')
Tricky (Adrian Thaws): 1985 - Present
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You might recognize Tricky as being a previous member of Massive Attack, a very well-regarded British band that is probably best-known in America for... 'Teardrop', the intro song for House? I'm guessing.
If you're a Fifth Element fan you might also recognize Tricky himself as the ill-fated henchman:
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But we're not here to talk about his short-lived acting career. (Although apparently he drove Gary Oldman insane when they had scenes together, and I kind of love him for that.) Tricky is an incredibly prolific musician from the Bristol area who has put out fourteen records. They can broadly be categorized under something like 'trip-hop', sometimes less trip-hop and more electronica, sometimes neither. I watched a recent interview where someone commented that none of his albums really sound the same, but they all sound distinctly like him, which I think is a well-earned compliment. His vocals are gravelly and distinct, but Sun Down and Hell is Round the Corner (one of my favorites) don't sound like Puppy Toy (above). Broken Homes is slow and aching, where Tricky Kid is a rap anthem with well-metered, intriguing lyrics that utilize his songwriting skills in a completely different way. I'm not a music critic and I don't have the skills to completely explain why I've been hooked on his stuff since I was a teenager. The one thing that's pretty consistent is that he likes to pair his vocals with female guest vocalists', contrasting his deep, often low-energy style with softer, feminine singing. This brings me to Martina Topley-Bird.
Martina Topley-Bird: 1993 - Present
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Tricky discovered Martina Topley-Bird when she was singing on the street. From there she became one of his most celebrated and long-running vocalists on tour and his albums, finally breaking off on her own and coming out with her own Quixotic in 1993.
She's also from the Bristol area and has a lot of trip-hoppy, indie influences that make her genre hard to pin down. Like Tricky, her songs range a lot in energy levels, but her vocal and lyrical styles are consistent.
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She doesn't have nearly the discography backlog, but I encourage you to see what she has out and what collabs she's done. She has the benefit of a very unique, whispery-smooth kind of voice that can beautifully transition between spoken word and traditional singing. Make sure you check out Baby Blue.
Saul Williams: - 1995? - Present
This is actually just a trick to get you to watch some slam poetry. I tricked you. Here it is:
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Okay, okay, we're coming back to 'music' music. But to understand where Saul Williams's music career comes from, you absolutely must understand that Saul Williams is, primarily, one of the most prolific slam poets in New York or really, anywhere in the world. His slam poetry is extremely musical and his music is extremely poetic, it's intertwined, it's difficult to completely separate, it's probably pointless to try. The Noise Came From Here, a song about police shootings, strikes me as one of his most 'produced' and 'musical' songs, but it also directly includes a poem by Williams and another by Marcellus Buckley within said song.
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Saul Williams's themes include a great deal of Blackness, anti-war and anti-racist politics, and the spiritual nature of identity. His discography is also pretty limited but if you get into his poetry, congratulations, he's fucking prolific and YouTube has tons of grainy videos of him tearing the house down.
Le1f (Khalif Diouf): 2008 - Present
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Le1f was originally a producer, and if you've heard Das Racist's Combination Pizza Hut and Taco Bell, then you're already familiar with the pop rap, ear-wormy vibe. Where I go to Brockhampton for my unapologetically gay rap that has a grungy, filmed-in-the-parking-lot sort of feel to it, Le1f is more of a singular-face, in-studio vibe. The videos are consistently well-styled and have some familiar faces here and there. (Check out Spa Day if you want to see Das Racist taking a self-care break.) There's a lot of polish on the the tracks and the videos.
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A lot of my other recommendations have been slower and potentially bummers. Le1f sings about pretty light topics, often gay culture, and is not taking anything too seriously. You can duckwalk to this.
Stromae (Paul Van Haver): 2000 - Present
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Stromae, a Belgian-born French singer, started out with some generic 'work is exhausting, let's party' bops that made it on to the radio. As he got more clout and developed his creative team, his work steadily got more politically vocal and uniquely stylized. Stromae plays a lot with themes of gender and sexuality, probably best illustrated in Tous Le Memes (below) for the folks like me who either put on English subtitles or have to guess at what's being sung about:
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Stromae is enjoying a lot of success in Europe, and he's sung at least once on American late-night, but afaik he's still not well-known in America. I recommend ave cesaria for an upbeat ear-worm, or Popaoutai if you want an ear-worm that makes you feel bummed out about absent fathers. I think Fils de joie, which is about a fictional country holding a funeral for a missing sex worker, gives a solid impression of where Stromae is going with his art now that his success has increased his budget and his reach. We're going to continue making bops, we're going to continue to discuss difficult topics, we're continuing to put a spotlight on the marginalized, we're wearing weird hair pieces to invoke the feeling of an invented culture.
...
Okay. Writing about art is hard. I think I'm done.
I wish I was better at writing about music! If you found even one song in here that you enjoyed, I'm gonna consider this a success. If you have any questions or corrections, message me.
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Give My Regards To Broad Street (1984)
My late aunt, like many baby boomers that came of age in the 1960s, was a die-hard Beatles fan. One thing she certainly was not a fan of was Paul McCartney’s solo career, to which she said that McCartney should apologize for some of his music from that era. While I find that opinion over the top, there is one thing that McCartney should apologize for and that’s the subject of this blog post. “Give My Regards to Broad Street” is a turgid ego trip the size of Liverpool, not worthy of the ex-Beatle and those who were involved in its production.
The plot is the most mundane and uninteresting set of circumstances. McCartney plays a fictional version of himself doing what he does best, working on a new record. What should be an ordinary task turns into a nightmare when word gets to him that master tapes have gone missing, presumably stolen by an ex-con assistant named Harry (Ian Hastings). If the tapes are not recovered by midnight, the sinister looking Mr. Rath (John Bennett) will take over the record company. But McCartney doesn’t seem too concerned. He goes from session to session, video shoot to video shoot, and then the plot even meanders into a poorly filmed dream sequence that lasts an unbearable ten minutes.
“Give My Regards...” isn’t a total loss, there are some nice musical sequences such as beautiful renditions of Beatles classics like “Yesterday”, “Here There and Everywhere”, “Eleanor Rigby” and “For No One”, with fellow Beatle Ringo Starr at the helm. I only wish there were more of these nostalgic moments that show the immense talent of this musical legend. Instead, what follows are scenes of cheesy dialogue that belong in a MST3K hunk of junk, and more musical segments consisting of newer, albeit forgettable songs that seem to be stuck in the work-in-progress state. The sequence for one of those new songs, “Ballroom Dancing” is poorly edited and has disjointed choreography. Then there’s a re-recorded version of the 1976 Wings classic “Silly Love Songs” set against a sci-fi themed music video shoot that has all the musical flair of the original removed. It’s a shame because so many great musicians like Dave Edmunds, David Gilmour, Steve Lukather and Jeff Porcaro act as hired guns and they don’t look like they’re into the music, which one would expect if you’re jamming with a Beatle or two.
Normally, when a film’s supporting cast has talents like Tracey Ullman, Bryan Brown, Philip Jackson and Sir Ralph Richardson, it’s usually a guarantee that you have a good film ahead of you. Unfortunately, that doesn’t seem to be the case here. Ullman is the biggest culprit here, completely overacting in her brief moment on screen with the most fake crying I’ve ever heard. Brown and Jackson, as McCartney’s managers, have an awkward banter that is more of a ripoff of Norman Rossington and John Justin from “A Hard Day’s Night”. And what about Ralph Richardson? What’s an acting legend doing chewing up the scenery, and especially when it was one of his final roles? Finally, you have Ringo Starr, Linda McCartney and Barbara Bach contributing nothing of note and standing around like film extras. I’m glad that George Harrison stayed away.
The sad thing about “Give My Regards...” is that Paul McCartney had nothing left to prove when it came to his talent, even in 1984. So why did he have to create a film so devoid of both cinematic and musical excellence? I think that’s the biggest letdown of all, that he had the ability to create something special and failed. Apart from only a few good scenes that do not even add up to 15 minutes, “Give My Regards...” is McCartney at his lowest point, a status that he would linger on for the next 4-5 years, until his 1989 comeback album “Flowers In The Dust”, and its subsequent world tour. Thankfully, McCartney has done so much better in the 35+ years since this disappointment.
4.5/10
#danny reviews#give my regards to broad street#the beatles#paul mccartney#ringo starr#ian hastings#yesterday#for no one#eleanor rigby#here there and everywhere#silly love songs#dave edmunds#david gilmour#steve lukather#jeff porcaro#tracey ullman#bryan brown#philip jackson#ralph richardson#john bennett
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“Beach House” by Carly Rae Jepsen
DV:
Seven years ago we covered every weird song Carly Jepsen released in the runup to E*MO*TION, and now we’re going to do it again. Because it’s Carly, sure, but also because The Loneliest Time seems set to be one of the year’s oddest releases. “Western Wind” came packaged with a consistent aesthetic, a clear buildup, promo budget: everything Carly usually doesn’t have. It suggested a plan, a future. “Beach House” drops now, and it’s over two months later - with no notice, days after an album announcement but not coordinated with that announcement in any way. It’s a bouncy song, it sounds like late summer, and it has to do with how Carly Rae Jepsen has dated creeps and frauds and serial killers, each described in the same jaunty way and each voiced by an uncredited male chorus. “Beach House” is profoundly strange in the same way as “Store” or “Everything He Needs”: it sounds nothing like anything Carly has done before, and also nothing like any song a nominally-pop artist in 2022 should release. "Beach House” has got more in common with Ethel Cain - subtly horrifying even as it exhilarates - than it does with anything attempting to hit a popular mood, much less hit the charts. Back in the E*MO*TION era, Carly sounded like she was constantly topping herself; if Dedicated was a disappointment, it’s because it often felt like it confined itself to refining or tweaking what she’d done in the years before: only a half-step forward. So far, this era is as if she’s forging new pathways through a forest, marking them out and remaking them in her image. As if each single is a new discovery. It’s not not confusing - but I couldn’t be more thrilled.
MG:
I’m significantly less thrilled with “Beach House” than DV. What felt whimsical and free from artifice a few years ago has now settled into a fairly predictable carousel of misdirects and mismanagement. A recent profile with Nylon magazine reveals "[s]he sent her publisher some 30 to 40 songs she was considering for the album, which she narrowed down from a hundred song ideas through a ‘mad, scientific process’ involving charts and voting systems.” I can’t put into words how frustrating I find that detail, especially with a song like “Beach House” as the ersatz prize for Carly’s listeners. Her catalog is saturated with pure crap, but in the past I was able to write that off as the auteur’s vision because it appeared like there was no label oversight, no big, bad A&R man telling her what the single was. What’s now clear is that there’s significant effort behind her song selection (and probably her singles, her album promotion, her tours, her merch -- all of which are woeful compared to the rest of the pop market) and we could hear more songs like “Western Wind” if we weren’t so subject to album curation via raffle and bingo.
Ostensibly, “Beach House” is meant to fit with “Western Wind” into a broader theme of “loneliness” for her upcoming album, The Loneliest Time. In the above interview, Carly talks of grief and distance, of lack and inability, and of craziness and she attributes all these qualities to the loneliness of lockdown during the pandemic. But little, if any, of that shows up in the formulaic quirkiness of “Beach House.” In this song she cavorts from Malibu to Canada, hooks up with so many men she loses count, and then complains “boys around the world/ I want to believe that/ when your chase a girl/ it’s not just hunting season.” This is not a song about loneliness, it’s a song about choice paralysis, about being sat in front of a buffet filled with things you don’t want to touch, much less put in your mouth. For what it’s worth, very little of “Western Wind” (which I still love) speaks to anything I recognize as loneliness, either.
All of this rankles me, but Carly is unbothered, explaining “I don’t want to have to feel like I am one thing, and I don’t want my album to feel that way, either. So I think I’ve shut off this idea of cohesiveness. I’m the thread.” Then call the album Carly Rae Jepsen.
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Hey regarding your poll which I voted on I wanted to say somethings if that's alright. The only reason I'm sending an ask vs saying this in my tags is bc I have ALOT of mutuals that don't feel the same.
Anyway, yeah I totally feel myself pulling away. I feel like lately she's been consistently cash grabbing and there's really no need. Release a normal version and a deluxe and be done. The whole eras tour movie being rented was kinda in distaste when she has to know that we wanted to own it. Girl you are a billionaire???
I get that she was excited at the Grammys but idk being in the music industry as long as she has been it was in very bad taste to announce TTPD. It took away from the night. She won at the VMAs and didn't get overly excited to announce til Midnight (which I get cause the promo and title but still). It's in poor taste to announce an album at a prestigious award show like the Grammys.
And I get this isn't fully her but I'm so tired of seeing her relationship all over the place. I don't care about her relationship, tbh I have thoughts on Travis and they're not good lol. Even if it was someone else I wouldn't care. If she's happy cool happy for her but I don't need every social platform oversaturated with Taylor and Travis and what's going on between them.
My last thing is this: We all had bad relationships, we all have relationships that we wanted to work so bad and then it doesn't. We heal and grieve. None of us will ever know the full story of what happened between her and Joe but they way she's acting it seems very much "HEY DO YOU SEE? DO YOU SEE ME JOE? IM GREAT!" He doesn't care.
This is all a winded way of saying that I am drifting away from her. I am excited for ttpd though
I agree with with you on pretty much everything. Except for the last part. I highly doubt she cares about what Joe thinks lol.
She is now a capitalist queen. The tour movie ticket prices, renting it, different versions of the tour movie, having each album version have a different song instead of having a deluxe option with all extra songs
Very poor taste to announce TTPD at the Grammys. Like why did she have to flaunt this in front of her peers? They all looked so confused and it felt awkward with the forced clapping. She wasn't at an event where her fans could clap and actually care.
I do not care for the Taylor and Travis relationship. I find that man to be so unattractive and he has an ugly, volatile personality. It is annoying that social media plastered them everywhere, but that is not entirely her fault. The media know she sells and that people will click on articles with her name on it.
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New THUNDERMOTHER Lineup Announces 2023 Tour Dates
The first official promotional photo of the new THUNDERMOTHER lineup can be seen above.
THUNDERMOTHER currently consists of guitarist Filippa Nässil, singer Linnéa Vikström (THERION, AT THE MOVIES),bassist Majsan Lindberg and drummer Joan Massing (HONEY CREEK).
Less than two months ago, it was announced that singer Guernica Mancini, drummer Emlee Johansson and bassist Mona Lindgren were exiting THUNDERMOTHER and were forming a new band together. At the same time, Nässil revealed that she would continue with a new THUNDERMOTHER lineup featuring Vikström and Lindberg.
In recent weeks, Mancini, who joined THUNDERMOTHER in 2017, gave several interviews in which she described her time with the group as "six tough years" and "a very bumpy ride". She also said that Filippa decided to fire her from the band without consulting the other members of THUNDERMOTHER, a move which they perceived as "very disrespectful towards them, being that they believed that we were a democracy and that we had a say in these things," according to Guernica.
Earlier this month, Nässil shared a six-minute video in which she addressed some of the questions surrounding the departures of Mancini, Johansson and Lindgren as well as her decision to carry on with a new lineup. She said in part: "Some stuff you read online and even now in some magazines is true and some stuff has more to it," she explained. "I mean, there's a depth to what happened and it's impossible to read in a few lines or a quote from someone. And I wanna assure you and tell you guys that I did my absolute best to work everything out between the old members. I think we should be conscious in what we're saying and trust that I have done my absolute best for peace, love and rock and roll and I did everything in my power to work it out with the previous bandmembers.
"I would never throw anybody under the bridge. I think that's another private matter. What happened has been behind the curtain, so to speak, so it's not everything that people need to know about or should know about because it's just unnecessary to throw stuff at each other, I think."
"I'm thrilled to have Majsan back, who's done hundreds of shows with me in THUNDERMOTHER. She's the THUNDERMOTHER bass player. And I'm thrilled to have Linnéa Vikström, my friend since many, many years, on vocals. And we have a great new drummer. She likes great bands like CLUTCH, FOO FIGHTERS, BLACK CROWES and stuff like that, so a really groovy drummer. And I can't wait for the future."
Nässil went on to say that all the previously announced THUNDERMOTHER concerts "will happen. Not a single canceled show. Everyone has faith in THUNDERMOTHER and so should you.
"We are super stoked to tour with the SCORPIONS in Europe again and doing our own shows," she added. "So that's something we're doing right now — rehearsing."
According to Filippa, she and her new bandmates are "hoping to release a new song before" they hit the road, but she acknowledged that this may be hard to pull off as "it's crazy hectic right now."
Earlier this month, Mancini, Johansson and Lindgren announced that they have launched a new band called THE GEMS. Mancini and Lindgren told Germany's Metal Hammer magazine that THE GEMS, which sees Lindgren returning to her original instrument, the guitar, is planning to release its debut single, "Phoenix", in April. Mancini and Lindgren also noted that THE GEMS' live performances will include material from THUNDERMOTHER's last two albums, 2020's "Heat Wave" and 2022's "Black And Gold", both of which featured songwriting contributions from Guernica and Emlee.
Following the release of their latest album, "Black And Gold", last summer and countless live shows alongside an extensive tour with iconic SCORPIONS in North America last fall, THUNDERMOTHER recently announced plans to team up with SCORPIONS for more European live dates, as well as headline gigs on the "Black And Gold" tour 2023.
"Black And Gold" was recorded at Baggpipe Studios in Stockholm, and was mixed and mastered by Søren Andersen at Medley Studios in Copenhagen.
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Familiar Love - Harry Styles
harry and y/n have a hard time staying out of each other’s arms, not that there’s a place they’d rather be
Famous!Y/n
“Well well well.” Harry grins, opening his door wider to his home for me.
“Why are you acting all surprised? You invited me here.” I get on my toes to steal a fast peck from him as I walk by. I walk into the living room I have grown very familiar with over the years. Harry’s London home never changes, his one taste of consistency.
“Of course I did, we’re both in London at the same time.”
“I know.” I roll my eyes, backing up the stairs to his room. He matches my steps evenly, pacing us like predator and prey. I slide my jacket off my shoulder, ditching it for the floor. His eyes never leave mine. If I didn’t know this house so well, I would be on my ass by now.
“It’s been a while since this has worked out.” He presses a stolen kiss to my cheek, then another and another, “I’ve missed you.”
“Missed me or a muse?” I bite down lightly on his earlobe, he backs me into his bedroom finally.
“Always miss you.”
“That’s right, you are pretty obsessed with me.” I smirk.
“M’not obsessed with you.” He defends, finally pulling his face away from my neck.
“Well your discography would beg to differ.”
“Shh.” He works on the spot he knows would normally occupy my mind enough that I couldn’t banter. The spot just below my ear where my neck and jaw meet.
“Temporary Fix, Perfect, Change Your Ticket-”
“Alright alright” Harry rolls his eyes, dimples showing up on his cheeks while he fights a smile.
“-and that’s not even counting your solo career” I tease, letting him back me onto his bed. “Only Angel, She-”
“You’re such an ass sometimes.” He shakes his head, as if in disbelief, but his smile only grows wider.
“What?” I scoff feigning shock, “You love my ass.” He presses a kiss to my collarbone.
“Yes, I do. Now shut up so I can love on you for the first time in eight months.”
- - -
Harry and I were the worst and best things to ever happen to each other. We met when we were too young. My career had just started, I had a singular album to my name and was lucky to open for any band that was on a tour. Harry was a couple years into One Direction by the time we met.
It was on a red carpet, thankfully not my first, but my first time being on the carpet for an award show that I actually had a nomination for. This was huge for me. My album had done well, but never expected a recognition like this.
I met Niall before I met Harry. I had bumped into him walking in and he complimented my music, even claiming one of his mates ‘couldn’t get enough of it’. When he said that I wasn’t expecting him to walk me over to meet the rest of the band. Harry had been the ‘mate’ Niall had been referring to.
I lost that night, to Ariana Grande, who in my own opinion deserved it more than me. That night didn’t feel like a loss though, because I got Harry out of it. We quickly became friends, texting, calling, facetiming any time we got the opportunity. One Direction was touring on a constant cycle, and I had just finished mine. I was in the process of writing my sophomore album, Harry flew me out and I ended up staying for the rest of the tour.
It wasn’t a surprise to anyone that we started dating, the calls and giddy smiles were enough already to clue in everyone around us. I was able to get a glimpse at the world he lived in with his stardom, and soak in every second he wasn’t on stage. It didn’t take long for fans and the public to catch on. A few too many paparazzi pictures at each concert venue to avoid.
Both of our managements allowed us to openly date, officially coming out to everyone with PDA and everything. It was amazing. I flew back home to Los Angeles to record my second album and before I could blink I was touring it.
Things got hard for Harry and I at that point, we could never manage to be in the same city, or get time off to visit the other. My name was quickly becoming a household one, and One Direction had yet to ever even stall in popularity.
It broke us both completely that after three happy years together, we had to call it quits. Neither of us were ready to give up our lives and it was no longer working to never see each other. We both needed to feel loved, and on opposite ends of the planet it wasn’t enough anymore. It was only a few months after our split that One Direction went on hiatus.
Harry and I remained close. Some would say too close. It started with just being friendly whenever we saw each other at events or things with mutual events. It took one slip up that sent us back into each other’s arms. It was a New Year's party, we agreed to be with each other, because we didn’t have anyone else to kiss at midnight.
Once you get a taste for someone you never stopped loving, it gets pretty hard to stop. So that’s how it all began. Harry and I decided to see each other, date, love, fuck, anytime we both happened to be in the same city. It didn’t happen as often as you would think. We both still had home across the world, and varying tour schedules. We both had on and off again partners, that then the deal would be off, but neither of our partners were ever in the picture for very long. For years it went on like this. It was heartbreak all over again though, once we knew that someone had to leave.
- - -
“Well, that was fun! It’s been a while, Styles.” I let out a sigh to try and gain back my breath. We practically just ran a marathon. Maybe two. He does the same, a grin plastered to his face.
“Too long.” He tilts his head to press a kiss to my bare shoulder.
“Well I do believe a plane works two ways.” I turn on my side to face him, my head resting in my palm.
“Mmm, I’ve been stuck in the studio. I’ve been working on new stuff.”
“Ooh, a new album perhaps?”
“Yeah, it’s been a whole process trying to get all my thoughts out and sorted.” He clears his throat.
“So why not go to Jamaica like you did for your first? A new environment that you can just throw yourself into it.” I question.
“I don’t know, it doesn’t feel like that for me. I did that because it was the first time I was doing music without One Direction. This time it’s a little more on me and how I feel.”
We catch up for nearly an hour before we both feel gross from our previous activity and decide to take a shower. Together obviously.
“Mum and Gem are coming over for brunch tomorrow.” He states.
“Hmm?” I turn away from the shower head to face him again.
“I think they’re going to be here close to 10:00.”
“Do you want me to leave?”
“No!” He places a hand on my hip, trapping me between him and the cool tile on the walls. “Never.”
“So what do you want?” I ask, tilting my head up to fully look at him. To read every expression that crosses his face as the water pours over both of us.
“I want you to stay. Have brunch with us.”
“Are you sure?” I ask, pressing a kiss to his peck.
“Yeah, if you can.”
“My fitting isn’t until 2:00 so that should give me plenty of time.” I smile, “Are you sure they aren’t going to think it’s weird that I’m there?”
“They won’t think it’s weird. They’ll both be thrilled to see you. I swear everytime I pick up the phone they’re asking me how you’re doing.”
“That’s funny considering how often that Gemma texts me.” I smile.
“So you’ll stay for brunch?”
“Mhm.” I pull him down to my height for a kiss.
- - -
“Well if it isn’t the one that got away.” Anne teases as she pulls me in for a tight hug.
“Fuck-” Harry sighs, letting out air as if he took an actual physical hit.
“Hi, Anne.” I laugh.
“You just get more and more beautiful every-time I see you.” She holds my face in her hands and she studies me closely. Over the years Anne and I have only grown to be more close, even though I am no longer dating her son she still treats me as family which I can’t help but love her for.
“Let me give her a hug!” Gemma pushes her way in and pulls me in tight against her chest.
“Gem!” I grin.
Harry and Anne walk into the kitchen together with Gemma and I following, arm in arm. I remember this from years ago. The Styles family would like to make brunches together every couple of weeks when they could.
Obviously if Harry was touring or over in the States they couldn’t, but when they could they make the most of it. Everything is made from scratch, together. Nothing is decided until everyone gets there that morning.
“How do we feel about waffles?” Gemma asks.
“And eggs.” Harry adds.
“And bacon.” Anne adds.
Everyone turns to me waiting for my request.
“And fresh fruit.” I smile.
We all get to work and quickly become a well oiled machine. Them it’s not too surprising due to them doing this over the years, but I have to say I am able to jump in with ease.
I cut up various fruits arranging them as beautifully as I can. A vibrant display of colors on the platter.
“Excuse me, love.” He presses a kiss to my temple, a steadying hand at my waist as he reaches for a knife from the island.
I prepare everyone’s drinks around the table as well considering my task went the quickest. Shortly, everyone joins me and we dig in. Everything tastes immaculate.
We dive into conversation, the table never getting quiet for a second. Something I love so much about this family. There’s always something to be said.
“Well, I actually should be going it’s one o clock now, and I still need to drive to the other side of town.” I pick up my plate from the table. We’ve all been done eating for a while now, but the conversation kept us at the table.
“Where are you off to?” Anne asks.
“She’s got a fitting with Gucci.” Harry grins.
“Wipe that smug little grin off your face.” I smack his shoulder lightly.
“Gucci?” Gemma grins even wider than Harry did.
“I am going to be the new face to the brand.” I smile, feeling pink raise up on my cheeks.
“For the whole company?” Gemma cheers.
I simply nod as I grab a few other plates off of the table as I go.
“Can I come with you?” Gemma asks, the two Styles siblings following my into the kitchen.
“Why didn’t you act like this when I modeled for Gucci?” Harry asks, his jealous side coming out.
“Harry, you got a cologne, but she’s getting the whole company!” She huffs, “Do you know what cool clothes she’s going to be trying one?”
“I’m not getting the company!” I roll my eyes, putting the dishes in the wash.
“You didn’t answer the question.” Gemma smirks.
“Yes, Gem.” I laugh, “As long as you can be out the door in five minutes.”
Gemma leaves the kitchen and goes back to tell Anne, leaving Harry and I alone.
“You’re coming back here after, right?” He asks, trapping me against the counter.
“Yeah, of course. I’ll actually be in London for almost the entire campaign. You’re going to be sick of me soon.” I smirk.
“Never.”
- - -
“I am OBSESSED with that yellow jacket you had on!” Gemma sighs dreamily as we enter Harry’s flat several hours later. “It’s to die for!”
“Well, I can see if I can get it for you after the shoot.”
We make our way to the living room where Harry is settled in on the couch with a book.
“An angel.” She turns to her brother, “Did you know this one is an angel?”
“You give me too much credit.” I laugh.
“Thanks for the reminder, Gem.” Harry chuckles.
“Okay, now I will get out of your hair. I’ve already stolen all afternoon with you. Hopefully see you soon!” She pulls me in for a hug, “Love you.” I let Harry walk her to the door to say their goodbyes.
Harry comes back after a few minutes and pulls me down in a hug on the couch. He lets out a deep sigh into my neck, pulling my head in even closer.
“You okay, babe?” I ask, taking note of his obvious mood.
“Mmm, I was just thinking while you were out.”
“And what were you thinking?” I pull back so I can get a good look at his face. It’s always been an easy way to see how he’s feeling.
“I was just thinking that we’re both in such a better place than we were all those years ago. I don’t tour every year anymore, and I’m signed with good management that actually lets me make my own decisions.”
“What are you saying?” I ask, wrapping my arms around his neck and studying his face closely.
“I’m saying that you only tour ever other year, at max. I do the same now. Why can’t we make this work for real again? We’re both more established now and have the right to chose when and where we do things. I know, we make time for each other when we’re in the same city, but there’s nothing saying we can’t be in the same city. I could live in Los Angeles full time. I could live with you. Or we could both go to New York. I don’t care, as long as we can be together.”
“Harry, you’re sure about this? We haven’t truly been together in a long time. I love spending my time with you, truly, but I don’t want you to uproot your life just for me.” I clarify. He’s saying what I’ve wanted to hear for years, but I just want to make sure we’ve thought things through before I give either of us false hope.
“It wouldn’t just be for you, it would be for us. I love you so much, I feel like I’m wasting time. It seems like a waste to know exactly who your soulmate is, and not do everything in your power to make it work.”
“I love you, too.” I press a fast and passionate kiss to his lips, “Although, I do have one thing that I think we should change.”
“Anything.” He answers, his eyes all gooey and lovey making me break out in a grin. I couldn’t keep a straight face over how I’m feeling if it tried.
“Let me move here.”
“What?” He asks shocked.
“You love London and being close to your family more than anything, I could never ask you to change that.”
“But-”
“And I love being close to them too. If today proves anything, you are my family.”
“Let me make the move” I grin.
“Happily.” Harry’s dimples are on full display.
“Hey, isn’t that another song you wrote about me?” I tease.
“Oh, shut up.” He rolls his eyes, pushing me back against the couch.
plz give me some feedback! i thought this was so cute
#harry styles imagine#harry styles imagines#harry styles fluff#harry styles fanfiction#harry styles x reader#harry styles x you#Harry Styles
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Zack Cloud Hall Part 3
The Allegations:
TW: SH, SA, Emotional Manipulation, Mentions of P*dophilia, Relapse, Alcoholism
Breezy Weekes
Dallon Weekes’ Wife
For some back story, Dallon Weekes was hired as a bass player for Panic! at the Disco in 2010 and was found by the label for the band. Dallon showed up to his audition for the band without knowing any of Panic!’s songs. This didn’t seem to matter, because he only played bass for a little while and spent the rest of his audition watching YouTube videos with Brendon. You can find Dallon talking about it here. He also stated on Twitter:
“Panic management sent me 3 songs to learn. I did. Went to the audition, & found out their people were supposed to have sent me 15 songs. They didn’t. I got the job anyway and learned the rest that night on my own. Went back the next day to rehearse the rest”.
Dallon became an official member in 2011 and helped write the 2013 album ‘Too Weird To Live Too Rare to Die’ I WILL be doing a writing credit section in the master list so I won’t get into that right now.
Dallon was removed as an official member after Spencer Smith's Departure. In 2015 all official members were removed except vocalist Brendon Urie. The following band members would only be touring musicians with no creative input. This is another thing I will get into during the credit portion of my master list. Dallon was in Panic! at the Disco from 2010-2018.
In July of 2020, Dallon Weekes answered a q&a on Instagram about Zack. This would not be the first time he did this.
Over the years after his departure, he would infer bullying and overall damaging behavior towards him in his previous workplace.
Dallon would explain that his time in Panic! was not something he wanted to be known for in several articles after he took leave. He believed that he was treated unfairly (which I will get into during the portion on his wife and him) while simultaneously contradicting himself and saying that Panic! was a huge part of his life and he was grateful for the time he spent with the band. The statements were always clearly polarizing and would consistently conflict with each other. Many of his tweets were passive-aggressive and nonspecific so they couldn’t be confirmed.
Back to the allegations
Dallon’s response about Zack being “The Worst” did what it was intended to do and sparked talk online between fans of his new band and fans of Panic!
One girl claimed she was uncomfortable with being called “Boob” Girl by Zack during a conversation at a show.
In response to this, Breezy Weekes spoke up:
She recounts a time when Dallon first started with the band and inappropriate behavior exhibited by Zack Hall. She then continues to argue with fans on Twitter about why she took the approach to air things out publicly. She was claiming 8 years of harassment from Zack and proceeded to tell everyone how horrific it was for her that she had to go to therapy.
My thoughts on this.
I get that maybe you wouldn’t have your partner leave a job that was putting food on the table, however, if what she suffered was as horrible as she claims I would personally have asked my partner to leave. If Dallon was aware of it, I can’t really understand why he would stay with the band? I assume one would leave out of respect for their partner’s comfort. I know that shouldn’t be how things go and that harassment is a huge issue in a lot of workplaces...I also understand that the music industry doesn’t really have an HR department. But if the attempts at getting things solved didn’t work out...wouldn’t you just leave? I’m sure what she is saying has truth and am in no way trying to victim shame here, but she is saying over 8 years that they took all the specific steps in an attempt to get the harassment to stop. I just don’t understand how “nothing” could have been done.. and why if nothing was done they chose to stay in that environment for the money? I know some will say “it’s not their responsibility to make sure they had a safe workplace” well no it wasn’t … and if there were actual legal harassment claims it would have been dealt with internally. It logically and legally makes no sense.
The second screenshot is an iMessage conversation between her and Zack where he sent a photo of his lock screen in 2015 and it was a photo of her from her Instagram with her face partially cropped out. She replies “I see the face isn’t important” I don’t really know what this is evidence of...to be completely honest with you. He took a public photo from her Instagram and made an inappropriate joke. I don’t think that really classifies as behavior worth the extreme backlash that came. Is it gross? yeah...but it’s not exactly horrific. If anything the movie story was GROSS.
Breezy posted her tweet on July 26th, 2020. A mere 10 days later on August 5th, 2020, Dallon’s band, ‘I Don’t Know How But They Found Me’ released a lyric video for their single ‘Leave Me Alone and announced the release of their upcoming album after MONTHS of no word. Again this happened exactly 10 days after his wife started internet drama with the Panic! at the Disco fanbase.
While this was happening the backlash towards Brendon Urie, Mike Naran, Zack Hall, Nicole Row, Kala Macdonald, Sarah Urie, Kala’s DOGS Instagram page...iDK fans, and former Panic! fans were out for blood....demanding that Brendon #firezackcloudhall. Breezy’s mother Diane is liking tweets about firing Zack, including tweets incorrectly calling him & Brendon both pedophiles.
Breezy your mother is a Real Estate Agent she knows how to work a Twitter Account.
People were emailing Kala’s professional website, telling her that her husband was a piece of shit and that she should divorce him, badgering Scott Nagelberg (Brendon’s Manager), Tony Marino (Tour Manager), and anyone involved in Crush Music to ADDRESS the issues with Zack Hall.
There is something I want to make incredibly clear...THIS was never okay...and SILENCE is not complacency. I don’t know who came up with the idea of okay, let’s make sure everything is dealt with publicly. People need time to PROCESS damaging information. We are human beings...
This went on for weeks...months even...the uproar of fans all the way to September and October of 2020 was absolutely staggering, meanwhile, Breezy was still talking to and arguing with fans on Twitter & Instagram DMs.
When the allegations against Zack were not addressed quick enough...allegations began to surface about Brendon.
How convenient.
This will be talked about in his portion and were completely false.
Breezy and Dallon refused to stop the astronomical hate bandwagon towards Brendon even though he wasn’t the one that hurt them...and it was stated several times that their issue was not with Brendon. Granted, it is not their responsibility I guess... but the fact that she didn’t have enough empathy towards Brendon or anyone else that was being dragged through this who weren’t involved, to take 3 seconds and write one tweet “Hey stop the hate and don’t be bothering Nicole, Kala, etc...” she would later say “Why aren’t they standing up for one another he has this huge team of people” the lack of compassion is astounding.
Here is a conversation between Breezy and a fan inquiring why this wasn’t dealt with in private as it was causing so much havoc and pain on the fans, friends, and family members of those involved.
What a peach.
Breezy (while messaging with another fan) admitted that she would only accept a public apology from Zack; which to me seems more like she wanted an admission of guilt than she wanted closure for anything she suffered.
Okay...really...I don’t think it’s the time or place to have a heavy conversation like that while working. Reading & Leeds was a work environment where Zack had to be on constant alert as a security guard. Not the time or place.
Breezy states here that she doesn’t mind their conversation being shared if it has a good intention behind it and that we all don’t know “the big picture” well of course we don’t, we weren’t there.
There is a large amount of manipulation in this paragraph. I’ll start from the top.
She tells the fan that hopefully her friends aren’t the ones spreading rumors about them. She talks about the info being shared for nefarious reasons and that she doesn’t mind if it’s shared if it makes her look good. She has the expectation that anything said about her should only be painted in a good light. This is her trying to control the narrative. She has the unreasonable expectation of not being questioned at all when she was having bizarre conversations with fans afterward. The narrative must always make her be viewed favorably.
She then goes on to say that “you would think that most in their right mind would believe the victim without question” which is her essentially saying that nobody should question what she is saying as the truth & that if they question her, they are a horrible person. This idea is harmful in general, I think people should use critical thinking based on facts and what has been logically presented to them, not what has been presented to them AS TRUTH. However, I should point out that this is her truth, which doesn’t necessarily mean it’s the entire truth. I am a believer in the truth being somewhere in the middle. Take that for what you will.
She then proceeded to talk about how many stories she was getting about Zack. I think I saw maybe 4-5 stories that couldn’t be verified so I am unsure of the blow-up. I think Zack made comments, I think he was an asshole for a very long time and I think a lot of that can be explained (not excused) in the first 2 sections of this. On the internet, it doesn’t have to be verified, apparently. Which is a strange and damaging thing to many people in the public eye right now. People lie, people harass, people assault...the issue is that women being assaulted or harassed is so common that they’re even believed if they’re not telling the truth.
EI: Amber Heard, False Allegations Brief
I am not saying Breezy is lying, I’m not saying anyone is...but I will say that the false allegations against people (Specifically people in the public eye) have been pushing celebrities off the internet. Search any person and “allegations” I am sure you will find them. Sometimes it’s done for attention, sometimes it’s admitted that they have lied because they don’t like that person. The unfortunate part is that there are SO many false allegations that every single allegation made has been accompanied by concerned citizens and fans questioning their validity, which perpetuates hate against critical thinking and those who question any allegation. Always believe the victim was an incredible movement...it was detrimental to the mental health and emotional release of actual victims. It is people who lie or embellish stories that have once again made it harder for real victims to be heard.
Ian Crawford (Former Guitar player) did end up corroborating Zack’s incredibly harmful behavior, He shared a link to his new music after his initial statement and was questioned about the motive there. He later apologized and retracted his statement saying he had been suffering from a mental health crisis that lead him into a relapse. Again, I’m sure Zack was horrible to people, I think at one point if you’ve lived long enough there are times you look back and think, wow I was such an ASSHOLE.
I want to reiterate that one of the best things that has happened to society in the last 5 years is the widespread acceptance of mental health issues and mindful thinking. I appreciate that people can see and use mental illness as a form of explanation and not an excuse for any kind of harmful behavior. And again, any mental illness I talk about is speculation, not a diagnosis.
In this screenshot, she talks about Zack’s now-wife Kala blocking her and appears to have no emotional empathy “Like, why would she block me????? and why aren’t HER friends helping her. I don’t even know this woman.” You don’t even know this woman but you would have to be stalking her page to know she even blocked you.
Kala has done nothing to her yet she continues to show that she has no regard for her mental health at all as another human being and proceeds to say that she knows Zack better than Kala does because she’s known him for longer.
What? I don’t even need to explain why this is ridiculous. You don’t know a person better based on the length of time. You know a person based on connection and emotional depth.
She then says that just because he got remarried doesn’t mean he’s changed.
Another point worth making is that she continues to change the narrative to herself when she is questioned about the backlash falling onto other people. It’s always a switched narrative...consistently to, but what about me? what about them not having compassion for me?
A few months after all of this started, Brendon took to Twitch to make a statement, he says that he was naive to believe that Zack’s behavior wouldn’t affect other people and that he is sorry for anyone who has had to experience it. He said that Zack would no longer be working in that position and that he would still be friends with him because he believes that people can change. (Yes, Brendon, they can)
You can listen to the entire statement here.
I can’t talk in length about this ...I mean, emotionally I cannot...this entire statement and hearing him read it was very heartbreaking for me and many other fans. Brendon attempted to come back to Twitch normally and was clearly uncomfortable. He hasn’t been seen much in the last couple of years and has been rumored working on P!ATD7. However, just a week ago he was spotted at Disneyland.
Thank you for reading the very lengthy finale of Zack’s Portion. This has taken a lot of research and time. Again, there are many many other things I feel like I could have put in here but I wanted to paint a larger picture of Breezy’s questionable behavior.
Breezy, if you read this: I know it is highly unlikely that you will accept this as a fair analysis, which is what you’ve continued to do to anyone who has questioned you. You should take this time to think about how your actions affect others and move on with your life.
…maybe get your husband to stop dropping Brendon’s name at shows to incite hatred.
Thanks,
A concerned Panic! Fan.
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