Rockers, 1984. From the Budapest Municipal Photography Company archive.

Rockers

1978. Comedy Drama Musical

By Ted Bafaloukos

Starring: Leroy 'Horsemouth' Wallace, Richard 'Dirty Harry' Hall, Monica Craig, Marjorie Norman, Jacob Miller, Gregory Isaacs, Burning Spear, Kiddus I, Robbie Shakespeare, Big Youth...

Country: Jamaica

Language: English, Jamaican Patois

Classic scene from Quadrophenia (1979), Jimmy (Phil Daniels) returns home after he and his Mod mates literally ran riot in Brighton. Jimmy's mum is played by Kate Williams.

Some of the winners at the 65th GRAMMYs

The 65th GRAMMYs were back in LA, better than ever with many nominees in attendance. For a list of all winners and nominees you can visit https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-listAll photos Getty Images for the Recording Academy https://www.gettyimages.com/company/publicity_termshttps://www.gettyimages.com/resources/embed Best Pop Duo/Group Performance…

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David Byrne (1952-) Talking Heads - lead vocals and guitar Songs: "The Book I Read," "Heaven" Propaganda: "Autism"

Roger Taylor (1949-) Queen - drums Songs: "I'm in Love With My Car," "More of That Jazz" Propaganda: "Unearthly child, beautiful youth, rocker with a (usually) impeccable sense of style, hot dad, silver fox, sexy santa: this man has been sizzling hot for decades. Even his fellow rock stars are mesmerised by how hot he is, especially when dragged up in videos. Super hot." "His falsetto at the start of 'In the Lap of the Gods.' The messy blond hair. His chemistry with Freddie Mercury."

Visual Propaganda for Roger Taylor:

ANOTHER REASON WHY WE LOVE AZIRAPHALE AND CROWLEY

If we meta the meta around itself and step two steps further away from the whole thing than we’ve been, this is a story that shows us that love isn’t just for the kids.

Here we are, heavily invested in the love life of a plump, white haired librarian and an aging rocker with anger and substance issues. Sure, they are both Very Hot Men, but that doesn’t come into play here. More than they are Very Hot Men, they are wrinkly, awkward, imperfect, no longer young. Society has told you all these descriptions are insults. They are not. We believe in this story because we know it to be true - a realistic love story does not require ethereal beauty, uncomplicated youth and unwavering confidence. Love is love, no matter the age, and watching this story, we remember that love is for US too;

However we define love, if it’s very romantic and sexual or ace or aro - it’s okay. If we have “aged out” of young, inexperienced love - it’s okay. If we’re hurt and need time alone before even daring to dream again - there’s no rush, it’s okay.

This story tells us there’s hope at all ages, with all our baggage and quirks, no matter how weird we might seem to most folks - we don’t have to rush. Soulmates are not just for teens, and most of us don’t have just one. As long as we’re open to it, as long as we are patient and kind, we will find love. And it won’t just be a settling kind of love, it will be real and powerful and exactly what we need.

It tells us this, and while it may not be that simple in real life, we needed to see it. Seeing is believing, and believing it’s possible is half the trick. And I don’t know many stories like this - I am very grateful for Good Omens, in so many ways.

hobie & his monster high gf

punk rocker activist hobie brown and his gf that grew up loving monster high

- the correlation between the two sounds nonexistent, but just walk with me!!

- y/n & the same monster high that teaches kids that you should embrace everything that makes you odd, because it makes you you???

- and she takes this valuable lesson from her youth and ingrains it in everything about her???

- the way she dresses, the way she styles her hair, the way she treats literally everybody???

- you’re his bread and butter fr

- hobie & the cool looking girl from his old modeling agency, with the somewhat smudged dark eye makeup that just works for her, the one with a million rings and chains adorning her outfit, the funky hair that’s black and green one day, and bright pink the next time he sees her

- hobie & the cool looking girl from his old agency who quits a few months after he does because she refuses to represent an previously alternative agency that started demanding the same cookie cutter models as the rest

- hobie & the cool looking girl from his old agency who he spots after one of his shows and absolutely has to talk to her

- y/n, who’ll strike up a conversation with anyone about whatever because she’s just cool like that, and hobie falling into interesting, deep conversation like they’ve been friends for years

- hobie, who starts keeping an eye out, always searching for his new cool friend, who isn’t hard to spot at all because her style of dress just won’t allow it

- hobie and y/n, who quickly become hobie&y/n, feeling as though they’re meant to know each other, destined to be friends

- hobie, who’ll show up at y/n’s place at some wild hour of the night, bruised and bloody, and y/n who opens the window and asks no questions, but makes many comments

- hobie, who’s crashed on y/n’s couch so many times that he’s probably slept there more than at his own place, and y/n, who didn’t mind the first time it happened and doesn’t mind at all now

- the nights of him just crashing turn into fulling on sleepovers, during one of which where she introduces him to the scripture, aka ‘monster high: new ghoul @ school’, the movie that started the formation of her very philosophy

- hobie, who is now unironically a clawdeen stan

- hobie, who in the middle of ‘monster high: why do ghouls fall in love?’ asks if his cool best friend would like to go on a date, to which she agrees enthusiastically

- hobie & monster high loving y/n who fall into their romantic relationship just as easily, if not more, than their friendship

- hobie & his monster high gf, who he let’s practice make up looks on, sometimes leaving it on if he’s feeling it

- hobie & his monster high gf having a shared shoe collection because platforms and boots are staples in both of their wardrobes, but also ridiculously expensive

- hobie & his monster high gf, who have plenty of date nights that consist of solely styling each other in monster high coded outfits and binge watching the movies and webisodes

- hobie & his monster high gf, who’s eyes light up when he presents her with carefully crafted, homemade monster high merch

- hobie, who would make his monster high gf so many pins and patches and stickers, eventually she’d have more homemade monster high merch than official

- hobie & his monster high gf, who are each other’s biggest cheerleaders

｡･:*:･ﾟ☆ Solar Corps Strike Force!! ☆｡･:*:･ﾟ

I couldn't get the idea of this music idol AU out of my head, so I went ahead and commissioned the fabulous yinyang.arts to create an idea of what the girls would look like as a pop idol group! (This is also how I discovered that I inadvertently created the female characters of ShoH in a way that exactly aligned with the Spice Girls... Scary Spice, Posh Spice, Baby Spice, Sporty Spice...)

You could read them as a K-pop girl group or as a rock band, whichever you prefer...

☆♬○♩●♪✧♩ Lavinet ♩✧♪●♩○♬☆

Leader / Main vocalist / Bassist

Known for her elegance, charm, and sophistication, Lavinet is undoubtedly the leader of the group and its main vocalist! Famous for her vocal range and strength, she's always the trendsetter and is always wearing the most expensive, latest fashions as she represents the group in interviews and events!

☆♬○♩●♪✧♩ Briony ♩✧♪●♩○♬☆

Main dancer / Backup vocalist / Guitarist

Known for her pep and high energy, Briony supports Lavinet's vocals and entertains the crowd with her cheery physicality and boundless enthusiasm! She has a bit of a tomboyish, carefree, youthful persona, but still enjoys cutesy accessories! Diehard fans know that she enjoys training at a kickboxing gym when she's not on tour with the "Strikers!"

☆♬○♩●♪✧♩ Shery ♩✧♪●♩○♬☆

Maknae / Backup dancer / Keyboardist

Known as the baby of the group, Shery might sport the biggest fanbase, as fans adore her for her shy, lovely personality and gentle demeanor! She's the girliest and cutesiest of the group and enjoys lace, ruffles, pastels, and is known for collecting tea sets and accoutrements, leading some to refer to her as the group's "doll"!

☆♬○♩●♪✧♩ Ayla ♩✧♪●♩○♬☆

Rapper / Drummer

Known as the dark horse and punk of the group, Ayla stands out with her rocker outfits, leather chokers, shredded jeans, and tough, street-wise demeanor! While less favored by corporations and sponsorships for her rebellious personality, coarse language, and various piercings, Ayla is adored by fans for bringing edge to the group, hyping the crowd up as she pours her heart into her high-energy performances. She's issued several challenges to rivals to try and defeat her group in Battle of the Bands, and has never lost yet due to her fiery passion!

☆♬○♩●♪✧♩ Tallys ♩✧♪●♩○♬☆

Manager

The manager of the group, Tallys remains behind the scenes as she organizes and coordinates the Strikers' schedule, events, and business negotiations. Although she's not officially a member of the band, she's garnered her own fanbase for her cool composure and quiet refinement!

I hope you enjoy! 🥰

Adding to the trans asks pile and related to seeing the Bernie Wagenblast news story on my feed the other day (such a great name). I started figuring this stuff out about 6 months after I turned 30 and currently in the final few months before starting HRT about the same amount of time after turning 33.

Seeing older trans folks and especially older trans folks who started later than 33? Fills me with an indescribable amount of joy.

I feel sometimes a little out of the loop with pockets of the online trans community who are considerably younger. I love that the knowledge is more widely available now, but seeing a trans person with grey/white hair, wrinkles and being OLD makes my day every time.

I never thought about the idea of growing older, I never could see myself as being an old man. However, all I can think about now is how much I can't wait to be an old woman. Hanging out with other old trans people and just getting to AGE. I couldn't give a shit about looking youthful, even if I am blessed with a more youthful face.

I want everyone who feels like it's too late to see stories like Bernie's and so many others that it's not. There's always going to be regrets, but the bigger regret is never starting the journey in the first place.

thank you so much for sharing your story. and i totally agree. seeing old trans people, properly old, fills me with so much hope, and i also honestly cant fucking wait to be an old goth rocker granny myself 💙

Taylor Swift’s catalog re-recording campaign continues with a thoughtful version of 2010’s Speak Now that tempers teen angst with the ageless quality of lullabies and folk songs.

Taylor Swift emerged in 2006 as a 16-year-old wunderkind with a gift for articulating all the intimacies and humiliations of falling in love. But throughout her early career, her image was predicated on her youthful innocence as much as her outsized wisdom. Swift “does not drink or swear or flash cleavage,” remarked a profile from around the time of her third studio album, Speak Now—a point that stood in opposition to peers like Miley Cyrus and Demi Lovato, who were quick to jettison their tween-friendly branding. Swift seemed to take up the mantle of youth role model with pride. Though she was careful to never disparage anyone directly, she told The New Yorker in 2010, “I don’t feel completely overcome by the relentless desire to put out a dark and sexy ‘I’m grown up now’ album.”

Speak Now, released in 2010, emerged at an inflection point in Swift’s life. She had recently turned 20 and moved out of her parents’ home, had toured the world, and, as evidenced by gut-wrenching tracks like “Dear John” and “Last Kiss,” had experienced heartbreak that shook her sense of emotional security. On this album, she struggles to balance her love of fantasy and escapism with her new responsibilities. Throughout Speak Now, she asks, How do you believe in fairytales and also acknowledge the depth of your pain?

As with her previous re-recordings of early work, Speak Now (Taylor’s Version) remains largely faithful to the arrangements and lyrics of the original. But Swift is not the same singer she was at 20. In more recent material, her starry-eyed optimism has been replaced with nuance and caution. She’s learned to voice regret as much as rage; in songs like Lover’s “Death by a Thousand Cuts” and Reputation’s “Dress,” she drinks and allows her sexual fantasies to run wild. On the new recordings of old Speak Now songs, her maturity is revealed not through the words themselves, but how she chooses to deliver them. The angry songs are presented with a sigh rather than a vindictive grin. The songs about heartache are sung carefully and patiently. It feels less like she’s sending a message to any particular ex than she is conveying a generalized weariness about how draining young adulthood can be.

Written between the ages of 18 and 20, the original tracks on Speak Now depict Swift clinging to her girlhood like someone trying to hold water in their palms. “Never Grow Up,” an acoustic ballad, was ostensibly written for young female fans. But by the end the song reveals itself as a means of mourning her past self. She promises the impossible: that no one will ever leave her deserted, that there will be no pain in her life. “Innocent,” a song about forgiving someone who wronged her, evokes the subject’s childhood—chasing fireflies, relying on someone bigger to get things off the shelf—in order to find something worth redeeming in them. Thumping rocker “Long Live” uses images of castles and dragons to celebrate the larger-than-life experience of touring with her band. It’s full of love but sung in the past tense, as if to memorialize the moment while it was still happening. Hearing these songs on Speak Now (Taylor’s Version), there’s less fear and more gentleness. Losing some of that teenage angst makes the songs less immediately enthralling: In the originals’ jagged inhales, sneered words, and ad-libbed laughter, you could hear how deeply these stories affected their author. Hearing her sing them now, they sound slightly anonymous, more like lullabies and folk songs than expressions of pressing concern.

Swift’s youthful naivete peeks through in the way she sings about other women. In her professional life, she had benefited—however passively—from comparisons to women deemed less wholesome and pure. And in her songwriting, she depicted them as unworthy rivals and master manipulators. In “Speak Now,” Swift’s narrator disrupts a marriage ceremony in hopes of separating the groom from his snotty, overdressed bride. On “Better Than Revenge,” she chastises a woman who supposedly stole her boyfriend. She later revised the sentiment, saying in 2014, “No one can take someone from you if they don’t want to leave.” Since the announcement of the re-recording, it has been speculated that she might edit the song’s most cutting and criticized lyrics: “She’s better known for the things that she does on the mattress.” On Taylor’s Version, this line becomes, “He was a moth to a flame/She was holding the matches.” The change feels half-hearted: Diss tracks aren’t supposed to be respectful. No one listens to “Better Than Revenge” expecting a measured response or nuanced feminist take. The song was satisfying precisely because Swift captured the nearsighted perspective of a teenager; in the attempt to distance herself from that person, she sacrifices resonance for optics.

“Dear John” remains the emotional centerpiece of the album, and one of the most devastating songs Swift has ever written. Across a lonely, warbling guitar lick and patiently unfurling blues-rock arrangement, she details mistreatment from an older partner: his wild oscillations between hot and cold, his ever-moving goal posts. John Mayer, whom the song is ostensibly about, was 32 when he dated a 19-year-old Swift in 2010. The new version, released by Swift at the same age that Mayer was then, is more powerful than ever. It provides a showcase for her deeper vocal range, and the way she enunciates each syllable adds weight to every word. When she belts out his name in the chorus, she sounds completely in control.

Since 2010, Swift has written another song about a torturous relationship she was in at age 19, presumably the same one. “Would’ve, Could’ve, Should’ve,” from last year’s Midnights, reveals the lasting impact of the memory. She wails, “Give me back my girlhood, it was mine first.” It’s colored the way I hear “Dear John” and all of Speak Now: This wasn’t run-of-the-mill teen angst or ego that Swift was singing about back then. It was a coming-of-age moment turned crisis of faith, the kind of experience that reveals people’s capacity to inflict hurt. When you’re a 19-year-old girl curious about the world, it’s often implied that older men with deep eyes and brooding stares should be your teachers. But the lessons they offer are not always the ones you expect. Growing up is learning how to hold that knowledge without giving up hope of finding the pleasure and love you deserve.

Like prior album re-recordings, Speak Now (Taylor’s Version) includes a handful of newly released tracks that emerge “from the vault.” Hayley Williams joins for “Castles Crumbling,” which repurposes the same fairytale imagery from “Long Live” to relay her paranoia about a dramatic fall from grace. On “I Can See You,” which sounds more like the inky, lilting trap-pop on Reputation than anything on Speak Now, Swift describes an illicit workplace romance with sultriness and authority that stand apart from the album’s otherwise chaste perspective. On the breezy country-pop song “Foolish One,” Swift reminds herself that she is not the exception to the general rule that if someone is acting disinterested, they probably don’t want to be with you. Just one album prior, she was so confident in her exceptionalism that she re-wrote Romeo and Juliet as a love story starring her. Now, she tempers her romantic fantasies with pragmatism and a sense of jubilant freedom, encouraging a younger self to broaden the scope of her desire.

This re-release doesn’t benefit from the same novelty as Fearless (Taylor’s Version) in 2021, when the endeavor of re-recording her catalog to regain control over her masters felt rare and exciting. And musically, the Speak Now material doesn’t stand up to Red (Taylor’s Version), which presented perhaps her strongest album along with an extended version of fan-favorite “All Too Well” and a number of excellent vault tracks. In recent weeks, news of the latest re-release has been overshadowed by intrigue and minutiae from her current Eras tour. Throughout Speak Now (Taylor’s Version), Swift sometimes mutes the messy adolescent impulses that gave these songs their spark. But elsewhere, she divests from fantasy archetypes—the knight on a white horse, the helpless child—that once limited her. Think of the new Speak Now as a call and response between who she was and who she is: a teenager full of questions about what it means to grow up and an adult woman who’s still turning them over to find new answers.

I'm really tired. I just transferred to a new university to study psychology and it has been the actual worst experience in every aspect. The two biggest issues are the fact that I am autistic and thusly have issues making friends, and that I have this god-awful professor in my counseling class.

This professor is OFF his rocker. He actively talks about the secret society he is in, trying to teach us preposterous things that have no place in that class or even the school at all. I could write a novel about every problematic thing he has said, but my most major issue with him is how he views and treats women, and continuously brings sexual topics up when they have no relevance to the course material.

He has disrespected his wife over the phone in the middle of class and then tried to justify his behavior using his gender, spoken extensively about what features men don't like on women such as makeup or plastic surgery. He says "natural" women are "healthy" (well-endowed) in either the chest or behind but not both, and are uneven in the chest. He specifically targeted my classmate, who was the only one wearing false eyelashes, to say that men don't like that either.

Another time he told us that women run the world because men are obsessed with us, that we are not oppressed at all, yet he turns around and tells us how women in the corporate world go commando under their skirts and sleep around to work up the corporate ladder. He says this in a way that puts women to shame for this as well.

This week, though, was completely different. His departure from the course material started with the extremely invasive question, "what do you remember about your transition to adolescence?" Again targeting that very same classmate. I blink and he is now telling us that the male experience during puberty is far worse than what women experience, basically saying that—excuse my bluntness—getting a boner in class is much worse than anything women go through, even turning to our singular male classmate for backup on this.

He also tries to tell us that its so so bad for boys because the girls actively try to touch them or make them "psychologically disturbed," as he worded so decoratively. What adolescent girl wants anything to do with that when she's going through her own problems? Since when were young girls going out of their way to trouble boys like this? I was actively trying to deter boys during this time.

I and the other two women in my class were disputing all of this, until our professor finally said, "I will just let that go over y'all heads cause you will never understand the male experience," to which I, shaking with rage, replied, "—and vice versa."

My mental health has been suffering severely, and much worse since this happened Monday. I had never felt such pure, primordial rage towards someone before. This man makes me feel not only objectified but also demonized. Last night was my breaking point, working on one of his assignments. I experienced the most intense mental breakdown of my life so far, and afterwards spent all but two hours of the night trying to cram the project that was due today.

I guess my point is that I would report him, but my school makes it nigh impossible to do so. I'm perpetually exhausted and I do not know if I can make it through the last two weeks of class. I want so badly to be petty and spiteful to his face, but for the most part I've controlled it.

I don't really know what I'm looking for by doing this. I guess I just want to know what you think? Apologies for the length of my message.

Such is the mentality I encountered often in my youth by Hylian men, and women, toward my sisters. They would lust after my sisters based on their attire and physique, while also attempting to demonize them and ostracize them for the exact same reasons.

In short, men are cowards who carry the darkest urges shamelessly, but are too prideful to admit the problem within themselves. Instead, the vilify women for their own indiscretions.

They will openly mock my Gerudo for their appearance, while desiring nothing more than to own their flesh in the most disturbing of ways.

This professor seems like a prime example of the Hylian males I encountered. But if this is the case, then so too is his weakness.

He has likely been thwarted in his past in his attempts to procure a mate to his liking, and due to his pride, he believes it is all of womanhood to blame, and not himself.

This one he singles out is likely similar to those he desired but could never obtain in his youth. As such, he blames all others for his own shortcomings.

Likely too with his mate. I would assume her physique does not fit the desires he now feels entitled to, and as such he makes her the target of his criticism.

But through all of this, he reveals a second weakness.

Fear.

He fears that which he cannot control, and women as a whole seem out of his grasp. Every slight, every jab, and every assault from his lips is but proof that he is afraid of what women are capable.

In the midst of a Gerudo warrior, this professor of yours would crumble like kindling to a flame.

Take solace in the knowledge that you are superior to this worm, for you are what he can never have.

In the name of youth! TXT dreams of tomorrow

TOMORROW X TOGETHER’s teasers that were released prior to dropping their new album entitled minisode 3: TOMORROW traces along the team’s past.

The first one, “TXT minisode 3: TOMORROW Concept Trailer Teaser” in which the members appear donning crowns is a nod to their debut song “CROWN”, while the photos and concept clips of the other three versions “Light”, “Ethereal”, and “Romantic” overlap with the many moments since their debut up till the present. “Light” in which the members look like young princes amid nature that they have all to themselves reminds us of the group’s early years, when they landed on the music scene as fresh, mysterious young boys up to their “Blue Hour” period. The members look like fallen angel-turn-rockers in “Ethereal” which reminds us of the rock number “0X1=LOVESONG (I Know I Love You) feat. Seori” where the members emulated young boys who got lost along the way. In “Romantic” the rose from the music video of “Good Boy Gone Bad,” which is a song about a boy’s overwhelming emotions over breaking up with his lover, makes another appearance except it has now withered and dried up. It’s indeed a “Deja Vu” much like the lead single off minisode 3: TOMORROW. The same events are repeated, but they’re not quite the same. TOMORROW X TOGETHER dance in the “minisode 3: TOMORROW Concept Trailer” just like they did in the “Blue Hour” music video. But instead of in a beautiful plain in “Blue Hour” they dance in a wasted forest with overpasses running through, trees strewn about. Things in the present have gone miserably wrong, unlike in the past. They are in the real world; the members jumped in willingly in the last album The Name Chapter: FREEFALL. Here, nobody believes that they were once young princes. 

“I’ve fun away countless times” in “Deja Vu” recalls the lyrics that asks us to run away with them in “Run Away,” that they want to run away in “CROWN,” and that they are running away in a gray car in “LO$ER=LO♡ER.” “Before our dusty crown” is reminiscent of “CROWN” and “A big crown on my, they aren’t hideous horns anymore,” and of the relationship between horns and a crown. “Deja Vu” is a culmination of TOMORROW X TOGETHER’s past. All of their pasts made TOMORROW X TOGETHER who they are here, in the real world. Just like in the opening of “CROWN,” there’s a Morse Code in the second track of the album that comes before “Deja Vu”: ‘- --- -- --- .-. .-. --- .—’. This signal that marked the team's appearance is still being sent out today. However, the signals in “Deja Vu” are “Morse Codes from the ruins” The boys have come to the present from the past, from fantasy to reality, but their present, right here is in ruins. The brutal reality of the present demolishes all the good times, just like the waves erode the sand. The beat and melody of “Deja Vu” continue, like Morse Codes sent from the past reaching us in the present. However, just like TOMORROW X TOGETHER’s past that is reflected in “Deja Vu”, the past that remains in their memories stops them from accepting reality just as it is. They want to keep believing that they were young princes, even if nobody would believe them. And reality is here to aggressively eliminate this wish. This is how they become overcome with an emotion that is neither just sadness nor rage. While “Deja Vu” is a mix of lazy trap and emo-rock, it is more of a combination of complex feelings than a simple mash up of genres. The slow buildup of pent-up emotions along with the beat erupts in the latter half of the second verse in an emo-rock sound with guitars and drums at the fore. It seems like we are severed from our past, but the past can also be the driver that awakens our emotions that have been suppressed by reality. It can create the miracle of tomorrow like in “Miracle,” the track that follows “Deja Vu.” The emotions that are repressed in “Deja Vu” climaxes in the second half of the second verse, then transforms into a bright explosive rock sound in “Miracle” - “tomorrow is visible when your eyes are closed.” We’re not sure if this miracle of tomorrow will ever come true. But like in the last track “Quarter Life,” save for the acoustic rendition of “Deja Vu,” “Deja Vu (Anemoia Remix),” they are in fact stumbling through a dark time, just “a quarter way into a long, long tunnel,” which is quite a far way from nine and three quarters. The adults say, “you only get these beautiful days of youth now,” failing to understand the younger generation, but the boys want to shout out “which way do we go”?! TOMORROW X TOGETHER’s past journey that has been compiled into minisode 3: TOMORROW flips the young people’s relationship with the past and the present, their dreams and reality. Adults in the real world say that young princes don’t exist, that we need to live in the real world. But minisode 3: TOMORROW tells us that all our dreams and love of the past is the way to a “tomorrow” that transcends reality. Young boys who are born in the age of hip hop meets rock to leap into tomorrow. 

Once you’ve listened to the whole album, go back to the first track “I'll See You There Tomorrow” and give it another listen. While you may not know which way to go and things may feel bleak, “Quarter Life” tells you to tells you to wander a little, work your way through it, then “I'll See You There Tomorrow” tells the young child who told me “see you again tomorrow” when “I wanted to run away,” and says “I believe that we are meant to be, it’s okay if you’re late, I will always wait for you tomorrow.”  In this moment, “I'll See You There Tomorrow” becomes the last moment when TOMORROW X TOGETHER passes through the dark reality and reaches “tomorrow” together, while showing us a glimpse into TOMORROW X TOGETHER’s future as the first track of the album. Reality is depressing, miserable. But future TOMORROW X TOGETHER invites themselves in the present, and the child that says “see you again tomorrow” to the beyond. The explosive voice from "Deja Vu” expresses the overwhelming emotion of tomorrow’s arrival without too much strain, accompanied by electronic sounds. 

TOMORROW X TOGETHER’s journey has been moving through the dreamy past and the present reality, and towards the future. minisode 3: TOMORROW encompasses the past, present and future all in one album to show us that the young boys are about to embark on a new journey. It seems like they have made it through a quarter of their lives in reality, but in the far future, they may be completely different luminous people. Like the message of the fourth concept trailer “Promise,” reaching what is “beyond” together is all a part of the youthful days shared by TOMORROW X TOGETHER’s generation. 

Photoshop cleanup of a few of the BroZone posters found in the Dreamworks Facebook post of Poppy's dream bedroom :)

Also, here are some more headcanons of the boys, this time about the relationships I think they had among each other:

John Dory and Spruce

Were closely bonded in their youth, being the two eldest of the bunch. They did a lot of duet performances together for talent shows and other events, and came up with the idea to start an official band after Clay’s egg came into the picture

John Dory and Clay

Enjoy working together primarily in organizing the band’s onstage routine, JD mostly deciding who does what vocals and Clay helping out with the choreography

John Dory and Floyd

JD admires the way that Floyd can hold his notes when they sing their songs and will compliment him about it, though secretly, he is slightly envious of it as well since he, leader of the band, can’t quite reach the same vocal range. As Floyd has a talent for writing songs as well, JD is usually the first one that he shares anything new with so that it can get the official BroZone seal of approval (AKA, just JD stating whether it’s bro-dacious enough to sing in their performances or not)

John Dory and Branch

JD barely got any real moments to spend with Branch in their youth, given that his focus by that point had gone to ensuring that the band’s needs were met and keeping their other brothers in check. When they were together, JD would work on teaching Branch how to sing, believing that he had lots of potential. In their adulthood, Branch gets annoyed by his cocky behavior (milder than it was when he was young, but still there) and JD likes to tease him with his childhood stage name ‘Bitty B.’ JD is very physical with him, pulling him into side-hugs that are a little too tight for Branch, trying to give him noogies, playful punches on the shoulder, and sometimes a sneaky slap on the rear

Spruce and Clay

Bonded over a love for rap music and will often try to “outflow” each other. Clay is also appreciative that Spruce is the most chill with his pranks, as he usually doesn’t really get too upset about them like the others at times will and instead praises him

Spruce and Floyd

Spruce tried his hardest with Floyd to give him love advice, but Floyd never showed interest and found some of Spruce’s tactics “gross” when it came to girls. Both have a soft spot for Branch, however, and sometimes have their bout over who will take care of him. They also bonded over a shared interest in their appearances - Spruce because he wanted to 'dress to impress' and Floyd because he wanted to nail the rocker look

Spruce and Branch

Spruce enjoyed toting Branch around as a baby (it helped him grab attention from girls, after all) and helped him get his suave on when performing. As adults, Spruce is super supportive of Branch and his relationship with Poppy, and amps up the love advice

Clay and Floyd

Floyd initially believed that Clay would be his closest brother prior to Branch’s birth, given that they would’ve been the two youngest, but quickly learned of Clay’s pranking ways. Clay at first liked making Floyd the target of his pranks, since Floyd would always be the most reactive due to his sensitivity. After a while, he feels bad when most of his pranks end up making Floyd cry one too many times and decides to lay off, instead having Floyd help out with a prank on the others every once in a while. With Floyd’s hobby of writing/journaling, he’ll sometimes write little made-up stories, which Clay in turn loves to read and compliment him on

Clay and Branch

Became great pals and pranking buddies, Clay often recruiting Branch to help him with pull a prank on the others

Floyd and Branch

The closest brothers in bond out of the bunch; Floyd initially just looked forward to Branch joining them so that he would not be the youngest anymore and his older brothers would no longer treat him like the baby of the group. That quickly changes when Branch is born, and Floyd takes joy in looking out for him and being the best/most responsible older brother that he can be. It works out, as JD (having already dealt with three other brothers) can take a little bit of a breather on sibling responsibilities to focus on leading the band. Being a more sensitive guy means that Floyd really enjoys the quieter moments with Branch, teaching him how to write, singing him lullabies, rocking him to sleep and feeding him his bottle. He'll sneak in quick hugs throughout the day and sometimes give Branch an extra treat when Grandma Rosiepuff is not looking

monsta x i.m ideal type reading

this reading is a paid commission, thank you so much for trusting in me! <3

overall:

someone highly attractive & well respected/admirable. someone kind, but unfriendly (the type of woman who is nice to everyone, but isn’t friends with everyone - she keeps a distance), someone who knows what they’re doing, follows her heart and knows how to pick her battles well (can prioritize), someone upfront who doesn’t mask how they feel when it comes to him (he would prefer you to be direct), someone charismatic with a vibe that can capture him and a look that he deems “exotic” (so maybe a diff race/ethnicity or nationality than what he’s use to), someone secure that doesn’t depend on him too much, but at the same time, i think he wants someone who would give themselves to him completely and almost blindly (cutting off people & giving up things/interests for him, obsessing over him quickly), someone who trusts in him completely, someone chill & non-confrontational (doesn’t like the aggressive types), someone who tries to keep themselves looking young or someone with a youthful vibe/personality, someone with a unique or more edgy look/personal style (by edgy I don’t mean an emo or rocker look necessarily, just something different)

turn ons:

when someone is influential or a trendsetter (like if all the girls are copying her and wanna be her or something, he finds this kind of attractive), high self-esteem, he may prefer to get with other artists or entertainers, someone fun who likes to enjoy good times with him, when someone has a nice voice and speaks well, when someone is observant and isn’t easily fooled by others, when someone is independent can can handle things on their own (or is good at controlling emotions), “pick-me’s” or women who don’t like or get along with other women/women who prioritize and center men, when someone is very physically attractive, when someone has a high sex drive or is ready whenever he is, small/petite women, cute/soft face (like fluffy cheeks), strong emphasis on cute & natural appearance (minimal makeup and no sexy vibe) & on the heavier/curvier side.

turn offs:

jealousy and when someone lets other people come between a relationship, infidelity (i don’t think he’d ever give a cheater a chance) when someone brings drama or messy people into his life, when someone is too forward or comes on too strong, aggressiveness & self righteousness, i don’t think he likes when his partners are too concerned with social/political issues, cold blooded people, highly emotional people, when someone isn’t really working towards anything or doesn’t have a goal they’re trying to reach in life - indecisiveness, someone he sees as overindulgent (too promiscuous, too into parties, too into food etc), someone too religious or spiritual/someone & doesn’t practice what they preach, preachy people in general, i think he’s picky about breast size (doesn’t like too small or big), when someone tries too hard to stand out, when someone is overweight, when someone is older or has an older or more mature appearance, & tall height.

dunky and rust! took me forever but details below

Rusty:

*clutches fists at overalls costing $1.29 in the 50s

ANYWAY uhm Rusty came to the SR in 1957 so I took some inspiration from both 50s and 60s clothing but mostly 50s

But yeah like all the other freethinkers🤖 in this community i subscribe to Rusty being nonbiney (altho they're mostly masc presenting)

I want to say that Rusty's jumpsuit is based off women's workwear but like. women's workwear in the 50's was based off men's workwear so what difference does it make😭

Ripped their boots straight from the bottom right of the catalog here so hehe

Their nameplate is specifically very simple and non-glossy to designate them as a maintenance worker as opposed to for passenger service

I don't. um. intend for Rusty to be that much taller than overhaul 2 loey. they're probably around the same height at best and Rusty is def a bit shorter than overhaul 3 loey

also they're wearing a flat cap. i don't like drawing them but it made the most sense so,

i don't know if they had binders in the 50s? If they didn't then um. I'm sure there was some kind of equivalent shapewear-

Duncan:

this guy was such a damn pain to design for oml

i really need to find a way to save my ref pics when i make my pencil sketches so i can add them to these posts when im done djfdjbfk

i gave duncan beeeaaauuuttifull lushious long blonde locks💅because he's got a long ass funnel HAHAHAH

he's tall. but he's also lanky. he's like a very tall twink sorta. like i get that he's strong cuz he worked at a factory but bro cannot retain muscle like. he's sticks.

oh and also blue eyes because of douglas. yyyyeah

anyway you might be wondering. capy what the hell is that ugly ass band of pattern across his chest

well that was my BIG BRAIN moment.

starting around like the 19th century people would take the fabric used to make sacks for shipping dried goods like animal feed and flour, and turn that fabric into clothing

this originated in more rural communities but became more widespread during world war I and especially world war II with rationing and whatnot. basically when companies noticed people wearing their sacks they began printing patterns onto their sacks for this explicit purpose (cuz you know. marketing)

before arriving to Sodor, duncan worked in a factory. you know who else produces dried goods?? factories!!!

around the time he arrived to sodor was also when American rock and roll was really influencing British youth, particularly with the rise of teddy boys and then the rockers (which is from my understanding, greasers but British). So around the time Duncan was heading to Sodor there was already an air of rebellion among the UK's youth

I took particular inspiration from Rockabilly based on its noted influence on British popular culture, which from what I've seen, adopts some more flashy elements to their clothing in contrast to the traditional suit and dress. I was this close to making duncan wear a bowling shirt

the kerchief is also because of this hehe

so in a moment of genius/delusion, i thought. what if while working at the factory, duncan saw the trends of people using their feed sacks as clothing fabric, and stole a bag or two for himself so he could sew on a strip of the fabric onto his work shirts because he's, ya know, mr. rock n roll

yes i did all that just for a stripe of fabric on his chest i am VERY happy with this choice

btw here's the exact pattern i used (i just ripped it off the internet)

ok that's it thank you for reading through my rambling once again!! lowkey i want to post lil western next but also. i talked abt making rws/formal uniforms for the SR crew so. we'll see what happens next lol