peter henderson

Idiot: Peter Maximoff/Quicksilver Imagine

Based off of prompt #81

Summary: Peter accidentally runs into the reader when they get home.

A/N: I AM SO SORRY I HAVEN’T POSTED IN SO LONG!!!!! School has been extremely busy lately so if you have requested a prompt it will get done but it might take me a while. Because I feel bad here is a random prompt I wrote a few weeks ago <3

I walk in the door and suddenly fall to the ground with a thud. “PETER! WHAT THE HELL?!” I shout, knowing exactly why I’m on the floor. The silver haired boy appears in front of me in an instant. He shoots me a sheepish smile as he grabs my hands and pulls me onto my feet. “Sorry babe, I wasn’t paying attention.” he says. He pulls me in for a hug and kisses the top of my head. I bury my face into his shoulder and leave soft kisses on his collar bone. I lift my head as I say “you know this is the third time this week you’ve done that”. He sighs and rests his head on mine. “I’m sorry baby.” he says and I can hear the smile in his voice. He knows that that’s my weakness. “Oh don’t baby me mister. You owe me” I say smiling into his shoulder. He removes one of his arms from my shoulders and shuts the door before placing on the back of my head, tangling his fingers in my hair. He looks at me with his beautiful dark eyes and softly says “ I love youuu” dragging out the ‘u’ with a small smile. I lean up and place a gently kiss on the side of his mouth. “I love you too but you still owe me” I say smirking slightly. He raises an eyebrow at me before throwing his arms around my waist and picking me up. I start laughing and he throws me over his shoulder and walks into our shared bedroom before tossing me onto our bed. He softly tickles my sides before literally jumping on top of me. He just lays there with all of his weight fully on top of me for a moment before pushing himself up onto his forearms. I’ve finally stopped laughing and he dips his head down to kiss my lips briefly. As soon as his lips leave mine he attacks me, leaving small kisses all over my face and neck and I start laughing again. He continues for a minute or so before flopping over beside me and pulling me close to his body. “So, am I forgiven?” he asks with a small smirk. I look up at him, playfully rolling my eyes and saying “Of course”. He smiles and places a long kiss to my lips. “I love you” he mumbles against my lips. He pulls away and I say “I love you too. Idiot”. He kisses my forehead and says “I may be an idiot. But I’m your idiot”. I laugh and shift so I’m laying with my head on his chest and his arms wrap themselves around my waist. He rubs my back with his warm hands and I snuggle further into his side. He softly starts humming a slow song and I feel my eyelids getting heavy. Not long after, I fall asleep, wrapped in Peter’s arms, smiling like an idiot.

Prompt Requests

@lex-luth-or has agreed to let me use here prompt list so feel free to send me a request with the number and a character and I’ll try my best <3

1. “This isn’t gonna end well!”

2. “Did you enjoy yourself last night?”

3. “Are you kidding me? We’re not ‘fine’!

4. “You’ve only heard his side of the story. You never asked for mine.”

5. “Well, this is where I live.”

6. “Oh my God! You’re in love with him/her!”

7. “You make me feel like I’m not good enough.”

8. “For some reason I’m attracted to you.”

9. “I am not losing you again.”

10. “Why don’t they just kiss already?”

11. “I think I picked up your coffee by mistake.”

12. “All I wanted was your honesty.”

13. “Why do you keep pushing me away?”

14. “I can’t explain right now, but I need you to trust me.”

15. “I’ve never felt this way before….and it scares the shit out of me.”

16. “Don’t fucking touch me!”

17. “Are you really taking his side against me?”

18. “Wait a second are you jealous?”

19. “I wish I could hate you.”

20. “I’m sorry if this upsets you, but I’m going to marry her/him.”

21. “You know, it hurt when I realized that you’re not in love with me. But nothing can compare to the pain I felt when I saw you fall in love with her.”

22. “Come over here and make me.”

23. “This is by far the stupidest plan you’ve ever had. Of course I’m in.”

24. “You’re the only one I trust to do this.”

25. “I thought you were dead.”

26. “This isn’t just about you. It’s about what’s best for all of us.”

27. “I love you, you asshole.”

28. “You did this for me?”

29. “You can’t protect me.”

30. “You know I wouldn’t do this if I had any other choice.”

31. “Promise me you’ll look after your mom.”

32. “I’m so stupid to make the mistake of falling in love with my best friend.”

33. “Stop talking about the past, I could be dead in a matter of hours… make me up a future.”

34. “The way you flirt is shameful.”

35. “I waited and waited, but you never came back.”

36. “You never told me you had a fucking twin.”

37. “I want to go back to before….”

38. “I just wanted an easy day with my girlfriend/boyfriend. What’s so wrong with that?”

39. “Go then, leave! See if I care!”

40. “Why are you up so early?”

41. “Please, take me instead!”

42. “You braided his hair?”

43. “She’s been missing since Friday and you’re not worried?”

44. “Have you lost your damn mind?!”

45. “Please don’t argue. You have to leave right now, you aren’t safe here.”

46. “I’m your daughter.”

47. “I’m not surprised that you murdered him.”

48. “Is there a special reason, as to why you’re wearing my shirt?”

49. “Am I supposed to be scared of you?”

50. “Don’t use me as an example. I wasn’t a good kid.”

51. “Is that what you’re doing? Trying to make me to hate you?”

52. “I’ve been in love with you my entire life.”

53. “I’m not happy here.”

54. “If he’s going to treat you like shit I’m going to kick his ass.”

55. “I just want to cuddle and watch Friends.”

56. “You’re hiding something from me.”

57. “If I die, I’m going to haunt your ass.”

58. “I want my best friend back.”

59. “You better have a good reason for waking me up at the ass-crack of dawn.”

60. “I don’t know what I did to deserve you.”

61. “A wedding?”

62. “I just want to be alone right now.”

63. “Don’t you dare to ever do that again!”

64. “Where would someone hide in a town like this?”

65. “If I ever see you anywhere near her, you’ll have to deal with me!”

66. “I thought you were a dream come true.”

67. “Everyone keeps telling me you’re the bad guy.”

68. “I came here to explain what happened, and I’m not leaving until you listen.”

69. “I made a mistake.”

70. “H-How long have you been standing there?”

71. “You can’t break my heart like this!”

72. “I wasn’t going to wait around for you forever.”

73. “The skirt is supposed to be this short.”

74. “I’ve moved on.”

75. “This is why you don’t ever have any shirts to wear.”

76. “Run, and don’t ever look back.”

77. “The three seconds rule doesn’t apply to sticky foods.”

78. “I think I’m in love with you, and I’m terrified.”

79. “Please, don’t give up on me.”

80. “When are you going to realize that I don’t care?”

81. “I may be an idiot but I’m your idiot.”

82. “When you love someone, you just don’t stop. Ever. Even when people roll their eyes or call you crazy… even then. Specially then!”

83. “Fuck…I feel I’ve been hit by a car.”

84. “Those things you said yesterday… Did you mean them?”

85. “I know that you have reached a decision, but given that it is a stupid ass decision I have elected to ignore it”

86. “I’m tired of being your secret.”

87. “They always make shower sex sound so appealing, but honestly it seems quite dangerous.”

88. “Do you ever think if people heard our conversations they’d lock us up?”

89. “Let me tell you exactly where in hell you can go.”

90.“Who gave you that black eye?!”

91. “After everything you did, you’re asking ME to apologize for snapping at you ONCE?”

92. “I miss her so damn much, and it’s killing me that she’s gone!”

93. “What the hell are you doing here?! I told you I never wanted to see you again!”

94. “It must be hard with your sense of direction, never being able to find your way to a decent pickup line.”

95. “Are you drunk?”

96. “I’m sorry, what were you saying? I keep getting lost in your eyes.”

97. “You got her pregnant?! What were you thinking?”

98. “It’s okay baby, I’m here for you.”

99. “You say the nastiest things when you’re angry, so yes, I’m walking away from you now.

100. “I’m starting an idiot jar. Any time you do or say anything idiotic, you have to put at least a dollar in it—more depending on how stupid the thing that you said or did was.”

101. “My parents asked about you.”

102.“Oh, gosh, you’ve insulted me! What ever shall I do? I’ll be mentally and emotionally scared for years!”

103. “You haven’t even touched your food. What’s going on?”

104. “Do you need me to get anything from the store?”

105. “They say I’m in here because I’m crazy, I think I’m crazy because I’m in here.”

106. “There’s no getting out of this. You ruined me”

107. “If you don’t want to talk about what happened, then say so. Don’t just lie and say it’s fine.”

108. “I was going to kiss him, but then my friend texted me about going to Taco Bell, and, well, there’s this cashier that works there who is way cuter, so I bailed on the rest of the date.”

109. “Don’t say you love me.”

110. “It’s a hobby of mine to prove you wrong.”

111. Meeting him/her for the first time

112. Him/her asking you out

113. Your first date

114. Your first kiss

115. Cuddling with him/her

116. Neck kisses

117. “I swear I didn’t mean to touch your butt.”

118. “Why are you wearing my shirt? Please, don’t take it off. It looks good on you.”

119. Going on a vacation together

120. Going to an amusement park together

121. Dancing together

122.Him/her rescuing you (if the person you want can do that ex. superhero)

123. Your first time

124. And what did we learn from that?” “Not to mess with you.”

125.Comforting him/her after a nightmare

126. The wedding day

George D. Henderson (The Puddle) Interview, Part Two

Cover of the 2017 And Band/Perfect Strangers reissue. 

Ryan: How did the And Band/Perfect Strangers (1982) split EP come about?

George: We moved down to Christchurch. Bill Vosburgh was living down there and we were looking to get out of Wellington. We ended up living with a band called The Perfect Strangers in their practice room, which was Bill and his friends; they practiced at their house. We bought another tape recorder and started recording stuff. At some point, we thought, “Well, we could actually put a record out if we hired a good tape recorder like a Revox.” We found a place that could do that. Susan’s parents lent us some money to hire it. We made some recordings—one side from us (And Band), the other side from Perfect Strangers. It was a 33 1/3 RPM record. It just kind of worked out. We didn’t necessarily put our best material on it. It was what we were doing at the time. The Perfect Strangers stuff isn’t typical of them at all, I think. There was some exceptional stuff Bill was working on at that time. It was more of a freeform, free-jazz thing they wanted to do on the record.

Ryan: Didn’t Roger Shepherd and Roy Montgomery work at the EMI record shop in Christchurch? Did you take the EP to them to sell in the store?

George: No, I think we just gave it to our friends. I don’t think we could have gotten it into a record shop. It was just being sent around the country to people we knew who were asking for it. Some of them might have paid us, but I don’t think money had a lot to do with that. I don’t remember hearing it had been sold to any shops.

Ryan: I knew the original pressing was of a small quantity, but it’s rarer than I thought.

George: Yes. At that stage, we were part of some big underground network and we weren’t connected to anything official, and we didn’t trust those people.

Ryan: Stu Kawowski (Axemen, Above Ground) and Steve McCabe (Axemen) both told me how influential the And Band and Perfect Strangers Rotunda gig was to them and others in the Christchurch scene. Do you remember that show?

George: That show was later into our period in Christchurch. By this time, Mark was singing with Perfect Strangers which he hadn’t started out doing. He was singing with us too, and we had lost Richard Sedger. We were a three-piece then: Susan, me and Mark. Mark with the Perfect Strangers was more of a high-powered, rock-n-roll machine. He was a great rock ‘n’ roll singer. Their songs became more riff based. The Rotunda gig was just us looking for free shows. We were likely chucked out of the pubs we were playing at. The Art Center might have thrown us out as well. We were looking for any venue that would have us. The folks who showed up to the Rotunda gig—a lot of them we’re still friends with today.

Ryan: Did the And Band wind down when you and Susan had a child?

George: Yes. It was kind of winding down anyways. I didn’t feel like playing music as much. I didn’t really like Christchurch. Things hadn’t worked out the way I wanted them to. Susan and I went to Dunedin to have our child, Emmie. We ended up moving outside of town on the harbor. I remember recording some music out there, but I didn’t have any ambition with music at that stage. One night, I was listening to the radio and they started playing the Chills; songs off the Dunedin Double EP (June 1982). I thought, “This sounds like Syd Barrett. And they’re playing it on the radio. Maybe the time is right for me again.” Eventually, I started going into town and seeing these bands and getting to know the people in them. I especially got to know Peter Gutteridge and Ross Jackson. Ross had never played bass, but because we were hanging out a lot I taught him how to play so we could do some songs together. The Puddle slowly formed around me and Ross. The real coup was getting Lesley Paris in the band to drum, because she was a reliable, good drummer. She made the whole thing sound viable, so I started writing songs again.

The Puddle at Christchurch Technical College, 1985. Photo by Stuart Page. 

Ryan: You always put together good bands, but that early version of the Puddle had some amazing members: Lesley Paris and Norma O’Malley from Look Blue Go Purple, Peter Gutteridge, Lindsay Maitland and Ross Jackson.

George: It was great. I’d like to think that they liked my songs which is why I was able to get them in the group. There were some other people involved early on before that lineup stabilized. For some early demos, Bill Vosburgh played drums. Later on, we did a one-off gig with Shayne Carter on drums and that was the first really good gig that we played. Ian (Henderson) played drums once as well early on.

Ryan: I really like Peter Gutteridge. You both seemed to have some things in common and similar sensibilities. What was working with Peter in the early Puddle like?

George: I think I met Peter through Ross. They had non-musical interests in common. We’d hang out with Peter a lot. He was interested in the same things we were—not having a job and going on long walks. Peter liked experimenting with sound as well as writing stuff. At one stage I kind of briefly joined the Great Unwashed. Before I started the Puddle, Pete had joined the Great Unwashed. He joined up with the Kilgour brothers again and Ross Humphries played bass. About the time they put out their EP, they played Christchurch and I sat in with them for one of their gigs. Then David left; he didn’t want to finish the tour. I think they were getting too big for him. The band wanted to finish the tour, so they asked me if I wanted to take over for David for a bit. Those were pretty big shoes to fill, but I gave it a go. I played the last couple of gigs with them. That was the first experience Peter and I had of playing music together. Pete was keen on playing keyboards. I couldn’t play the keyboards in my band because I was playing guitar. I got him to do it. Pete toured with us in early ’85. That’s the version of the band that got recorded (on Pop Lib). He played quite a few gigs with us. Later on, he started playing guitar. Pete actually played some of his future Snapper songs with us. They were sort of proto-Snapper songs. He was developing them before he left us to form the group. We would discuss experimental ways of making sounds and recording. Pete was frustrated because he was more into the sound of that. I’m the kind of guitarist that won’t even bother with an effects pedal if I think I can get by without one. I don’t even know what the settings on my amp are. As long as I can hear it properly, I don’t even want to mess with it. Pete was the exact opposite. He was more interested in the texture of sound. We drifted into two different camps eventually.  

Ryan: You got the Puddle going in about ’83, correct?

George: We started the band in ’83, but it got going in ’84; we started playing live that year. We recorded (Pop Lib) in 1985. Lindsay died in either 1986 or 1987. We were taking too many drugs, the guys in the band anyway. We lost Lesley and Norma because we were so unreliable. By the end of the ‘80s, we ended up with a few different drummers. I went to prison for a short while around 1990. I was walking into labs and getting ether which I was really into; chemist shops as well. I got caught and it made me refocus my ambition on getting the Puddle together as a pop group. I wanted to make a focused, non-experimental album, if you know what I mean. Around this time, the start of the 1990s, you got dance culture in rock music. I could relate to that. I understood that stuff. I was listening to Prince before other folks in Dunedin were. I knew what needed to be done. I started up a band that had the old elements of the Puddle, but it had a relaxed feel around things. We got some good players in on that band. We released a single on Flying Nun and we recorded the album Songs for Emily Valentine that was released later (recorded in 1992, the album came out on Powertool Records in 2006). That was our most commercial period I would say.

Ryan: What was your relationship with Flying Nun like? Obviously, you had a connection with Lesley Paris. It seemed like she was the person responsible for singing all the good acts after the Mushroom buyout.

George: Thanks to having Lesley in the band we were able to get our albums released. I don’t think they would have been otherwise. They weren’t released on Flying Nun’s main catalog; if you look at our catalog numbers, they got their own set of numbers apart from the label’s main series. That was fine by us! God bless them, because we never would have had records out had they not pressed them. On the other hand, kind of dealing with them was really frustrating. They were an indie label; they really didn’t know how to make money or market stuff. So when we started doing material that was commercial, that would have been worth promoting, they didn’t have a clue what to do with it. It felt like we had something more commercial at the time than anything else they were doing, and I mean that in the right way, and Flying Nun did nothing with it. It’s the dilemma of the indie label.

Ryan: On that note, the “Thursday” single you released in 1993 was exceptional pop. It was your last Flying Nun release and I think one of your strongest songs from that period.

George: I think so. We had an album of that stuff, but we couldn’t get them interested in it.      

Ryan: Into the Moon (1992) was great. I realize it has Pop Lib on it, but the new material, like “Everything Alright,” is exceptional.

George: That’s the best album from that period. What we’re doing there is a live set that we played a lot. We were very familiar with the songs. They were songs that worked well live that we recorded.

Ryan: Was it the lack of enthusiasm from Flying Nun that caused the Puddle to lay dormant for over a decade?

George: No. It was always hard keeping a band together when not enough people were coming to the gigs. People hadn’t heard the records. It was never a problem in Dunedin, but if we went on tour it would be a problem. People didn’t really know about us in the rest of the country. In Dunedin, we had a following and a reputation.

           I got sick with Hep C. I had a drug habit. I didn’t feel particularly creative for years at a time again. It was typical of me. I do stuff in spurts. I’m motivated and enthusiastic about the possibilities of what I’m doing, and once I’ve done that I’m not going to keep repeating myself. It was a bit of all of that. It was a combination of being sick at the time, but I had also played out what I was trying to do.

           In the mid-‘90s I was in a band called Mink. It was sort of a techno-pop group that would do maybe a third of their stuff with my songs. I had that outlet for my songs. I was writing stuff that wouldn’t necessarily fit in with a rock group. There were a variety of different musicians in Mink.

By the end of the ‘90s, I had fallen out of music. I wasn’t really well enough to play. In the early 2000s, I started getting my shit together. I was getting healthy. I started playing with Ross (Jackson) again and the drummer from Mink, Heath Te Au. We started playing live again, playing well I thought. One night we were playing at this place called Chick’s Hotel (in Dunedin) and a woman came up and introduced herself. I had known her earlier in the ‘90s. We clicked. She ended up doing the cover art for our next record. The very next day, I got a phone call from someone we played with back in the ‘80s, a guy named Richard Steele, who said, “I really want to make a record. Do you want to record an album for me?” Two life-changing things happened to me within a day of each other. We ended up making the album that became Playboys in the Bush (released in 2010). It was the first really proper studio recording that I had done. We recorded that in 2005.

Ryan: I noticed on Playboys in the Bush you recorded a song (“Purple Horse”) Lindsay Maitland wrote.

George: In the old days of the And Band and the Spies I wasn’t really a lyricist. I didn’t write many of my own lyrics and the ones that I did weren’t particularly great. I’d steal lyrics from whomever I could. The people around me were wittier than I was and I’d take their poems and put them to music. I might’ve chipped in with lines here and there. The gist of “Purple Horse” I wrote in the days of the And Band. Lindsay was in the room and he contributed those lines. I never finished the song until the Playboys in the Bush session. I liked the idea and I wanted to finish it. They’re Lindsay’s lyrics finished much later. Like a lot of musicians, I keep the old stuff locked into my memory. Some of the contributions are from people who have passed.  

After working with Richard Steele, I started recording with Ian (Henderson) because he had a studio as well. That was the No Love, No Hate album (2007) and The Shakespeare Monkey (2009). We revived The Puddle in the 2000s.

Ryan: You got really productive.

The New Existentialists, 2015. Photo by Hayley Theyers. 

George: I did. I felt like I had wasted all this time. There is a lot to catch up on. I felt younger and full of energy. I enjoy playing again. It’s something that always goes well now, but that wasn’t always the case. I was traveling down to Dunedin to play with the Puddle and the other guys were traveling up here to Auckland to tour. I just thought, “I really need a band in Auckland.” I met these two young guys, Nathan (Bycroft) and Jamey (Holloway). We formed the New Existentialists. We got a little help from Chris Heazlewood of King Loser on synthesizer. We recorded an album a couple of years ago, and you got your hands on part of that (2017’s “Elton John/Mysteries of the Worm” 7” on Spacecase).

Ryan: I was pleased to see Chris on the track. I really like Cash Guitar, King Loser and Olla. Of course, he played in Snapper as well.

George: That’s right. The circle remains unbroken. What we’ve got now is a power-trio and it sounds like a power-trio should. But I’m not a flash lead player. I wanted to hear other sounds. Chris has this random synthesizer sound to throw in there. It’s like an Eno touch. Some of the great ‘70s bands, like Hawkwind, Amon Duul II, and Pere Ubu, had synthesizer players that were not really musicians. They put this electronic sound into the music. It’s not necessarily going along with the arrangements at all. I was looking for something like that.

Ryan: You’ve got the Puddle and the New Existentialists going. What’s on the horizon, George?

George: I want to do some shows to promote the single and put out a full-length with the New Existentialists. I’ve got two records worth of material. The album you pulled some tracks from is a tribute to the music that I listened to in the ‘70s. It might sound that way only to me, but the idea was to put music on it that could’ve only been made in the mid-‘70s. It wasn’t to have any form of styling or sound that was new after punk hit. It was the theme for the record. It was about hard rock before funk got into it. The earliest reference in it is to the Beatles and the newest reference is to the New York Dolls.

Ryan: In a way, the record is a reference to all the left-of-the-dial music you were listening to in Invercargill when you formed your first band (Crazy Ole and the Panthers) with your brother. You mention “Detroit punks” in one of the songs.    

George: It is. A lot of that came from just reading the NME. We didn’t even necessarily have the records they were writing about. I could really relate to the prose—the myth people like Charles Shaar Murray were creating about the records.

George D. Henderson, 2017. Photo by Hayley Theyers. 

I found this list posted on twitter by Teenage Fanclub’s very own Norman Blake who was pointing out that the guy who recorded all these acts was heavily involved in the new Teenage Fanclub album.

So not being able to resist ephemera from the Glasgow music scene of teh early 80s I had a look and among the pop legends of the era such as Aztec Camera, Orange Juice and The Bluebells there was also the less acclaimed Dreamboys!

The guy is called Davy Henderson and as the list shows he recorded The Dreamboys on 3 occasions in 1980/81. A bit of hunting around on the internet also reveals that he was a member of Glasgow band The Fire Engines which Peter name-checked in a fan encounter video with the band “The Safety Fire” at Glasgow Central station back in 2013.