“You know, sexism in the punk scene — or just in rock and roll in general — is so easily demonstrated by the amount of women or queer people that you see on stage versus the amount of cis males that you see on stage. And if you have a female drummer or guitar player or whatever, and they get onstage and they shred, the response you’ll see them get is, ‘Oh wow, you can play pretty good for a girl.’ Or even the classic cliché of the dude handing off his leather jacket to his girlfriend so he can go kick ass in the mosh pit.”
- Laura Jane Grace
Laura Jane Grace is the frontwoman of the Florida punk rock band Against Me! In 2012, after the band had released five studio albums, Laura came out publically as a transgender woman via The Rolling Stone Magazine, and begun her transition, taking her maternal grandmother’s name, the name her mother would have given her had she been assigned female at birth.
Since then Laura has been very vocal about transgender rights, in 2014 her band released their sixth album, titled Transgender Dysphoria Blues which dealt almost explicitly with themes of gender, trans issues, and transition. The same year she also had a short docu-series with AOL titled True Trans with Laura Jane Grace where she talks with other transgender people while on tour with her band.
In 2016 when many artists and bands cancelled shows in North Carolina to protest the state’s transphobic bathroom bill HB2, Against Me! was one of the bands who opted to instead donate their shows proceeds to LGBTQ+ organizations. While on stage in NC, Laura took a stand against the bill by burning her birth certificate and saying goodbye to gender.
Laura Jane Grace is loud and proud of who she is and has no time for anyone’s transphobia or misogyny. She also makes some damn good music.
Title: Sunshine in My Eyes Author: monroeslittle Summary:Mr. and Mrs. Evans are killed when Lily’s only a girl, and she’s supposed to go to a home with her sister. Instead, a relative they didn’t know they had comes to collect them, and introduces Lily to manners, magic, and a life that’s just the slightest bit different from the life she was supposed to live.
Title: The Shortest Order Author: fyeahjamesandlily Summary:Pretending to be in love with James Potter would be hard for Lily Evans… except for the small fact that she’s pretty certain she’s been in love with him since sixth year anyway.
Title: Pepper Up, Peppermint Author: fyeahjamesandlily Summary: The jolly chime of the doorbell cut through Lily’s medicine-induced fog, rousing her. Even after the last echoes died away, she made no move from her nest on the sofa. She was closest to the door, sure, but she was also closest to death.
Title: Pas De Deux Author: petalstofish Summary: James wanders into a shop on Christmas Eve and meets a ballerina named Lily
Title: At First Glance Author: jamesdeerly/house_of_loyalty Summary: It started with the goodbye of their sixth year. This is what Lily knows to be true.It was the first goodbye they had said as friends. Not as enemies, not as a potential couple, just as friends…
32: do you like me? Check yes or no 291: those things you said yesterday, did you mean them?
Philip Hamilton x reader
A/N: I felt like I could make the story flow better if I just did 32, but I really want to do 291 at a later date. Sorry it’s been so long but I hope to be back and actually be active. (Sorry for the really bad title)
Sixth period history, your favorite class of the day. Sure you were pretty good at history and enjoyed it, but the main reason it was your favorite was Philip Hamilton. Sure he probably didn’t know you existed, but just like many other people in school, you had a crush on him. This all was fine until one day you got paired with him to do a project on the Scientific Revolution. “This won’t be too hard,” you thought to yourself.
Satyr or shy boy? Shaman or skilled manipulator? The contradictions within rock’s most controversial superstar dominate his dazzling new movie — and, it seems, the artist himself
By Kurt Loder
PRINCE HAS COME. IT IS A WARM summer morning in the Minneapolis suburb of Eden Prairie, and a black-clad rider on a purple Honda has just pulled up to a nondescript modern warehouse on Flying Cloud Drive. Inside, a photographer is waiting. He has flown in from Toronto with an assistant and most of the contents of his studio to photograph Prince for the cover of this magazine. A standard rock-star shoot, he figures, scoping out the concert-size rehearsal stage, the costume room, the banks of musical equipment.
When Prince walks in, the first thing the photographer notices is how small he is: he seems slight even in his five-inch stiletto-heel boots. He is wearing a dramatic black hat, a skintight black shirt open to the navel and tight black trousers ringed with ruffles from the knees down. He is carefully unshaven — only his cheekbones have been scraped smooth, then caked with makeup — for that stylish New Wave-wino look. He seems to be saying something: Hi? He speaks so softly that the photographer actually has to lean down to within several inches of his face to hear him. He is making it quietly clear that, while he has agreed to pose for the cover, he will not pose for any photos for the magazine’s inside pages. To be completely frank, he really doesn’t even want to do the cover, but. … The photographer presses ahead, flourishing concepts and assetting his magazine’s insistence on a white backdrop for the photo. Ach! Prince had his heart set on hot pink. The session gets off to an uneasy start.
It is decided to wheel in the purple Honda, a perfect prop. The motorcycle is a central visual ornament of Purple Rain, Prince’s custom-tailored movie debut — a picture with so much prerelease “top spin,” as they say in Hollywood, that the media, anticipating a major sleeper, have been abasing themselves for weeks in the hope of wangling interviews with the recalcitrant star. But Prince does not do interviews anymore. He is, however, full of advice about camera angles and poses, and the photographer fights back a gathering urge to whack him with a light meter. Quickly, he snaps off some preliminary test shots with a Polaroid. Prince seems to approve of the results, then slips away while the photographer makes some final lighting adjustments. An assistant appears and carefully confiscates the seven Polaroids. When Prince returns, he seems restless and even more remote. He’s decided he doesn’t like the original setup, so they do another Polaroid, a full-length shot. Prince disappears again. The photographer hears the sound of drums and cymbals being bashed in another room. Then silence. After half an hour, the assistant reappears and announces that he’s just driven his employer home. Prince, he says, is extremely sensitive: “He actually gets physically ill at having his picture taken.”
On his way out, the photographer can’t help but hurl a silent curse at the warehouse walls. They are lined with photographs — blowups, big ones. All studies of the same smooth, unsmiling features, the same inscrutable sensuality and unfathomable flamboyance. All of them dominated by those liquid, Keane-kid eyes. All of them pictures of Prince.
JUST WHO IS THIS SELF-ENVELOPED STAR? HOW IS IT THAT he’s outselling both Bruce Springsteen and the mighty Jacksons in the record racks? What sort of monumental chutzpah must it take to step away from rock videos and make a feature-length movie — one based on the hopes and deepest fears of your own brief life? How accurate is the portrait so exuberantly painted by Purple Rain? How much painful truth remains hidden beneath its often dazzling exterior?
The picture one acquires of this twenty-six-year-old wonderkid from scanning his songs and canvassing his colleagues and acquaintances is murky and uncertain — which is the way he wants it. As Owen Husney, his first manager, once advised him, “Controversy is press.” And Prince, for all his vaunted reclusiveness, has certainly been controversial. Husney started the mystique ball rolling in 1977, trimming two years off his protégé’s age and obscuring his full name. But Prince — Prince Rogers Nelson, actually, born in Minneapolis on June 7th, 1958 — had his own ways of getting attention. Raised in an overwhelmingly white environment, he became as adept at playing hard, guitar-based rock & roll as he was at funkier black styles. (In early interviews, he also emphasized a multiracial background — half-Italian father, mixed-blood mother — even though, by most reports, both his parents are light-skinned blacks.) And then there was his frankly lubricious sexuality, relatively subtle at first, but later leading him to perform in heavy makeup, bikini briefs and thigh-hugging leg warmers, singing songs with such single-entendre titles as “Head.”
These ploys got him noticed, all right. But to most of the record-buying public — even as he began spinning off such provocative satellite groups from his hometown as the Time (led by his favorite foil, Morris Day) and the all-girl Vanity 6- Prince was, and remains, essentially a mystery. In fact, about the only thing on which his friends — and even his foes — agree is that Prince appears to be the genuine article: a musical genius. And not since the Fifties, when that accolade was applied to Ray Charles, has the term seemed so attractively apt.
Signed by Warner Bros. Records in 1977 on the basis of an astonishing one-man-band demo tape, Prince was awarded what is said to be the most lucrative contract ever offered by the company to an unknown artist (“Well over a million dollars,” claims Husney) and was granted near-total creative leeway in the recording studio. He wrote all the music, played practically every instrument, produced all nine tracks and delivered an album, For You, that kicked off with an ethereal, gospel-drenched mélange of a cappella voices (all Prince’s), concluded with a screaming rock-guitar feature, touched down in between on a carnal classic called “Soft and Wet” and was dedicated to “God.” But For You was not a commercial triumph: six years after its release, that first Prince LP has yet to sell 400,000 copies and remains his least-known album.
He’s been riding a rocket to the top ever since, however. His next three records — Prince, the groundbreaking Dirty Mind and the even more successful Controversy — all went gold (sales of 500,000 copies). And then, late in 1982, came the dazzling 1999, a double-record set that has sold nearly 3 million copies and is still on the pop charts more than ninety weeks after its release. The album fairly bristled with hits — the title track, “Delirious,” the masterfully metaphorical “Little Red Corvette.” In the view of Warner Bros., it marked the long-awaited point at which Prince’s seamless fusion of white rock & roll and black dance-funk became commercially undeniable; and it was seen as setting the stage for Prince’s next album to create the kind of cultural explosion that traditionally heralds the arrival of a true superstar.
But there was one unknown and slightly troubling factor in this commercial equation: along with his sixth album, to be titled Purple Rain, Prince would deliver a feature-length movie of the same name. Filming had begun in Minneapolis last November 1st, and details of the project were not such as to excite keen anticipation among music-biz moneymen. The director, Albert Magnoli, had never been in charge of a feature before. The cast, including all five members of Prince’s band in key roles, had, with only two exceptions, no acting experience. The tight budget ($7 million) and rushed shooting schedule (seven weeks) did not augur well for stellar production values. And, of course, who ever heard of making a movie in Minneapolis? In the winter, yet? In addition, the script was said to be … autobiographical?
WILLIAM BLINN KNEW NOTHING ABOUT PRINCE, REALLY, when he was approached roughly two years ago about writing the script for a very vaguely conceived movie in which the singer would star. But Blinn, a mild, middle-aged man who’d written such Emmy-winning tube fare as Brian’s Song and a Roots segment, had reason to be interested in the task, proffered by Prince’s management company, Cavallo, Ruffalo and Fargnoli. At the time, Blinn was executive producer of the Fame series, and there was some doubt as to whether it would be renewed for a third season. A screenplay would be a handy diversion. What did the managers have in mind, exactly?
That was unclear. Prince had been jotting down ideas in a purple notebook for some time, and one night out on the road, he told Steve Fargnoli: this is great and all, but there must be something else. He wanted to do a movie. Unfortunately, Fargnoli knew little about the moviemaking business. With his partners, Bob Cavallo and Joe Buffalo, he managed music acts, including such major attractions as Weather Report and Earth, Wind and Fire. But Prince was the one. they all knew it. Prince could do anything: why not a movie? Fargnoli shopped the pitch around to some major studios — got a black kid here who most ticket-buying citizens have never heard of who wants to make a movie about himself with some friends in Minneapolis — and got a lot of laughs. But he was unfazed. The managers would finance the film themselves. But they needed a script.
Blinn first met with Prince and Fargnoli at an Italian restaurant in Hollywood. He immediately knew there’d be strange days ahead. “I never met anyone in the world who ordered spaghetti with tomato sauce and orange juice to drink,” he recalls. “He’s definitely got his own drummer going.” As they talked about the movie, Blinn found that Prince was “not conversationally accessible. He’s not purposefully face-to-the-wall, but casual conversation is not what he’s good at. It was as if I asked someone what they wanted for dinner, and they said they weren’t sure, but they’d like it to have some tomatoes in it, and some beef, and some onions. And I’d say, ‘I think we’re talking about beef stew here.’”
During a meeting at Prince’s home — a purple but otherwise unremarkable two-story affair situated on a lake in a well-to-do suburb several miles southwest of Minneapolis — Blinn realized that an important part of the story Prince was trying to formulate concerned his father, John L. Nelson, a piano player who had led a Minneapolis jazz trio in the Fifties under the name Prince Rogers. Nelson had separated from his wife, a singer, when Prince was seven, leaving a piano behind for his son to learn to play. The father, who reportedly still lived in Minneapolis, obviously remained a troubling figure.
“He was semicommunicative about his dad,” says Blinn. “He played me some of his father’s music on the piano, and when he played, and when he talked about his father’s life, you could tell that his father is very key in what he’s about. It was as if he were sorting out his own mystery — an honest quest to figure himself out. He saved all the money on shrinks and put it in the movie.”
Blinn began pounding out a script called Dreams, a dark story in which the parents of the Kid — the character to be played by Prince — were both dead, the mother dispatched by the father, who in turn killed himself. Prince’s Minneapolis music scene was in there, too, and so was the beautiful Vanity, lead crumpet with Vanity 6. Born in Ontario of Scottish and Eurasian parents (her original name was Denise Matthews), Vanity had been a model and sometime nudie actress who, under the name D.D. Winters, appeared in such Canadian-made films of the early Eighties as Terror Train and Tanya’s Island. Vanity was also Prince’s girlfriend — or one of them — and in Dreams, she was to play the stabilizing influence in the Kid’s otherwise chaotic life.
Blinn’s story was beginning to sound very much like Prince’s life. Following his parents’ breakup, Prince had been bounced from mother to father to an aunt and finally, at age thirteen, of his own volition, into the home of Mrs. Bernadette Anderson, the mother of his best (and at the time, she says, only) friend. Prince and André Anderson had both attended a local Seventh-Day Adventist church as young children, and they shared a consuming interest in music. It was with André (and a young drummer named Morris Day) that Prince organized his first band. Grand Central. “Music is obviously a cloak and a shield and a whole bunch of things for him,” says Blinn. “It’s a womb.”
Halfway through the second draft of Dreams, Prince told Blinn he wanted the word purple in the title. “At first, I thought it was a kind of strange request,” Blinn says. “But he really identifies with purple. There’s a whole dark, passionate, foreboding quality to the color and to what he does. Yet there’s a certain royalty to it, too.”
After finishing a second draft of the script, Blinn got word that Fame had been renewed for a third season, and so he returned to television-land, leaving the Prince management team with a script of sorts, but no director. After seeing a film called Reckless, they approached its young director, James Foley, and asked if he’d be interested in Purple Rain. He wasn’t, but he recommended his friend, Al Magnoli, who had edited Reckless.
At first, the thirty-one-year-old Magnoli wasn’t interested. Nevertheless, he agreed to meet with Bob Cavallo for breakfast one morning. Cavallo asked him what he thought the Prince team should do. Magnoli tried to be helpful. “I said, "This is what I would do’ — and right there I told him the entire story. It just came out. I knew they had this character Prince, the script had introduced me to this other character, Morris, and I knew that there was a girl in the middle. So it was like: where do you go with this? And I said Prince should do this, and Morris should do this, and Vanity should be this kind of girl and not this other thing in the script. And then the mother and father — and all of a sudden the world was shaped. And within ten minutes, I had convinced myself that this would be an extremely exciting film to make.”
Cavallo liked what he heard, and Magnoli felt the stirrings of a buzz. He agreed to fly to Minneapolis. “The minute I met Prince, I realized that I hadn’t gone far enough. That because of the nature of this person, I could go much further into the private sort of area. We had dinner, and he let me speak for about twenty-five minutes, and I began working off what was emanating from him. And I got very involved with the parents at that point: the father became a musician, the mother became sort of a woman wandering the streets, things like that. I was just basically watching the person in front of me, just feeling what that was all about. And at the end, he said okay, let’s take a ride. So we took a ride, and he looked at me and he said, 'I don’t get it. This is the first time I’ve met you, but you’ve told me more about what I’ve experienced than anybody in my life.’”
Magnoli told Prince that if he was willing to reveal the emotional truths of this material, of the character that they would create, then the movie could be made. Prince agreed, so Magnoli went to Minneapolis for a month and hung out with the people who would populate the film: Prince and his band (now to be called the Revolution), Morris Day and his group, the Time, the women in Vanity 6. Then he locked himself in a room for three weeks and completely rewrote Blinn’s script.
In the completed Purple Rain, the Kid is an up-and-coming attraction at the First Avenue & 7th Street Entry Club, where he revels in his burgeoning musical powers despite the derision of the club’s manager and the petty humiliations inflicted by a hilariously snide headliner played (to near perfection) by Morris Day. Offstage, though, the Kid is miserable, plagued by his parents’ incessant domestic rows, increasingly alienated from his own band members (whose musical offerings he ignores) and awkward and inarticulate in his pursuit of a beautiful new—arrival on the scene called Apollonia (the part originally intended for Vanity). When Apollonia announces her intention of joining a girl group being assembled by Day — for the express purpose of dislodging the Kid from his slot at the club — the Kid, like his bitterly abusive father, lashes out at the woman he loves. Meanwhile, Morris Day and Billy, the club manager, keep up a steady assault on the Kid’s fragile ego, chorusing just the sort of criticisms that have been directed at Prince himself over the years. (“Nobody digs your music but your—self,” says Billy. “Ya long-haired faggot!” screams Day.) Following an explosive encounter with his father, the Kid redeems himself with Apollonia and blows away all professional competition at a climactic concert at the club. It’s not a happily-ever-after ending, exactly, but when Prince and his band dig into the luminous title tune at the end, a definite feeling of uplift is imparted.
“We are now in an era where films should in a sense have something uplifting going on,” says Magnoli. “We’ve gotten away from the antihero of the Sixties and early Seventies, where films ended sort of with a thought and a dismal aspect, like: Okay, we’re in the gutter. We wanted to say: Life’s a bitch, but wow, if you can just get it together. …”
PATTY KOTERO — OR PATTY APOLLONIA KOTERO, AS she currently calls herself — is kneeling on the floor of her immaculately tidy West Hollywood apartment, picking through a pile of tape cassettes. David Bowie, Eddie Murphy, Thomas Dolby — ah, there it is. She reaches up toward a small stack of stereo equipment arrayed against the wall, and suddenly the room is filled with the sound of cool, autumnal piano chords. It is “Father’s Song,” a haunting instrumental piece composed by Prince’s father and performed by Prince. In Minneapolis, during the hectic shooting of Purple Rain, Patty had trouble getting to sleep each night. At five o'clock one morning, she remembers, Prince appeared at her door.
“He said, 'I’ve got something for you.’ I said, 'Yeah?’” She pops her eyes in mock suspicion. “He said, 'You’ve been having trouble sleeping. Here.’ And he gave me this tape. It’s better than a glass of milk and honey.”
As the tape plays, Patty’s gaze drifts upward and fixes on a large, framed promotional portrait of Prince that’s propped atop the stereo. It’s enough to give one the feeling of having wandered into a private prayer grotto, a tiny temple to the Great Man.
Until last summer, Kotero was just another young L. A. photo model. Then, across the country, in Minneapolis one day, a woman named Vanity walked away from her projected part in Purple Rain. No one will say why she left — rumors range around money, ego and a faded relationship with the film’s diminutive star — but it was Patty who was chosen as her replacement. A casting call had gone out for a woman who met certain requirements, some of them physical. Through her agent, Patty obtained an audition and quickly hied herself out to Minneapolis. Although her own personality is sweeter and considerably more wholesome than that projected by Vanity, the two women are obviously interchangeable within the cartoon context of the character, Vanity/Apollonia is a walking Penthouse wet dream of billowing breasts and plushly upholstered contours, her sultry face, framed by gleaming cascades of raven hair, a frank invitation to frolic.
One criticism of Purple Rain is that it’s insufferably sexist. All of the young women in the picture are inexplicably addicted to décolleté and in many cases wear nothing but the skimpiest lingerie. In one scene, Apollonia is subjected to considerable humiliation in the course of a skinny-dipping interlude at a lake, and in another sequence, Morris Day has a troublesome girlfriend chucked into a trash dumpster by his fawning aide, Jerome.
Though Prince’s female fantasies obviously run in the direction of impossibly pliant sex cookies, in Purple Rain, this attitude toward women is condemned through the character of Day, for whom the women in Apollonia 6 (nee Vanity 6) are simply “the bitches,” assumed to be sexually available after taking a few slugs from his silver hip flask. Since it was actually Prince who invented and produced Vanity 6, the film indicates that he is at least aware of his own worst concept of women.
There are also two women in Prince’s band, and while they too tend to hang out of their dresses a lot (and Prince has concocted an oblique lesbian aura around their relationship), their main purpose is musical. Keyboardist Lisa Coleman and guitarist Wendy Melvoin are lifelong friends, the daughters of two veteran L.A. sessionmen (their fathers both played keyboards on the Beach Boys’ “Good Vibrations”). Lisa is a classically trained pianist, and Wendy is a longtime jazz student who first attracted Prince’s attention when she peeled off an elaborate jazz chord in his presence after a show one night and later won her funk wings during an extended jam with the man on James Brown’s “Body Heat.”
“The idea of integration is important to Prince,” says Lisa. “To me and the rest of the band, too. It’s just good fate that it’s worked out as well as it has — you know, the perfect couple of black people, the perfect couple of white people, couple of girls, couple of Jews. Whatever. He’s chosen the people in his band because of their musical abilities, but it does help to have two female musicians who are competent.”
In the past, Prince has used his band largely to flesh out onstage the music he wrote, played and produced on his own in the studio. Like the Kid in Purple Rain, though, Prince is now allowing other musicians to contribute to his music. Five of the nine songs on the new album were recorded by the full band, and Lisa and Wendy even get cowriting credit — the ultimate rarity, even though it’s noted only in the film credits, not on the LP — for “Computer Blue.”
“He loves those people,” says Apollonia, “He cares for them, and they care for him.” She crosses the room to a small couch. In her black slacks and plain white top she seems prettier, her face softer, than in the movie. But her dark beauty — both her parents were born in Mexico, but she describes herself as “a Latin-German Jew” — and extravagant figure would seem to suit Prince just fine. Has she also replaced Vanity in the little guy’s affections?
“I don’t kiss and tell,” she says with practiced coyness. “He loves his women, but music comes first. He is married to his music. You can’t compete with it.”
With music, Prince seems to find his most perfect union. Apollonia remembers seeing him in the studio, her oblivious mentor, lost in sound. “It looks like he’s in there in his own spaceship, his own capsule, just taking off, and the sky’s the limit.” She clasps a hand to her heart. “I still pinch myself every morning and say my prayers at night, and thank the good Lord someone’s breathing in my direction.”
RELIGIOUS IMPULSES IN ROCK usually have taken the form either of woozy Easternalia or grating fundamentalist harangues. The musicians in Prince’s orbit share an unlabored, though still deeply felt faith in God. Prince himself has dedicated all six of his albums to the Deity; and out on the road, before each show, he joins hands with his musicians in prayer. There’s an instrumental “love theme” in Purple Rain that’s simply titled “God” (it’s not on the LP), and the album itself is rife with messianic overtones, from the opening sermon of “Let’s Go Crazy” to the suggestively titled “I Would Die 4 U,” in which Prince sings, “I’m not a human/I am a dove/I am your conscious/I am love.” When the album appeared, Bill Aiken, a production staffer at MTV in New York, noticed a snippet of backward dialogue tacked onto the end of the song “Darling Nikki” — the record’s most brazenly salacious track. Reversing it on tape, Aiken discovered a message from Prince: “Hello. How are you? I’m fine. Because I know the Lord is coming soon, coming soon.”
The strange dichotomy between Prince’s compulsive carnality and his spiritual yearnings apparently isn’t puzzling to those who’ve gotten close to him. “He’s a man apart in many ways,” says William Blinn. “But his whole sexual attitude is positive. It’s: This is good, this represents growth, life.”
Not everyone, however, is convinced that Prince is cognizant of his own contradictions. One New York actress who auditioned for the Apollonia role in Purple Rain (and who asked that her name not be used — a common request in the Prince orbit) expressed shock at the things she was asked to do. “I turned it down,” she says. “It was way too pornographic for me. I mean, they had stuff in the script that I wouldn’t even let my boyfriend do to me in my own bedroom.”
Prince looked the actress up during a subsequent visit to Manhattan, and she found him alternately brilliant and pathetic. “He’s got a lot of hang-ups,” she says. “He means well, and he’s genuinely talented, but he’s got a lot of problems. He’s really hung up on God, for one thing. I think he thinks he’s related to God in some way.”
One day, the woman says, she coerced Prince into accompanying her to the American Museum of Natural History to see a celebrated exhibition called Ancestors. “The show of the century,” she says. “All these Neanderthal skulls, and how we evolved from apes and stuff, right? And he just wouldn’t believe any of it. I said, 'Come on, you don’t believe in that Adam and Eve crap, do you?’ He just blankly stared back at me.
"There is a real dichotomy between his sexual hang-ups and God and the Bible,” the woman concludes. “I mean, he’s not leading a godly life. At least I don’t pretend to lead one. But that is the most important thing in his life, God.”
EVEN WITH GOD ON HIS SIDE, though, Prince seems a strangely solitary figure. In his pursuit of the success his talents so richly justify, he has ruptured a succession of once-important personal relationships. Bassist André Anderson, his closest boyhood friend, was the first to leave Prince’s band, followed by guitarist Dez Dickerson. Prince fired bassist Terry Lewis and keyboardist Jimmy Jam from the Time, and keyboardist Monte Moir soon left of his own accord to join them. Recently it’s been rumored that Morris Day — whose wild comic persona is more immediately charismatic than Prince’s own — may be leaving the Time. (Inquisitive observers are told it’s not true, but Day, for some reason, cannot be produced to confirm that contention.)
“I maintain we came out better in the end, for all we went through,” says former Minneapolis studio owner Chris Moon, who started Prince off by giving the sixteen-year-old prodigy the keys to Moon Sound studio and getting a manager for him. On the other hand, Moon adds, “Prince may have come out worse off than us. He’s gotta be one very lonely guy. I mean, he’s left a long trail of broken hearts and broken egos behind him.”
Unencumbered by his problematic past, Prince rises higher and higher in the pop-cultural firmament. Who’s to say the trade-off hasn’t made him happy? For the Purple Rain premiére at L.A.’s Chinese Theatre last month, he personally summoned a swarm of the superstars who are now his peers to come and pay homage. And another time, after both Prince and Michael Jackson joined James Brown for jams onstage at L.A.’s Beverly Theatre, the Godfather of Soul was heard to exclaim, “Look out, Michael!” This is what’s called arriving. Whether or not that big limo in the sky he’s pursued for so long has turned out to be otherwise empty is a matter for Prince to ponder in the splendid isolation to which he’s now entitled.
“It’s hard to have that much power and have close friends,” William Blinn reflects. “It’s tough for him. But if he does not have close friends, then neither do I feel that his solitude is threatening or harmful to him. Some people … well, you know, the four-in-the-morning phone call: "I’m alone, what do I do?’ I think Prince is perfectly capable of handling it. He might make that phone call, and he might be alone. But he knows what to do.”
2004: Wins junior worlds at sixteen. Also wins first Russian nationals at the senior level.
2005: First European championship at seventeen
2006: First Olympics (Torino) at eighteen (did he medal? undecided I’m putting him down as no or bronze because he’s not World Champion level until after Vancouver)
2006-2010: He’s near the top of the skating world but not at the very top. Lots of silvers and bronzes, but he’s not the world champion. Someone or a couple dominant skaters here. I’m guessing after Vancouver a couple skaters retire.
2010: Second Olympics (Vancouver) at 22 (silver medal).
2010-2014: Five consecutive GPF titles go here. This spans from ages 22-26.
2014: Third Olympics (Sochi) at twenty-six, Victor wins Olympic gold.
2011-2015: Five consecutive world titles go here. This spans from ages 23-27
2015: Leaves skating to coach Yuuri Katsuki for the 2015-2016 season at age 27
2016: Returns to skating, while still coaching Yuuri Katsuki, at age 28
2016: After skating a ‘full round of competitions’ (nationals- gold, Europeans- gold, Worlds- silver, Grand Prix Series, and Grand Prix Final- silver), retires from competitive skating to full time coach Yuuri Katsuki at 29. Does a lot of show skating still.
He retires with five grand prix golds, five world titles, an Olympic gold medal, and an Olympic silver medal. Maybe a bronze medal too! I’m guessing he also has a medal in the team event from Sochi. If it follows our reality, he has a gold. :)
1991: Born November 29
2008: Wins Junior Grand Prix Final at seventeen
2009: Places second at junior worlds at seventeen
2010: After advancing to senior level, moves to Detroit to train with Celestino.
2011-2014: A few placements on the Grand Prix circuit, a couple of medals at Four Continents. All in all Yuuri is a top skater who never manages to break through to the very highest tier, as we know.
2011: At age 20 Yuuri wins Japanese nationals for the first time.
2014: At age 22 Yuuri represents Japan in the Sochi Olympics. He places a respectable eighth.
2014: Bronze at Skate America and silver at NHK Trophy net 22 year old Yuuri a spot in the Grand Prix final.
2014: Yuuri, having just turned 23, bombs the Grand Prix final, then subsequently Japanese Nationals.
2015: Yuuri leaves Detroit, comes home, the series happens.
2015: At 24, Yuuri takes silver at the Grand Prix final with Victor Nikiforov as his coach and promises to stay in skating for at least five more years.
2015: Yuuri takes his Japanese national title back. It is his fourth Japanese national championship. He moves to St. Petersburg to train with Victor Nikiforov.
2016: At 24, Yuuri Katsuki wins his first world title. Victor Nikiforov takes silver.
2016: At 25, Yuuri Katsuki wins his first Grand Prix Final. Victor Nikiforov takes silver and retires to be his coach full time.
2017: 25 year old Yuuri wins his second world title. Victor and Yuuri get married that summer. They’ve both never been happier. Now that Victor has retired, the pair move back to Hasetsu and buy a house together. They train at Ice Castle.
2017: Yuuri, along with a couple other skaters, take off the Grand Prix events to focus on preparing for the Olympics. Instead he participates in just Japanese nationals and another more lowkey test event.
2018: At 26 Yuuri wins Olympic gold in Pyeongchang. He follows that up with his third world title.
2019: An injury causes Yuuri to miss the 2018 GP series, and many wonder if he’s over. He is 27 now after all. But no one is more stubborn than him. He has to miss nationals due to the injury but is given a bye to worlds. He comes back and wins his fourth world title, and also Four Continents to put a cherry on top.
2019: Yuuri knows retirement is looming, but he’s not done a GP series for a couple of years, so he decides go for it. He takes the GP final, although it is a close one this year. He’s just turned 28 when he wins the GP final.
2020: Fifth world title at 28. He’s tied with Victor Nikiforov. He still loves skating, and no one can doubt he’s Japan’s living legend (though Yuuri has A LOT of trouble admitting that to himself), but he knows he’s winding down.
2021: This season will be his last, and he knows it. It’s his swan song. He’s 29. He’s old for this sport. He’s skipped the Grand Prix, electing to do just Japanese Nationals and World Championships. If he doesn’t win, that’s okay, but damn if he isn’t going to try. Yuuri wins his sixth world title. Victor cries for like 10 hours.
He retires with six world titles, an Olympic gold medal, eight national titles, and two Grand Prix final titles.
Not mentioned: European championships: Probably like, a ton (something like 10 lol), especially considering he won at seventeen. That means there’s a good chance those dominant skaters from 2005-2010 were from North America or Asia?? Grand Prix events. Probably ten or eleven Russian national titles, considering the longevity of his career!
Not mentioned for Yuuri: Four Continent titles. I’m not sure how many! Sometimes top skaters also don’t participate in this event. Grand Prix events.
WHY 2015?: Because during the Cup of China, the banner in the background specifically identifies it as the ‘2015 Cup of China’ which sets the series during the 2015-2016 Skating Season.
Engine: Eight-cylinder, with turbocharging, water cooled, four valves per cylinder, four camshafts
Displacement: 2,649 cc
Power: 750 hp
Maximum speed: 360 km/h
Porsche’s participation in the American CART-Series - Championship
Auto Racing Teams - began with the racing season in 1988. CART is one of
the most popular racing events of North America and consists of the
typical 15 races per season. The annual season finale is the
“Indianapolis 500”. In addition to the first place title in the race
“Mid - Ohio” Theo Fabi, the race car driver for Porsche in 1989,
received two second place- and four sixth place-titles.
When people hear the word “ritual,” it’s not hard to imagine chills going down their spines. After all, the mere utterance of the word conjures up images of a very dark nature. Most of these have something to do with a mass of cloaked individuals, with a sinister purpose to fulfill. History has conditioned us to realize that this word was designed to instill fear, except for those who take the time to dive into it, head-first. For LA’s dark, sensual and theatrical experience known as In This Moment, this was taken into full account as they penned their sixth studio album, aptly-titled ‘Ritual.’ However, for this album, they took a different approach. Rather than songs that have a very theatrical, electronic base and a ton of effects… ‘Ritual’ is the band’s first album to feature a stripped-down, more raw and organic sound. Because of this change, the band’s many strengths are put on full display. Nothing is more powerful, though, than the extreme amount of emotion that vocalist Maria Brink has placed in each lyric. ‘Ritual’ is focuses on the spiritual journey that Brink has undergone, creating a message of positivity, within its dark roots.
The sensuality and sexualization of Brink, seen in the band’s previous works has been toned down, in favor of a much more structured, focused approach on talent. Something that is also new for I.T.M is that they wrote these songs with their live show in mind. So, in essence, ‘Ritual’ is a very “what you see is what you get” type of album. The album opener, “Salvation,” features ominous, Latin chants, a distant siren and a drum beat that will quickly get the listener’s heart pounding. By the time that the album’s first single, “Oh Lord,” makes itself heard… you feel as if you’ve been thrown into a dark room, awaiting a ritualistic end. The track itself, sees Brink fighting with herself, asking for forgiveness for the way she’s living.
“Black Wedding” features the legendary Rob Halford (Judas Priest) and seems very, thematically, inspired by Billy Idol’s “White Wedding,” even having a similar chorus of “it’s a nice day for a… black wedding!” The strange, twinkling piano of this track has caused me to turn my head, multiple times. The dynamic between Halford and Brink is almost perfect, though! The main riff in this track, played by lead guitarist, Chris Howorth, really sets the tone for how dark the album can sound.
The decision to put a cover on a main album is one that can’t be taken lightly. For it to fall perfectly in line with the theme of the album, or flow cohesively throughout, it must be done just right. Phil Collins’ “In the Air Tonight” has been covered thousands of times, many ways and (until now) the most unique, breathtaking version of the song has come from Nonpoint. However, to putI.T.M’s cover of the song and Nonpoint’s in the same league, would be a discredit to their individual talents. Brink takes charge of Collins’ gripping tale with the utmost care, precision and attention to detail. The song has a much darker, stripped down feel, until those legendary pounding drums come in at “no stranger to you and me”. To add to the climax of the track, they decided to throw in some electronic effects that make it hit you that much harder. To say that they took this song and truly made it “theirs”, would be an understatement. Even if you don’t like I.T.M, this cover is a must-listen. It makes me wonder how their cover of “Creep” (which appears on the Japanese version of the album) has turned out.
The best thing about this album, despite its darker nature, is that it never tries too hard. ‘Ritual’ is In This Moment at their biggest, best and most raw. Individuals who have come across the band have, for years, complained that Brink over-sexualizes herself, creating a bad role model for young women. Starting with this album, perhaps the change they’ve wanted to see is coming. For this writer, I believe that there is nothing wrong with being proud of your body but, as we’ve seen, the same shtick can get old after awhile. As a huge fan of In This Moment, though, this is a very welcome change and sees a far different side of Brink’s songwriting, from a lyrical and thematic aspect. ‘Ritual’ is a can’t-miss album for fans of In This Moment, at any level, from beginner to seasoned veteran. You’d be a fool not to pick it up when it releases, July 21st, on Atlantic Records.
Every time I remember that reputation isn’t capitalized, I’m not gonna lie, ladies…. I’m shook as hell. Can you believe everyone’s favorite grammar nerd, Taylor, Did It For The Aesthetic with her sixth studio album title?? Invented growth and keeping people on their toes!!
Romancing SaGa 3 (ロマンシング サ・ガ3 Romanshingu Sa Ga Surī?) is the sixth title in the SaGa role-playing video game series developed and published by Square (now Square Enix) and released exclusively for the Super Famicom system in Japan. It was also the third and final SaGa title to be released for the Super Famicom.
Any fics like Before the Fawn? Like where they are in their last years at Hogwarts and enlist in the order afterwards. Preferably completed but i don't mind if it isn't. Thank you !
I love Before the Fawn :) I’ve tried to find some, a couple are part of a series that kind of adds up to what you’ve described. Some of them don’t go beyond 7th year but they have lots of war elements which kinda is Order-ish. I hope these are helpful!
I think these 3 have elements of what you’re looking for:
Title: Prelude to Destiny Author: AnotherDreamer Rating: PG Genre(s): Romance, Drama Chapters: 26 Word Count: 298,502 Summary: Lily Evans knew she wasn’t very good at magical laser tag. In fact,
she usually ended up in last place. But that didn’t stop her from
playing with enthusiasm. For that matter, hardly anything made her ever
hold back. Not ex-boyfriends or bad Halloween costumes or competitive
prefects. Not even her lousy sixth year.
Title:Priori Incantatem Author: fellytone Rating: T Genre(s):Romance, Humour Chapters:64 Word Count:306,215 Summary: Can James Potter,
Marauder and troublemaker extraordinaire, ever convince Lily Evans,
Prefect and good girl, that they were meant to be?
Title:Crossroads Author: Emmyjean Rating: T Genre(s):Romance, Angst Chapters:15 Word Count:~138,000 Summary:
In her seventh and final year at Hogwarts, Lily Evans finds herself
facing a tragedy that leaves her life in pieces. She ultimately finds
great strength both within herself and those she never would have
Title: The Life and Times
Author: Jewels5 Rating: M Genre(s): Romance, Drama Chapters: 36 [abandoned] Word Count:
Summary: She was dramatic. He was dynamic. She was precise.
He was impulsive. He was James, and she was Lily, and one day they
shared a kiss, but before that they shared many arguments, for he was
cocky, and she was sweet, and matters of the heart require time.
Title: The Age of Inertia Author: sevenperseids Rating: M Genre(s): Romance, Drama Chapters: 16 [WIP] Word Count: 158,621 Summary:
“You’re a pretty, innocent-looking young witch. You could get away with
anything.” As an obituary writer and spy for the Order of the Phoenix,
Lily looks to her past to keep the part about innocence at least partly
These are part of an ongoing trilogy:
Title:All Right, Evans? Author: CokeBottleK Rating: M Genre(s):Romance, Humour Chapters:30 Word Count: 177,798 Summary:
The thing about being Lily Evans and James Potter was that you couldn’t
do anything without everybody else saying something about it.
Title:Dangerous Crowds Author: CokeBottleK Rating: M Genre(s):Romance, Humour Chapters:14 [WIP] Word Count: 106, 188 Summary:
All Right, Evans?, Part II [7th year]: “As in all wars, life goes on.” -HP/HBP
These are parts 1 and 2 of a series:
Title: Turning Tables
Author: scared of clouds Rating: T Genre(s): Romance, Drama Chapters: 37 Word Count:
Summary:Lily Evans and James Potter has always been a
complicated story; its just never been quite this complicated before.
But everything happens in its own time, and the eventual outcome of
things was always more obvious to anyone who wasn’t Lily Evans or James
Potter. They might not know each other well, but they’re about to know
each other a lot better.
Title: My Kind Of Love Author: scared of clouds Rating: M Genre(s): Romance, Drama Chapters: 8 [WIP] Word Count: 60,978 Summary:Lily Evans and James Potter has always been a
complicated story; its just never been quite this complicated before.
But everything happens in its own time, and the eventual outcome of
things was always more obvious to anyone who wasn’t Lily Evans or James
Potter. They might not know each other well, but they’re about to know
each other a lot better.
New Guy Weekly wrapped up this weekend! I made every part of all 40 episodes (lone exception: the finale’s special effects, created by the wonderful ibrews) for cracked.
I am blogging thoughts and feelings about the show every day this week. Come back to this blog or tag search “New Guy Weekly Blog” for more posts.
Post #1: every episode had a secret title (example above, from the finale) that was on screen for fewer and fewer frames every week. All the YouTube pages and titles had the necessary info, so I made the in-video titles into easter eggs.
Why do that? Short version of a long answer: jokes are free, time is expensive, and giving fans something that’s just for them is the best thing you can do with a recurring format. If you’re not doing that, why are you making a series?
That last easter egg title asked if somebody could list all the egg-titles for me, and danged if New Guy fan CN Williamson didn’t do it. List is below, along with episode links.