Summary: Reader slips because the floor’s wet and it’s super embarrassing but then it’s not.
A/N: This is for @jalove-wecallhimdean‘s Do it like Dean challenge. I choose one of my favorite Dean lines, “Nipples?”. Congrats on your Milestone Heather!! This was super fun to write and I hope it is enjoyed as much as I liked it. You like ? Let me know because I love feedback. Have a fantastic Friday Y’all!
We wrote it in Nick’s room with the blue drum machine and a four-track recorder. I was really lovelorn at the time. ‘They don’t love you like I love you’ was straight from a love letter and I just plucked it out of there because I thought it had a good ring to it. Just a simple statement that really stuck with people. You know, I say 'love letter’ but it was a fucking e-mail. Motherfucker. You know what? I’m going to rewrite history right here. I wrote it with a quill. It was a feather quill, written in blood.
Karen O on writing “Maps” in Meet Me in the Bathroom by Lizzy Goodman
I love feedback! Critique is greatly appreciated! Such stale titles… God I suck at titles. BUT anywho, Buddy and I are workin real hard on these fics and we’ve got a lot to do so be patient with me and her.
Today on how RvB uses names to explore identity and loyalties: Agent Conneticut.
When CT tells the Freelancers to stop referring to her as ‘Connie’, CT’s already working against the program and sending intel to the insurrectionists. She’s set her path, and now all that’s left for her to do is cut herself off from her team.
It’s implied throughout the flashbacks that the Freelancers were very close to each other, originally, and CT’s no exception. In her scenes with Wash she’s trying to steer him in (what she thinks is) the right direction, and she seems to be at least somewhat close to South.
And that’s why she’s doing this. By telling Wash - and the rest of the Freelancers by extension - to stop calling her Connie, she’s consciously creating a distance between them. Because, it’s implied (several times), she’s not as good a spy as she’d like to be, and she knows it.
She’s justifying the change by saying 'makes me sound like a fucking kid’, referring to how the 'ie’/'ey’ suffixes to shortened name forms are used tor kids - Anne, Annie. Mike, Mikey.
But CT is fine with the insurrectionist leader calling her Connie. It’s fine, because she wants to maintain her emotional connection with him. And then she refers to herself as Connie to Tex in an attempt to establish an emotional connection. Tex, whom CT expects (hopes, really) would be on her side once she learns everything CT has left her.
[More on the exploration of identity via names in RvB: Tex and Church]
Blue is my creative color. When I cut vocals for my record, I had blue lights in the studio. When I wrote my EP, Room 93, for me it was a very blue sounding record. I mean that in the sense that it was cool and it was space-y and it was ethereal and it just gave off these blue vibes. So I want to look like a performer who reflects what she has to say and so I went ahead and I did the blue and I’m stuck, I can’t change it. I gotta keep it, it’s so good.
Hank Mobley, American jazz tenor saxofonist (1930–1986), New York City, October 1963 | photo Francis Wolff (German-American, 1907–1971) | Blue Note Records
Cover shoot for Hank Mobley’s album No Room For Squares
“In 1960, a very modern building designed by Edward Durell Stone was erected on the southern most face of Columbus Circle to display the art collection of supermarket magnate Huntington Hartford. In those days, all of the entrances to the subway stations were of the same uniform and stodgy design. Somehow, the subway entrance in front of the Huntington Hartford got a new design that was in sync with the building itself.
Photographer Francis Wolff would occasionally take Blue Note artists to Central Park or Times Square to shoot portraits with a New York backdrop. In October 1963, Wolff shot Hank Mobley emerging from that modern subway station which was just a couple of blocks from Blue Note’s office.
The album that Mobley recorded that month for Blue Note would eventually be titled No Room For Squares. Designer Reid Miles, always keen of eye, saw this shot of Mobley in shades descending the stairs into the subway and immediately zeroed in on the circle in the fencing surrounding his face. Crop, crop and voila! No room for squares indeed.” (Morrison Hotel Gallery)