Are Doc and his wife like honorary grandparents to Grace?
Hi anon! Thanks so much for writing to me!
Yes, Doc and Dot are, essentially, Grace’s paternal grandparents (on the maternal side is, of course, Carlist Rieekan). They’ve become surrogate parents to Han before Grace is even thought of– as much as anyone can truly “parent” Han Solo, who has raised himself and will forever get a little prickly at sudden emotional movements– so they fit quite naturally into that role. They always wanted children themselves but it never happened; while they don’t make a habit of adopting people because of this, and they’re very happy together as their own unit, both Doc and Dot feel an organic early affection for Han that of course extends to Leia (who wouldn’t love Leia?!) and to their eventual daughter too.
Dot is an accomplished knitter, a winner of fair blue ribbons, and over the years she knits for Grace incredible blankets, boots, hats, mittens, cardigans with ducks and bumblebees. These are not embarrassing creations– Dot has taste, masterful skill and keeps up with fashion. For Grace’s first grade picture, she chooses a soft yellow sweater set Dot knitted for her; Dot keeps that picture in a frame on her bureau.
Well into her eighties Dot is still at it and knits Grace a mauve silk-yarn wrap dress that she sends to her via Han at Juilliard (Grace also has better leg-warmers than anyone in school, in endless colors, and fingerless gloves, too). Grace wears the dress when she and Poe and his arty friends go out dancing (teasingly she tells her Dad that she and Poe go out to church and only church and Han grins as they walk down the city street together eating vendor hot dogs, says that tonight they can take a break from worshippin’ to hit a real pool hall with her old man and kick some wallets in the ass. Wallets have asses? muses Poe.). The dress is airy and flares out when Grace moves on the dance floor, catches the lights, and people try to buy it off her back. Grace smiles as she refuses, polite as her mother even in a grubby East Village club bathroom; Dot always sews in an embroidered tag with Grace’s initials on it, and a tiny heart. You can’t possibly sell things like that.
Doc spoils Grace terribly. When she is a toddler Han brings her along to meetings with his boss at Chewie’s diner while Leia is at work, and she sits in a booster seat next to her Daddy and daintily sips her tiny strawberry milkshake while Han and Doc plan shipping routes. Actually, as Han frowns happily down at his maps and works with one of his ruthless pencils, Doc passes Grace nickels for the miniature jukebox affixed to the wall of their
booth–play me a little George Jones, Gracie–and then clutches his heart when, Grace punching buttons at random, “Whole Lotta Shakin’ Goin’ On” boils out instead. Whose barn what barn my barn Han mutters absently, ruler between his teeth, as Doc lifts Grace out to the aisle of the diner, where she uncontrollably bounces around the tile floor to everyone’s laughter.
Doc always has a little gift for Grace from his sales trips– a paddle-ball on a string, a red yo-yo embedded with sparkles (Han loves this gadget so much that he gets one too, and the long-fingered, co-ordinated pair get absurdly good with them, especially after Leia sends away for a pamphlet of tricks from the back of a box of Cheerios), Matchbox cars and trucks that she rolls across the floor and chases when she is learning to walk. When she is a newborn Doc buys a mobile of glinting aluminum planes that Grace hangs from a plant-hook in her first city apartment. Doc loves when Han brings Grace to the hangar, carries her around proudly to show her all the big planes. One day Han surfaces from a thorny engine problem to discover the pair have been sitting by the long window facing the runway for two hours, watching landings and take offs and sharing a vending machine bag of potato chips.
The only problem Han and Leia ever have with Dottie and Doc arises when Grace is a toddler; the older couple cannot believe that Grace can ever be anything other than a perfect angel, and rise to the child’s indignant– almost panicked– defense whenever she faces consequences for her own behavior. Once, at an Endor Park barbecue after far too much sugar, the nearly three-year-old Grace slaps her mother’s hand, hard. Doc and Dottie are almost in tears; they relax when Leia explains, calmly, that no one hits Grace, ever. No switching (Doc was switched as a child), no spanking, and Han as a result of his upbringing is outraged at the popular measure of depriving a child of supper for misbehavior. All Grace faces is being taken home and put to bed with a stern lecture. And Leia also points out how charmed Dottie and Doc are by Grace’s good manners, and that this is a direct result of consistent discipline, so to please support them. Leia, in her Leia way, manages to set limits so gracefully that it actually brings people closer.
So, yeah. Hope all this answers your question, anon. Thanks a million for your interest!
The Under the Cherry Moon Tour (also called the Parade Tour) was the concert tour in support of Prince and The Revolution’s album, Parade and the motion picture Under the Cherry Moon. The Under the Cherry Moon Tour tour marked the first full tour of Europe by Prince. It also saw the expanded Revolution line-up and featured Sheila E. and her band as an opening act for most shows.
a nuclear fission in her soul || a female sole survivor mix || fallout 4
i. atom bomb baby // the five stars ii. welcome to the jungle // postmodern jukebox iii. pistol packin’ mama // bing crosby iv. it’s a man // betty hutton v. crawl out through the fallout // sheldon allman vi. seven nation army // postmodern jukebox vii. whole ‘lotta shakin’ goin’ on // big maybelle viii. you can’t get a man with a gun // betty hutton ix. i want to be evil // eartha kitt x. civilisation // danny kaye xi. rocket 69 // connie allen xii. the wanderer // dion xiii. i hate to see me go // margaret whiting xiv. crazy he calls me // billie holiday xv. he’s a demon, he’s a devil, he’s a doll // betty hutton xvi. good neighbour // lynda carter xvii. maybe // the ink spots xviii. uranium rock // warren smith xix. orange coloured sky // nat king cole || LISTEN
Let’s Dance - 20 songs to dance the night away. (Listen)
Too Darn Hot - Ella Fitzgerald // Beechwood 4-5789- The Marvellettes // Two Sides (To Every Story) - Etta James // Twist and Shout - The Beatles // Ain’t Too Proud To Beg - The Temptations // Jailhouse Rock - Elvis Presley // You Never Can Tell - Chuck Berry // Dancing In The Street - Martha & The Vandellas // Build Me Up Buttercup - The Foundations // Goody Goody - Frankie Lymon & Teenagers // The Happy Organ - Dave “Baby” Cortez // Do You Love Me - The Contours // Dance With Me Henry - Etta James // Rock Around The Clock - Bill Haley & The Comets // Rescue Me - Fontella Bass // Summertime Blues - Eddie Cochran // Whole Lotta Shakin’ Goin On - Jerry Lee Lewis // Shoop Shoop Song (It’s In His Kiss) - Betty Everett // The Wanderer - Dion // Tossin’ and Turnin’ - Bobby Lewis
A Discworld playlist of all the songs referenced in Terry Pratchett’s Soul Music.
This is also a story about sex and drugs and Music With Rocks In. Well… …one out of three ain’t bad. Actually, it’s only thirty-three per cent, but it could be worse.
1. Elvis Presley - Blue Suede Shoes (“Don’t Tread on my New Blue Boots”) | 2. The Beatles - Rock and Roll Music (“Give Me that Music with Rocks In”) | 3. Bruce Springsteen - Born To Run (“Born To Rune”) | 4. Jerry Lee Lewis - Great Balls of Fire (“Great Fiery Balls”) | 5. Little Richard - Good Golly Miss Molly (“Good Gracious Miss Polly”) | 6. Led Zeppelin - Stairway To Heaven (“Pathway To Paradise”) | 7. Big Bopper - Chantilly Lace (“Sto Helit Lace”) | 8. Chuck Berry - Johnny B. Goode (“Sioni Bod Da”) | 9. Jerry Lee Lewis - Whole Lotta Shakin’ Goin’ On (“There’s a Great Deal of Shaking Happening”) | 10. Sex Pistols - Anarchy In The UK (“Anarchy In Ankh-Morpork”) | 11. Meat Loaf - Two Out of Three Ain’t Bad
Olivia Harrison at the Paris premiere of Living in the Material World, Grand Rex, 16 October 2011
Photo: TRAGO/Getty Images
“We [Olivia and Martin Scorsese] met, I brought him a box of what I considered to be treasures, letters from George, his notebooks with drawings. His German vocabulary notebook with pages and, suddenly, the words of Whole Lotta Shakin ‘Goin On and guitar designs. We see that he tries, but he thinks only of rock'n'roll. I wanted to show Marty that this very young man already knew what he wanted to do. Also, a letter he wrote to his mother, at age 22, between filming of A Hard Day’s Night and Help!, while the group exploded. A son who writes honestly naturally to his mother: ‘Life gives me everything, but it’s not that I need to aspire to something else…’ When Marty read this, he said, ‘That’s what interests me.’” - Olivia Harrison, interviewed for Le Monde in Henley-on-Thames by Thomas Sotinel, 14 October 2011
If Elvis was considered dangerous, then Jerry Lee Lewis was outright terrifying. He wore custard-yellow suits with black piping and had a sneer that spelled out sex and dirt and a regal arrogance. He was a mean, mean man. “We’re going to hell,” he’d cry. “Fire and brimstone. The fire never dies, the burning never dies, the fire never quenches for the weeping, wailing, gnashing of teeth. Yessir, going to hell. The Bible tells us so.” He was nicknamed the Killer, largely for what he did to his poor piano, his golden curls of hair flying as he sweated, battered, and molested the poor thing.
The piano on his first hit, “Whole Lotta Shakin’ Goin’ On” (no. 3, ’57), sounded like it could break through the floorboards; it made a roaring, echoing noise like ominous approaching clouds.
fo4 companions react to seeing sole drunk for the first time
Cait: She’d been waiting on this moment for ages now. Being on the road so much made it impossible to really enjoy a proper drink, and Sole was always so uptight about staying on her guard that they hardly ever shared a bottle with her. But this? This is a different story. They’d found themselves a nice apartment to hole up in for the evening, still in pretty decent shape, and with a fridge packed full of whiskey. A few hours later and she and Sole are spinning around to Whole Lotta Shakin’ Goin’ On, crashing into furniture and laughing hysterically. Cait feels a little more herself, a little more free to let herself go and be open, just for one night. She has got to get Sole drunk more often.
Codsworth:“Er, Sir/Mum? I think you’ve had a little too much for one evening.” He’s a little worried when he spots them finishing off their third bottle. It took months of hard work for the Minutemen to finish of the construction of Sanctuary’s new bar, and although it looks wonderful, he’s starting to doubt whether it was a good idea. He watches Sole get to their feet, swaying unsteadily as they hum to the song on the radio. It isn’t a happy one, he recalls: One More Tomorrow always brought a tear to their eye. He accompanies them back home just in case they fall over. Sole offers to dance with him multiple times throughout the journey, and they laugh until they catch sight of their old home and start to cry. There isn’t much he can do for them but make sure they arrive safely to bed, though he stays with them while they trail on about their pre-war memories, slurring their words more and more before drifting off to sleep.
Curie: Uses their intoxicated state as an opportunity for scientific research. Having lived with scientists before, she’s slightly familiar with the way drunk humans act, but is still quite alarmed when the Sole keeps hugging her and telling her she’s pretty - flattered, of course, but wouldn’t they rather sit down for a moment and let her run some tests? It doesn’t take long to figure out that it’s a hopeless battle she’s fighting, and settles for making sure Sole makes it to bed safely, leaving a few bottles of purified water by their bedside for them to drink, in order to minimise the effects of their morning hangover. Gets painkillers ready for the next morning too.
Danse: Tries to scold them at first for drinking on duty, despite the fact that they aren’t even running a Brotherhood mission at the minute - they’ve still got an image to uphold in front of citizens. But he’s very familiar with the sight he sees in front of him - he knows what it’s like to be a little too reliant on alcohol. He has a couple of drinks with them, and they share some stories of their travels. They both fall a little too deep into the bottle, and start slurring compliments about how wonderful and brave the other is. They wind up on the streets shouting “Ad victoriam!” into the sky until one of them falls on their face.
Deacon: And here he thought Sole had taken him to The Third Rail to gather intel. The night had sure started off that way, but now they’ve had a few too many and Sole’s flirting with every other drifter in sight - including the robot at the counter, who takes it none too kindly. He likes to mess around with them a little, daring them to do ridiculous things and laughing himself silly when Sole actually does them - he never really thought they’d offer Ham a lapdance, and he’s genuinely shocked when they follow through with his dare to propose to Magnolia mid-song. When Sole pulls him onto his feet for a dance, he feels obliged to join in and make a fool of himself - he feels like he owes them after all the crap he made them do.
Dogmeat: He’s not too sure why his owner smells different, or why they’re giggling like an idiot and rubbing his belly, but he’s certainly happy for the attention. He runs around in circles to make Sole dizzy, and rubs himself up against them as an apology when they fall on their ass.
Hancock: He gets an absolute kick out of the entire ridiculous performance that takes place. Alright, sure, maybe he should have made sure Sole wasn’t a complete lightweight before he took them out, and maybe they shouldn’t have mixed that tray of shots with some ‘fun stuff’, but he never expect this kind of reaction just a few hours into the party. They’re both right in the middle of The Third Rail and Sole is still dressed up in that fancy pre-war number, not looking so elegant now that they’re trying their hardest to give Hancock the lapdance of his life. He knocks back another shot and watches with a smirk on his face as they wriggle on his lap, both of them shaking with laughter. He knows they’ll make him pay for this tomorrow.
MacCready: He knows it wouldn’t be right to ask them to calm down - he’s had plenty to drink himself, and it’s far from his first time getting drunk. But Sole is a lot, uh, sloppier than he would have imagined, showering him with kisses and giggling about how much they love him. He’d feel flattered, but they’ve been babbling for a while about how much they love Fancy Lads Snack Cakes as well, so it’s probably not all that important. He hangs with them for a while, they dance to some of the songs on the radio and - when they’re both completely full - attempt to re-enact his favourite scene from the Grognak comics. MacCready gets close to impaling himself on a smashed bottle they use as his mighty weapon, and Sole gets a little to invested in make-believing the bat babies that they fall on their ass and take MacCready with them.
Nick: Hey, he gets that times have been hard recently, and maybe if he could get drunk he wouldn’t mind knocking back a few with Sole. But watching them drunkenly dance around the Dugout Inn is a better form of escapism than he could imagine - he can’t remember the last time he laughed so hard or stress-smoked so much. There are a couple of near-misses when Sole knocks themselves against furniture of accidentally riles up a resident clearly not in the mood to dance, and he feels so bad for that confused look of rejection on Sole’s face that he agrees to take them for a spin on the dance floor. At the end of the night, he makes sure Sole finds their way to Home Plate safely. He knows better than anyone how rough a place like this can be for people who like to dance with synths.
Piper: Well, she supposes they could both use some time to unwind after all those weeks on the road. Encourages Sole to go wild, and isn’t afraid to dance around with them in front of everyone in the Dugout Inn. While she interviews residents for the newest paper, she makes sure to keep an eye on Sole and watch out for anyone who might try to take advantage. If she finds out someone’s getting a little too ‘handsy’, she approaches them in private, waves her notebook in their face and promises that if she sees their hand reaching for Sole’s ass once more, their face is getting plastered all over the Publick.
Preston: The bar they built in Sanctuary was a huge success, but maybe Sole’s been enjoying it a little too much? They’ve been drinking steadily for a few hours now, and when Preston finally advises them to go home, all they can do is laugh and compliment his neat cowboy hat. When they point-blank refuse to go home, he stays and chats to them until they change their mind, making sure they don’t drink themselves blind.
Strong: Silly human, not even walking straight. Lets them drink themselves into a stupor because it doesn’t much concern him, and he thinks it’s funny to watch the puny human dance around.
X6-88: Grumbles. A lot. High levels of intoxication are putting a significant halt on their mission progress, and he doesn’t understand why Sole can’t just take their job a little more seriously. Keeps an eye on them so they don’t wind up in a ditch somewhere, but otherwise lets them do as they please, because they clearly aren’t taking no for an answer.