methodwriter85

Chapter 17 - When Steven comes home after his training. "Boogie Woogie Bugle Boy of Company B" by the Andrews Sisters http://www.youtube.com/watch?v=-wiVkdVPGoY

There should be some kids around Darius's age. It wasn't a Hayes kid you're thinking about- it's Matt's biolgical mother's son.

Here's one from Adam P's first grade days in 1985...

Chapter 16 -When Steven and Nathan have sex after the party, and Steven realizes that he's falling for Nathan. "I've Heard That Song Before" by Harry James (vocals by Eileen Wilson) - When Steven reads Aaron's letter to him. "You'll Never Know" by Dick Haymes http://www.youtube.c...h?v=GpVXGKUGbbM -When Nathan tries to tell Steven that he loves him, too. "People Will Say We're In Love" from Oklahoma! *** I love that damn musical. I saw the Patrick Wilson version in '02...man, it was awesome.

You can tell him that the young man grows up to become a happy, well-adjusted professor/family man in the mid-West, settling into middle age quite comfortably.

Many of you guys are aware of Adam Phillips, a new author here at Gay Authors. Last night, he posted at another group this touching tribute to Mark. I really thought I'd like to share what Adam wrote with all of you. *** This will be long. f**king deal with it or move on. I've been interacting with people through Yahoo groups for 7 years now. I'd been hanging out at various places on the Net a couple of years before that, places where I ran into Ed and a couple of others, but it was 2003 when I began writing Crosscurrents and talking to some of you people. Ridiculous. Seven and a half years it will have taken for me to finish this damn thing. That's absurd, but it is what it is. I've walked some road during that time. Mark. What to say about Mark. Where to start? I have something specific to say, but I can't say it without saying some other shit too. Mark has had my back and been my bud from all the way back to 2003. He is a f****n Man. We clicked early and often. He's definitely First Tier in my book of Internet Companions. Over the years I've disappeared occasionally and he's disappeared occasionally, and as the Dylan song says--sort of--I've seen a lot of women but he never 'scaped my mind. So back already over a year ago Mark asked me to look at his first 3 chapters of Chronicles of an Academic Predator. He knew I'd tell him what I thought even if he didn't like what I thought. I actually liked the three okay. I wrote him back in some detail, trying to be helpful and encouraging. And, man, did he go to town. Boy got the writing bug. I liked his stuff okay. Wasn't my favorite stuff, but I liked it okay. I had my demurrers here and there that kept me from engaging with his stuff 100%. Mostly topic and technique stuff. And I wasn't always crazy about the narrative pacing and the motivations driving characterization. But it was Arbour, man, and I wanted to be loyal and supportive. He's always been that with me. See, problem was, I'd read On the Mark. And it was clear that that was much more from his heart. I wanted that intensity and passion in Cramptonworld and wasn't particularly getting it always. Seemed like he was playing God with his little universe and deciding what he oughta do with them next rather than loving his characters and loving his stories and telling tales of the heart, as the aborted On the Mark clearly was. Then a bad thing happened. Second novel out, he killed off a character I'd come to love, and it seemed to me utterly gratuitous. At the time, anyway. I'm not sure I'd put it like that any more. It told me a couple of things, though. One thing it told me was that his character portraits were starting to work. Other thing it told me was that I wasn't necessarily safe in his hands as a reader. I'm not sure if I can explain that. I don't mind authors taking me into tragedy. But they have to kind of f****ing ready me for it, and there has to be a sort of redemptive purpose to it. That may be old-fashioned of me, but I can't deny it's a factor in my assessment of an author. Well, in 1968 I wasn't ready for it, and there seemed to be no redemptive purpose to it. So I was leery as I continued on to his next story. The Land Whore never really grabbed me hard. I'm not a big fan of the Stefan character and he was narrating. But beyond that, the narrative just never engaged me. Didn't take long, though, for him to snag me again. I loved Brad and Robbie, the Main Guys in Be Rad and Man In Motion. I thought, for the most part, that they were believable, loveable characters, and they behaved in ways that worked for me. The narrative, too, was once again interesting. I was participating in Mark's little group that responds to early drafts of his chapters. And as I was reading along in Man and Motion, out of the clear blue sky, he does it again. F****in takes a character that he's portrayed effectively and sympathetically, and sent him down the tubes. Gratuitously. Again. That was it. I couldn't do it any longer. Subject myself to an author who has the skill to get you to fall in love with a character, only to watch him discard that character like used cat litter. I wrote him a scathing email--as scathing as I can get with Mark--and left his drafts group. I just couldn't subject myself to repeated salvos of having the author waste these beautiful lives he's drawn just for sh*ts and giggles. I don't know, maybe it was just to shut me up or to prove to me that he wasn't a one-trick pony, but he decided not to take that direction after all. I read through his revision with some gratification and a little embarrassment that I'd popped off at him like that, but I was pretty rattled, and my own life was pretty busy, so I never really got back on board with reading his stuff, and he just kept churning out the chapters. But eventually I couldn't take it any more. I felt disloyal as f**k. This is Arbour, goddammit. So I took a deep breath and started over from the very beginning of the Crampton saga, just so I could get a feel for everybody once again. I died once again in 1968, but made it through without too much bitterness. I rejoiced when the rat bastard who'd come to kill Jeff died a horrible, miserable, and in-my-opinion much-deserved death of AIDS (Sharon, I'm sure, is snarling at this point LOL). And I noticed that slowly but surely, Mark was finding a pretty f****in solid voice. I read through the next couple with enjoyment, and finally got to Bloodlines. And I have to say, that opening paragraph of that first chapter...well, sh*t, that's some of the finest writing I've seen anywhere, and as great an opening paragraph as I've read in anything published. I was especially taken by the first sentence. There's an art to writing first sentences, and Arbour f****in blew the doors off the hinges. There was some incredibly artful writing on and off in Bloodlines, which surprised me because Mark had never seemed particularly interested in making sh*t Sing, as I sometimes put it. For him, watching the characters do stuff is the thing; that and the really really nice job he does of weaving historical context and background in a vivid and convincing manner. But this was another whole level of good. And not only that, he had a batch of new characters who were utterly engaging. F*ck if I didn't fall for ol' Matt Carrswold. Almost guarantees that he's going to kill him, I thought to myself; but actually, no. (Jeremy's comment: I think Mark was scared that he'd start a riot if he killed off another one of the Hayes family.) Bloodlines was a pleasure and he got the Big Accolades for it at Gay Authors. Deservedly so. But I gotta tell you...his latest one, The Box, has me grabbed by the 'nads. It's his finest piece in the Cramptonworld series, in my opinion. It's a prequel, in a way, and tells the story of an earlier generation of Schluter and Hayes boys. It's set around World War II, and in my humble opinion, Mark's grabbed himself a piece of the One Story here. I'm partial, of course: It's a coming-of-age tale about two best friends who fall in love. In an era that's much harder on That Kind of Love than anything Andy and Matt ever had to face. Aaron's angst in the earlier part of the story is of a Piece with Andy's angst from my story. And, while Bob's news article (and a post at my other group) suggest that sooner than we realize, people are not gonna get what that's all about, I'm still very much appreciative of an author who explores that internal conflict. And Mark does that here credibly, sensitively, and with love. He lifts Aaron up for the reader's consideration in a way that's utterly heartbreaking, and at least for this reader, it was impossible not to fall for him. And for his best friend. Let me repeat: I don't know if it's possible, unless you're Jeremy with his philistine, boorish tastes, not to fall in love with Aaron Hayes. (Jeremy's comment: I'm just not that engaged by Aaron, and don't find him all that interesting. I'm in this story for Steven, and could go either way with Aaron. Sorry.) The reader knows that both the main characters are doomed. (Don't we?) It's war, and from the rest of the Cramptonworld saga, we know that Steven Schluter died in the war. (Almost certainly, anyway) But that's okay. Steven's love for Aaron and Aaron's for Steven lights up the pages. F*ckin sets fire to them, even. The passion and the depth of emotion is almost palpable, and the guys are skillfully, skillfully portrayed; they and their story are told with subtlety, nuance, restraint, and dignity...yet somehow, for all that, with an explosive power. And finally, finally, it seems to me--though I saw suggestions of it in Bloodlines--Mark displays some evidence of loving his characters. Finally. I'm not completely sure where this story is going; he's not finished with it. But I have to tell you, this is damn good storytelling, in my opinion. I don't know if a reader can start in on The Box without having read the previous Cramptonworld novels and still experience the same power that I have...but I think maybe he/she can. The story of Aaron and Steven is told by giving us glimpses of Steven's journal entries. From time to time Mark breaks into the present and focuses us on the people reading the journal, and if you start with The Box you won't know who those characters are or what they've been about...but I actually think that's okay. The real storyline is in the journal, and that's where the real magic is. Beyond that, Mark's technical control has grown by leaps and bounds, and its visible here. And while he'll never be an author whose pages radiate elegance and verbal power--that's not his style--there are plenty of nice, nice passages that, not even considering the storyline, read soooo pretty, so aesthetically fine, without being self-conscious (such self-consciousness is hardly ever a good thing IMHO). Mark...a superb effort, man. I'd have said this to you in private but I want other people to get curious and check it out. I'm enjoying this immensely. At least for the duration of this fine story, You are indeed Da Man. Thanks, buddy. Adam *** Adam, that was a pleasure to read, even with the personal dig at me. I really am glad that you found something worthwhile in Mark's writing...lord knows how hard the guy works. When Mark started writing his little story about a slutty professor two years ago, I had no clue what he'd managed to build up in the world of e-stories. It's bit breathtaking to think about what he's accomplished in such a short time.

Mark is doing some editing to CAP- he posted five revised chapters, but so far he hasn't touched Be Rad.

Yeah, right back at ya. Anyways, it has been interesting learning about why the Hayes family fell apart, and that they weren't always such a toxic, dysfunctional family.

*shrugs* You were the one who called it an Interlude. I was running with it. I do think it's been a good thing for you to brush people up on the history of the CAP saga, before we enter the first decade of the 21st century in CapWorld.

Well, the Box is supposed to be an interlude, which means it's not supposed to be a very long story. I doubt it's going to get beyond maybe 25 chapters. Probably less. We've gotten through most of that diary, I believe.

That's the thing though. Finn doesn't know that Kurt isn't going to try in touch him in a sexual way. Kurt has done nothing but prove time and time again that he won't let up on this crush, and Finn has every right to feel uncomfortable with being naked around someone who he knows likes him in *that* way.

http://www.youtube.com/watch?v=A2iS8XctJKo&feature=related I always liked this one.

A lot of us are interracial, or have been in interracial relationships, so that makes sense.

I got an A in Public History, an A in Theatre 104, an A- in, and a C in Italian. That means I got a 3.3 for the final semester of college, which brought up my GPA from a 2.64 to a 2.75. Alright!

Yeah, there is. I think slowing down the storyline works- you still have a whole decade to play around with.I mean, as Tiger noted, we ARE running out of years, but there's still some good ground to cover. And I trust that, maybe four or so stories away from this one, you're going to bring the CAP saga to a satisfying conclusion. Anyways, Mark really likes to include pop culture and world events into his stories. Since we're hitting the year 2000, what do y'all think Mark will cover? Or what would you like to see covered? I'm guessing... -The tech meltdown. -The break-up of Microsoft, and the rise of the IMac. -The Y2K scare. (That turned out be a few minor glitches on some posting boards, but eh.) -The phenomenon, which kicks off the explosion in reality TV for the 2000's. I will never forget that "Snakes and Rats" speech. Has it really been 10 years? -The 2000 presidential election. JP will go absolutely livid over George Bush getting "elected". -The Summer Olympics in Australia. I can already picture Stefan and JP inviting some young Olympic stud into their limo. LOL. -The implementation of Civil Unions in Vermont. 2000 had some interesting things go on, but in retrospect it feels like the calm before the storm that was 2001.

I guess that makes sense, PrivateTim. Cyn, I agree with you that it's REALLY hard to believe that only one person has called Cross-Currents 'angsty'. It'd be like only one person called Fraternity Memoirs by John Walsh 'sexy'. Here's my second angsty tune. What's wrong with the world, mama People livin' like they ain't got no mamas I think the whole world addicted to the drama Only attracted to things that'll bring you trauma Overseas, yeah, we try to stop terrorism But we still got terrorists here livin' In the USA, the big CIA The Bloods and The Crips and the KKK But if you only have love for your own race Then you only leave space to discriminate And to discriminate only generates hate And when you hate then you're bound to get irate, yeah Madness is what you demonstrate And that's exactly how anger works and operates Man, you gotta have love just to set it straight Take control of your mind and meditate Let your soul gravitate to the love, y'all, y'all People killin', people dyin' Children hurt and you hear them cryin' Can you practice what you preach And would you turn the other cheek Father, Father, Father help us Send us some guidance from above 'Cause people got me, got me questionin' Where is the love (Love) Where is the love (The love) Where is the love (The love) Where is the love The love, the love It just ain't the same, always unchanged New days are strange, is the world insane If love and peace is so strong Why are there pieces of love that don't belong Nations droppin' bombs Chemical gasses fillin' lungs of little ones With ongoin' sufferin' as the youth die young So ask yourself is the lovin' really gone So I could ask myself really what is goin' wrong In this world that we livin' in people keep on givin' in Makin' wrong decisions, only visions of them dividends Not respectin' each other, deny thy brother A war is goin' on but the reason's undercover The truth is kept secret, it's swept under the rug If you never know truth then you never know love Where's the love, y'all, come on (I don't know) Where's the truth, y'all, come on (I don't know) Where's the love, y'all People killin', people dyin' Children hurt and you hear them cryin' Can you practice what you preach And would you turn the other cheek Father, Father, Father help us Send us some guidance from above 'Cause people got me, got me questionin' Where is the love (Love) Where is the love (The love) Where is the love (The love) Where is the love The love, the love I feel the weight of the world on my shoulder As I'm gettin' older, y'all, people gets colder Most of us only care about money makin' Selfishness got us followin' our wrong direction Wrong information always shown by the media Negative images is the main criteria Infecting the young minds faster than bacteria Kids wanna act like what they see in the cinema Yo', whatever happened to the values of humanity Whatever happened to the fairness in equality Instead in spreading love we spreading animosity Lack of understanding, leading lives away from unity That's the reason why sometimes I'm feelin' under That's the reason why sometimes I'm feelin' down There's no wonder why sometimes I'm feelin' under Gotta keep my faith alive till love is found People killin', people dyin' Children hurt and you hear them cryin' Can you practice what you preach And would you turn the other cheek Father, Father, Father help us Send us some guidance from above 'Cause people got me, got me questionin' Where is the love (Love) Where is the love (The love) Where is the love (The love) Where is the love (The love) Where is the love (The love) Where is the love (The love) Where is the love (The love) **** I had a moment, about fifteen months ago, where some friend made me really, really, really horrible. I had to sit around and listen to this song for quite awhile while I tried to feel better. We eventually made up six weeks later, but god I felt like crap for awhile.

100 years is an angst song? I always a thought of that as a cheerful song that celebrates the great moments that make up a person's life. Anyways, here's a major angst tune for me. I'm always going to associate this song with the summer of 2006, which was a major angst time for me. "Where'd You Go?" Where'd you go? I miss you so, Seems like it's been forever, That you've been gone. She said "Some days I feel like sh*t, Some days I wanna quit, and just be normal for a bit," I don't understand why you have to always be gone, I get along but the trips always feel so long, And, I find myself trying to stay by the phone, 'Cause your voice always helps me to not feel so alone, But I feel like an idiot, workin' my day around the call, But when I pick up I don't have much to say, So, I want you to know it's a little f*cked up, That I'm stuck here waitin', at times debatin', Tellin' you that I've had it with you and your career, Me and the rest of the family here singing "Where'd you go?" I miss you so, Seems like it's been forever, That you've been gone. Where'd you go? I miss you so, Seems like it's been forever, That you've been gone, Please come back home... You know the place where you used to live, Used to barbecue up burgers and ribs, Used to have a little party every Halloween with candy by the pile, But now, you only stop by every once and a while, Sh*t, I find myself just fillin' my time, With anything to keep the thought of you from my mind, I'm doin' fine, I plan to keep it that way, You can call me if you find that you have something to say, And I'll tell you, I want you to know it's a little f*cked up, That I'm stuck here waitin', at times debatin', Tellin' you that I've had it with you and your career, Me and the rest of the family here singing "Where'd you go?" I miss you so, Seems like it's been forever, That you've been gone. Where'd you go? I miss you so, Seems like it's been forever, That you've been gone, Please come back home... I want you to know it's a little f*cked up, That I'm stuck here waitin', no longer debatin', Tired of sittin' and hatin' and makin' these excuses, For why you're not around, and feeling so useless, It seems one thing has been true all along, You don't really know what you've got 'til it's gone, I guess I've had it with you and your career, When you come back I won't be here and you can sing it... Where'd you go? I miss you so, Seems like it's been forever, That you've been gone. Where'd you go? I miss you so, Seems like it's been forever, That you've been gone, Please come back home... Please come back home... Please come back home... Please come back home... Please come back home... *** God, this song never fails to rip at me.

And in your case, you get to revisit music from high school. *ducks*

Chapter 15 -Christmas, 1942, where Steven realizes that Nathan has moved on, and an awkward dinner conversation with Tono ensues. "White Christmas" by Bing Crosby and Marjorie Reynolds http://www.youtube.com/watch?v=0Mjb4yLMeK8 -When Steven gets with Nathan. "Tangerine" by Jimmy Dorsey

Well, you know, Frank may only be seven years old, but....(KIDDING.)

Paya, you do realize that you're in a thread that is inherently about fans giving Mark storyline suggestions, right? Paya, the reason I give so much feedback to Mark's stories is because of the fact that I serve a function on his writing team. On Mark's Gay Authors homepage, Mark has outlined my function as this: As Mark has said, he doesn't use all of my ideas, but he does use quite a few, and that's why I serve as his muse at times. Note how I brought up Will being into parkour, but Mark sees Will as much more likely to be into skateboarding. If he shoots down an idea, I'm not going to try and force him to change it. The only time I've ever gotten particularly aggressive about something is a storyline with Bloodlines. Mark was going to have Cole be allowed to go right back to living at his dorm at Stanford after his suicide attempt. I told him emphatically that there is no way in hell a university would ever allow a guy who tried to commit suicide go back to living on campus without assurance that it would never happen again. I had some personal experience with something similiar, so I really wanted this to be done in the right way. I asked around for feedback, talking to R.A.s and such, and they agreed with me that at the very least, the university would have made Cole take off the rest of the quarter and undergo mandatory counseling before he was re-admitted to Stanford with a doctor's note stating that he was no longer a danger to himself or to others. Mark took that idea, and gave us the storyline of Cole living with the Cramptons for a quarter, which was a nice little subplot that worked well and served to repair Cole's friendship with Matt. There was another time when another person on Mark's writing team got somewhat upset at an upcoming storyline with Mark's then-current story, Man In Motion. This person, who I will refer to as Austin, did not feel that the storyline made sense for the characters. Austin felt that the storyline made the main protagonist, Brad, look extremely bad, and it went against who Brad was as a character. Austin laid out an argument for why the storyline didn't work in a very calm, methodical manner. Mark wrote what he wanted to write anyway, but then Mark realized in writing the story that Austin was right. So Mark backed up and re-wrote the chapters, and I think the finished product of Man in Motion turned out well. So those are two examples of when feedback changed a story direction. But that feedback only changed the story direction because Mark himself felt that it made sense for the story. I put this on the front page, but just in case you don't check it out... Added May 26, 2010: Paya just made a very interesting point. I myself have been guilty of not talking about how the story should end, but instead talking about what should happen as we get there. So I'm expanding the scope of this thread to include just general speculation about what the future of the characters are. So it is now on-topic to include discussions of where the kids will be in 5 years, or where Brad and Robbie's relationship will go, etc etc. This thread is no longer just about the ending of CAP- but also about how we will get there.

I was over at my favorite bar tonight. I was there for an acoustic guitar show by a guy named Jefe. Afterwards, I was watching a good amount of people crying their eyes out. Because it was the Jefe show they'd ever see at the Deer Park Tavern as a college student, you know? I was seeing one guy in particular. He was just bawling his eyes out, and comforting and being comforted by his friends. It went on for at least half-an-hour. I had a bit of a cry later in the car- you know, the "Oh no this is the end of college and it makes me emotional" deal, but I think in general I'm not feeling that sort of despair that guy is feeling. I contrast that to when I graduated from high school five years ago, and I just don't feel that same sense of,"my world is ending", that I did back then. Back in high school, I felt like the world was going to end as soon as I stepped off that stage- that because the world I had taken four years to build was over, that my life is over. And I don't really feel that when it comes to college, and I don't really feel that much despair about things ending. Part of it, I think, is just the fact of the matter is that I'm a 5th year senior. I mean, I know that technically I'm the class of 2010, but in my heart I'm the class of 2009. This isn't really the class I grew up with. I went through the feeling of saying my goodbyes to my fellow seniors last year, I think. This year has felt like an extension of college, but my heart's already moved on a bit. And I don't really have the tightknit, "we do everything together" kind of group that a lot of these kids seem to have. I transferred into UD during my sophomore year, and I just never really became part of any one group. I was more of just a "floater", I think. So there aren't really any huge emotional ties tugging me to UD. I mean, there's my friend Steve, and I do have some good friends, but University of Delaware just wasn't the center of my world that Cab Calloway High was. I'm ready for it to be over, and I'm ready to move on to grad school. I mean, I'll still always be the silly college kid at heart, and I don't think that will ever change, but I really think doing a 5th year of college prepared me for the end of it. It feels time, you know? Time to smile, time to reflect on my accomplishments and all the fun and all the tears and all the tediousness and the joy and the sadness...and just..walk forward. I might be a total blubbery mess on Friday on Saturday, but for now...I'm happy that I'm marching towards something new and away from the familiar.

Meanwhile, here on the East Coast, private schools seem de rigeur. In the state I'm from, you either send your kid to private school, a charter school, a magnet school, or you hope and pray you can choice them into a more decent district. The public schools are horrible because we have low property taxes. Even in nice areas, the public schools are horrible. I was really shocked when researching for you where Darius, Will, and JJ would go to high school, because in my experience, there's a private high school for almost every town here in Delaware. There's only one actual private high school in the Malibu area, called Colin McEwen, but it seems like a special-needs school that has about 23 people. For middle school, there's a little more choice, but I cannot see Robbie and Brad willingly sending JJ and Will to Our Lady of Malibu, a k-8 Catholic school. So Malibu High it is. Although if Robbie and Brad were really bent on sending their kids to private school, they could bus them out to Santa Monica. The boys could attend Crossroads School or Concord High School, which are the two secular private schools in Santa Monica. I don't know if Robbie and Brad would really want to give the guys such a long commute though when Malibu High is right there and has such a great reputation. Plus, with Robbie and Brad having great experiences with really good public schools, I don't really seem them having the snobbery about sending their kids to private schools that you see a lot here on the East Coast, or in the mid-West with the Carrswolds sending Matt to the University School. I found something pretty neat on Youtube, though. It's footage from the actual rehearsals and show of 42nd Street at 2004 Malibu High theater production. So they're the contemporaries of JJ and Will. Pretty neat, huh? Mark, aren't you glad you have me to do the bitch researching grunt work so you don't have to?;-)

Come on, you gotta admit that parkour is pretty sick. And eh, I guess Will could be skater, but I just figured I could keep you up-to-date about likely subcultures that Will, JJ, and John Hobart will run into during their high school years, which are circa 2001-2005. Details like parkour, which I remember popping up when I was high school, do a good job of keeping the story current. (For the time frame.) You don't want the story to stay stuck in the early 80's when Brad and Robbie were in high school, right? Here's a cool clip I found of some rapper performing at Malibu Inn for some Malibu High students. It's from 2006, and it gives you a good idea of how the kids dress and dance in that era. Hair seems to be generally straight, and strappy tank tops seems to rule. Note especially how the girls dance with each other onstage. [url=" And here's a short clip of a guy skateboarding late at night at Malibu High School: [url=" Malibu High seems like the typical Western school- lots of open hallways. I've been reading up on it- the town of Malibu itself doesn't seem to have a lot of private high schools. So it looks like Darius, JJ, and Will are most likely attending Malibu Middle and High School. If they were living in Santa Monica, it would be different- Santa Monica appears to have more private schools. But Malibu doesn't. Which I thought was pretty interesting for such an affluent area.

I actually had a conversation with a girl from the White Rock Lake area of Dallas who told me about a rave club in Dallas called After Life. I guess raves actually became more of a thing AFTER your youth in in your area. Here, they were popular around 1999-2002, but then seemed to die out. It's kinda interesting to wonder about what this next generation of kids will get into as they come-of-age in the 2000's. What if Will got into parkour? It 's a pretty interesting subulture that emerged in the past decade, and it'd be a way to make Will his own character instead of just having him be into surfing like his father. I can see parkour being something that a guy like Will could be into- it's almost poetry, the way these guys work: There is no way in hell JJ would ever dirty himself like that, fussy fella that he is, but I can see the quiet intensity that Will has working for something like parkour.