paris is burning - a les amis playlist [listen] [download]

dance poor people, dance and drown
dance fair Paris to the ground
dance poor people, dance and drown
dance fair Paris, ashes now

[tracklist: 1. welcome to the black parade//my chemical romance 2. glory and gore//lorde 3. waving flag//k’naan 4. overcome//new politics 5. change//taylor swift 6. soft revolution//stars 7. this is war//thirty seconds to mars 8. paris is burning//st vincent 9. dead hearts//stars 10. the good die young//billy joel]

forest-child-and-proud asked:

For the Palette Challenge: Markus/Ashe - Hell - War

Less Markus/Ashe than expected, but dear god do I love this prompt

The ground rumbled beneath them, causing some of the smaller rocks to dance and bounce. Bottles and other objects teetered on the edge then fell to the floor, the broken pieces rattling against the hard wood floor. Loose shingles slid off and dropped to the ground. The windows vibrated dangerously, threatening to crash.

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When Red first came out I was literally so obsessed with every single track. I would go running to I Knew You Were Trouble and fall asleep to Treacherous and cry to All Too Well all the time and dance to Holy Ground and Starlight and hang out with my friends with 22 playing in the background. That album was such a huge part of my life and I’ll never stop loving it.

Getting ready for our holiday show with Casanova Frankenstein and Dark Citizen!

It’s also our one year anniversary as a band, and looking back at the past year, it’s been pretty amazing. We’ve recorded our EP, played with some stellar bands, and had amazing adventures that we sort of remember. What I do remember, though, is putting our trusty steed (van) Helga through a lot while playing all over Florida. You should not light fireworks inside moving vehicles. Sombreros and Greek food. Torturing whoever was driving, trying their best to keep us on the highway and out of some ditch. The Taxpayers covering “Sink, Florida, Sink” and bringing the house down. Anthony’s birthday in Deland. Breakdancers in Ybor City. Meeting total strangers and 30 minutes later running rampant around some downtown district with them. Free pizza. Free beer. Praying the gas gauge is lying, and we have another 25 miles left in the tank. That nerve-wracking “everything is gonna go wrong” feeling before we jump onstage, and how quickly it disappears.

Alright, enough rambling. We love you guys. Thank you for reading, listening, watching, dancing, supporting, laughing. We love showing you a good time.

Also, Trevor’s whipped up a little Christmas jingle for the show. See you soon!




Awkward // Dance Gavin Dance

Now, now, slow your roll
Keep your head low
Your life is a joke
Don’t make this awkward

another random fic because i have no prompts left! feel free to prompt any au destiel or cockles fic, guys!! 

this is basically 4.4k of punk!cas // nerd!dean fluffy fluff 

Dean’s footsteps echoed as he walked along the barren linoleum hallway, the faded blue lockers daunting on either side of him as if they’d close in on him any second. There were crumpled posters dotting the ground, advertising a school dance, or something.

As Dean made his way to his first period English class, which he was late for as usual, he could hear the sound of shouting coming from somewhere. Dean, ever the curious one, followed the sound and realised the shouting was coming from the office. Dean approached with trepidation, rounding the corner until he was faced with the image of the principal shouting at a student. Or, rather, the student was shouting at the principal. Dean realised the student was Castiel Novak, which he probably should have guessed sooner because he was the only student in the whole school that would have the balls to shout at the principal like that.

“It’s not my fucking fault if Mr Walker is an idiot.” Castiel snarled, his eyes alight with fury as he stared down the principal; who actually looked to be a little scared. “He should have checked his seat before he sat down.”

The principal sighed, pinching the bridge of his nose. “Yes, because we all check our chairs to see if there’s a frog there before we sit down.”

Castiel chuckled, running a hand through his messy dark hair, the motion bringing attention to the midnight blue streak at the front. Coupled with the worn leather jacket and a ripped t-shirt, Castiel looked as though he’d been up all night at some sort of biker bar. “Look, Dick. Did you call me in here to nag me about the frog prank or the fact I beat up the star quarterback?”

The principal smiled tightly. “Castiel, I could write a list of possible things I could have called you in for. Smoking on school grounds, coming to school drunk and possibly high, numerous counts of violence and graffiti, silly pranks, dress code violations in the form of tattoos and piercings… need I go on?”

The student, Castiel, grinned. “Please do. It’s good for my self-esteem and my badass persona.”

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On November 11 (that’s Friday!), we are releasing our EP, This Is How We Survive, digitally through iTunes, Amazon MP3 and CdBaby. It will also be available to stream through Spotify, Bandcamp, purevolume, and even Napster!

1. Traffic Beats
2. Perks
3. We Both Know
4. Autumn Queen
5. Mexico

But today…

check out our video for Perks! It’s basically our scrapbook from the last year, with lots of singing and dancing.

Let us know what you think!
~The Ground is Dancing

brendon urie told me that he wanted to recreate a scene from dirty dancing, so he asked me to do the running start so that he could lift me. i happily obliged, but as he was wearing dress shoes, once he caught me, he immediately fell, bodyslamming me to the ground. i will never dance again


On our way to the Deland Music Festival yesterday, Trevor wrote a beautiful and moving song expressing his angst towards the “no profanity on outside stages” rule at the festival.

Upon arriving at the festival, we found out the rule wasn’t really being enforced, so we improv-ed a full band version after our last song.

Paso Doble: The Most Dramatic Ballroom Dance

The Paso Doble is a dance full of energy, strict and powerful. With his haughty, bold pride the dancer expresses his superiority like a Torero marching to battle. He convincingly transfers this solemn appeal to the audience. The woman is not potrayed as the bull, but rather the literal image of the “Capa”; the red cloth that the Torero uses to keep the bull under control, and is lithe, agile and elegant. At the end, the Torero often triumphantly throws the cape to the ground, making The Paso one of the most dramatic, precise dances.

The Paso Doble is a Spanish pair dance, but assigned to the Latin and North American dances. It is characterized by easy, marching-like steps. Its origin supposedly dates back to a French military march with the name ”Paso Redoble“. This is a march with 2/4 beat with about 130 steps per minute. However, at this pace walking is hardly possible; it is more like running. That’s why the Paso Doble is the fastest Latin American dance. Every second step is emphasized and that’s probably also where its name comes from, meaning “double step” in English.

In Spain the dance is also known by the name ”El Soleo“; it was played during the Torero’s arrival in the bullring. This ritual was known already in the 18th century. Not far away from Spain, in Southern France, this practice was interpreted dance-wise and music-wise around 1910 by French competition dancers and dance instructors from the One Step. It is thanks to this French development that the Spanish dance has mostly French figure descriptions. Today it is danced as Two Step, mostly in 2/4 or 2/6 beat. But it wasn’t until the 1920s that a choreographed bull fight pantomime appeared. Here, the Paso Doble emerged as the bull fight performed as a dance. The man played the Torero, the woman the read cloth, the “Capa, “or the “Muleta“ – and not the bull. This way of dancing was a novelty at that time.

Because of its arrogant pride and its bold decisiveness, all characteristics of a Torero, the dance expressed the main features of the “master“. That’s why the Paso Doble is also called “the dance of the master“. The tenseness of his body can be felt by the audience and is decisive for its aesthetic appeal. The Flamnco, as well as the Spanish Fandango, greatly influenced the Paso Doble. This can be recognized in the mirror image way of dancing, so typical for the Flamenco. The Paso Doble has adopted some elements of the Flamenco in figures and steps. It is therefore sometimes described as a Flamenco-like march. The Paso Doble can be found in this stylized form in Latin America as well, where it also adopted the character of a folk dance.

In Central Europe, it lost its significance. It has been a competition dance since 1945 and is being taught in dance schools, but it is seldom seen in public. Only a few music groups include the Paso Doble in their repertoire. Its music is clearly structured, full of energy, powerful and seems very strict – thereby not very joyful. The preferred piece of music is Maria Andergast’s “The Master Torero”. The best known Paso Double piece of music, the “Espana Cani“ by Pascual Marquina, was written in the twenties.

The Paso Doble is the only competition dance acting out a story and the only Spanish dance included in the worldwide competition dance program.

Paso is always about the story of the matador fighting with the bull - the gambling of life. Simply speaking, Paso is about bringing the bull - fighting scene on stage through partner dancing. Paso Doble paints a comprehensive picture of Spain; it enlivens a bull-fighting scene through the dancing. This prsentation of a story is what makes the Paso unique. There is absolutely no such flavor in other Latin American dances.

The Latin American dances all present the lady. Interestingly, the Paso Doble is the only dance that presents the man with much masculinity. In terms of visual image, the man is always proud of himself. In terms of the dancing, when the man raises his arm, the lady will response by approaching the man. When the man closes the hand-hold, the couple will dance together as in Surplasses (side walking steps). In other words, the man will lead the lady every step by step. The man plays an absolutely dominant role in leading in the Paso Doble.

In Spanish, “Paso Doble” means “two step” and refers to the marching nature of the steps. The dance consists of several dramatic poses that are coordianted with highlights in the music. The body is held upright with the feet always directly underneath the body. The basic “Chasse Cape”(chasing the cape) is the style most used.

The cape, whether a real prop is used or the shaping of the “lady” also helps to cast a masculine image of the matador because the cape is always heavy to manipulate. Whether dancing it or not, The Paso Doble is always a dance with great artistic value for appreciation.

A video illustrating the roles of the matador and the woman as cape. Opening Music is Montagues and Capulets or Dance of the Knights from Romeo and Juliet Ballet composed by Sergei Prokofiev

Although I’m referring to the Paso Doble dance, it’s worth mentioning that in the world of Ice Dance, Jayne Torvill and Christopher Dean were masters of bringing dance to ice. Their OD Paso Doble from 1984 is worth any dancer’s time to study for the precise choreography, posture, and attitude that the Paso requires. Below is a video of their performance, a precisely edited arrangement of Capriccio Espagnol by Rimsky Korsakov. In the OD at that time, a set pattern had to be repeated, thus the repetition of the step sequence 3 times - a very precise, difficult tack.

A place to stay

A place to stay,
Somewhere that’s warm,
And guards you from,
The raging storm.

Yet finds the strength,
To bear the pain,
And carry you out,
To dance in the rain.

The ground beneath you,
An anchor for your soul,
The one who keeps you up at night,
Holding you until you feel whole.

The wind that flys,
Beneath your wings,
The notes to the song,
That your gentle heart sings.

The gravity that pushes,
You back to the ground,
And tells you once you’ve landed,
“You’re safe and sound.”

So hold me close,
And don’t let go,
Just hold me tight,
And know I love you so.

“Tonight I’m gonna dance for all that we’ve been through. But I don’t wanna dance if I’m not dancing with you.Tonight I’m gonna dance like you were in this room. But I don’t wanna dance if I’m not dancing with you.” - Holy Ground

it’s always the 13 year old leftists who want people to rihfuse to vote and burn things to the ground like focus on the 8th grade dance and pre-algebra perhaps