2006 version


?????whys everyone being a little binch about white people being in death note???? There is absolutely zero historical relevance??? You DO NOt need one particular race to carry the narrative…. it literally has nothing to do with race… there’s a 2006 version with Japanese actors…. go watch that by all means…… all I’m saying is that whoever decided to direct/ produce this has all the right to chose their cast. Their art is still valid…. and if you’re of so fucking offended then this is not the platform to fight for those rights you feel like Netflix is taking from you. And i get that white folk run the media but they do not owe us anything… they do not have to fucking appease our hurt minority under representation. I’m just saying… this adaptation is still valid. No ones getting hurt… this is not a hate crime or an act of violence against minority…..

The Kill (Rebirth) + The Kill (Vocals)
30 Seconds To Mars

It’s been a long time since I uploaded a new edit.
Well, in fact… It’s not a MCR edit. i’m sorry, i really am ok idk wht to do anymore lol help

Soo, here’s a 30 Seconds To Mars edit instead!


L- The Kill (Rebirth) (2007)
R - The Kill (Original Version) (Vocals) (2006)

Enjoy! x

Oreburgh City (Day)
Hitomi Sato
Oreburgh City (Day)

Pokémon Diamond/Pearl/Platinum Version - Oreburgh City (Day) (Piano Arrangement)

Composed by Hitomi Sato
Arranged by Shadoninja
Game Freak, The Pokémon Company, Nintendo © 2006

Get the sheet music for this song and more:


All Time Low Discography 2006-2015
Fall Out Boy Version [x]


Keeping House 

You clean out your junk-drawer, you mop up some blood
While the first of the new creatures rises from the mud
Cursing the moment that saw him draw breath
The ghost on your doorstep is starving to death

You spray down the windows, you wipe them all clean
And you douse your old clothing with fresh gasoline
And the ghost on your doorstep is soaked wet with rain
And he clutches his stomach and howls at the pain

And you can stay busy all day
He’s never going away

So let all the lights blaze, keep your heart light
Play really loud music all hours of the night
And when you set the table, set it for two
The ghost on your doorstep has to eat, same as you
Same as you

from Get Lonely (Japanese Version) (2006)

In 2004, Kalnoky decided to re-record Keasbey Nights with his new band Streetlight Manifesto. The decision was prompted by Victory Records’ plan to re-release the album with additional content. The Streetlight Manifesto version was originally scheduled to be released in late 2004, but was continually delayed until being released on March 7, 2006.

The re-recorded version includes several musical and lyrical changes from the original. “Dear Sergio” includes an extra verse that Kalnoky had added when he recorded the song with the Bandits of the Acoustic Revolution on A Call to Arms (2001). Day In, Day Out features a new verse in place of playing the first verse again. The muted trumpet solo in “This One Goes Out To…” was replaced with a tenor saxophone, and different instruments were also used during the solo section of “Kristina She Don’t Know I Exist”. Most notably, Kalnoky replaced the shout-outs during the extended ending of “1234, 1234” with a text-to-speech transcription of an interview in which he explains his motivations for re-recording the album:

We wanted to get it right for once. Plus it helps me sleep at night knowing blood, sweat, and tears were put into a record as opposed to making people pay thirteen bucks for a record and they only get flashy new cover art. This release is a preemptive strike, I guess. Whatever you want to call it, it’ll piss people off, and that, at the end of the day, is all that really matters.

If there’s one thing I can’t stand it’s when a CD is re-released untouched sonically, with a new cover and maybe a live video, and kids are duped into buying this new edition of something they already have. I was upset when I was told the guys were going to do this for Keasbey, so I offered to re-record it because I’ve always thought it sounded like pure garbage sound-wise. Plus the budgets we get are laughable, particularly for a band with seven musicians to record. So we used some of our own money and took our time with this one. I’ll tell you right now, we have no intent on hiding our intentions. We wanted to prevent the re-release of Keasbey untouched as well as get the record to sound how it should have sounded originally. For that we sacrificed months of our time and our money, and now we feel what we have is worth paying for. Although, truth be told, I don’t care if a single record is sold, as it is indeed old music, and kids have a right to know what it is and to decide whether or not they’ll pay for it. Do I think it’s worth thirteen dollars? Yes, very much so, but that’s my opinion. What other people decide, that’s their own opinion. We’re going to keep doing what we do whether or not a single record is sold.[1]

The liner notes for the album include a message: “There is absolutely no way of explaining the existence of the record you now hold in your hands without somehow offending, infuriating, confusing or alienating certain parties, so we won’t even try. Please enjoy this for what it is.”[1]

Source: Wikipedia

  • Vesper Lynd: You know, James...I just want you to know that if all that was left of you was your smile, and your little finger, you'd still be more of a man than anyone I've ever met.
  • James Bond: That's because you know what I can do with my little finger.
  • Vesper: I have no idea.
  • Bond: But you're aching to find out.
  • Vesper: You're not going to let me in there, are you? You've got your armor back on. That's that.
  • Bond: I have no armor left. You've stripped it from me. Whatever's left of it, whatever's left of me, whatever I am...I'm yours.