WOAH-OH-OH-OH

Barricades - Official Lyrics (SnK Season 2 OST)

NOTE: This is taken directly from the lyrics booklet that is included with the CD. However, there is a written mistake in the booklet itself, namely in the second chorus where it says “It’s my dirty hands, It never fades”, however it is in fact wrong as there is no difference between the three choruses apart from the vocalists. What I’ll be posting below are the correct lyrics.


Song Title: Barricades

Lyricist: Benjamin & mpi

Vocalist: yosh, Gemie, mpi

Wouldn’t it be nice to take a walk on 

some pure white sand,

gaze at the horizon, 

without living in fear? 


Wouldn’t it be sweet to watch 

the sun curve down meet the waves? 

And taste the ocean spray

and realize we’d been living as slaves


We’ve got to learn to Get back, 

Get back!

But is it worth the price of our soul? 

You know you had to Kill her,  

Kill her! 

Oh my dirty hands, It never fades


And if we get out, 

Get out! 

I’ll think about the price of our soul

We’ve got to learn to Live free,

Live free! 

We’ll live a life without Barricades!


WOAH OH OH OH WOAH OH OH OH OH WOAH OH OH..


How long I haven’t seen the light shine 

through in my life.

Lost everything, family, 

confusion on the way. 


Someone tries to talk to me 

and signpost the righteous road, 

My animal inside 

can now be tamed to go over the wall


*

We’ve got to learn to Get back, 

Get back!

But is it worth the price of our soul?

You know you had to Kill her,  

Kill her!

Oh my dirty hands, It never fades


And if we get out,

Get out!

I’ll think about the price of our soul

We’ve got to learn to Live free,

Live free!

We’ll live a life without Barricades!

WOAH OH OH OH WOAH OH OH OH OH WOAH OH OH..

*Repeat

last young renegades lyrics

(oh, oh oh)
just a couple kids on the summer street
chasing around to a flicker beat
makin’ mistakes that were made for us 
we brushed the off like paper cuts

you said you’re sick and tired of it
but i need you more than night and day
(oh, oh, oh)
i miss you every single way
we said forever but forever wouldn’t wait for us

you were my last young renegade heartache
it only took one night
caught in the eye of a hurricane, darling
we had to say goodbye

(oh, woah, oh)
(oh, oh, oh)
underneath the lights of the motorway
that’s where i go to keep your ghost away
we used to be such a burden flame
now we’re just smoke in the summer rain

you said you’re sick and tired of it
but i need you more than night and day
(oh, oh, oh)
i miss you every single way
we said forever but forever wouldn’t wait for us

you were my last young renegade heartache
it only took one night
caught in the eye of a hurricane, darling
we had to say goodbye
i wanna know that you’re somewhere out there
somewhere down this road
you were my last young renegade heartache
how could i let you
how could i let you go

(oh, woah, oh)
you were the best thing
that ever happened to me
and i’ll keep on fighting 
just to make you believe

you were my last young renegade heartache
it only took one night
caught in the eye of a hurricane, darling
we had to say goodbye
i wanna know that you’re somewhere out there
someone down this road
you were my last young renegade heartache
how could i let you
how could i let you
don’t want to let you 
i’ll never let you go

 uhop oh uh-oh 

oh uh whaaat? oh uuuuuhh oh WOAH OH 

AHAHAHAH OH UH-OH

WHOOPS 

OH NO 

WHOOPS 

OH NOO

UH OH 

UH OH 

uh oh 

ohhh no whoops

WHOOPS

WHOOPS-A-DAISY

OH NO uh oh 

WHOOPS

OH NO

ohh no … 

oops! oops a DAISY!

put this one back in the oven! he needs time to cook

oh whoops a doodle! yikes … 

Drill and Ceremony: Cadence

Cadence is, first and foremost, a method of maintaining marching rhythm. It is called to create unification, order, and synergy between marching troups. It’s described as having a “call and response” because there’s one person calling the line of cadence, and then the line or the next line recited by the soldiers marching. Not only does this setup make it easy to march to/learn new cadences on the fly, it keeps participation high and it helps pass time on longer marches.


Please note that the army has this issue with you calling or referring to cadence as “singing,” even though that’s essentially what it is. So basically just don’t have your characters call cadence “singing.”

Each cadence follows a beat that corresponds with a step. When marching, the left foot goes first, followed by the right, then left, then right, etc. When calling cadence, you begin on the left foot, and end on the right. I’m sure there’s one or two weird cadences that are exceptions to this, but generally speaking you start left, end right.

You’ve probably heard in army movies the “Left, left, left right left!” bit. That’s more of a bridging cadence than proper cadence in itself. It’s usually used when the person marching is thinking of a new cadence to start saying, isn’t allowed to call cadence for some reason, or the location they’re marching to is coming up within thirty seconds or so and they’re getting ready to bring everyone to a halt. It goes without saying that even though the cadence calls three lefts in a row, each left is spoken on the left foot, meaning that in between each “left” is a pause as soldiers step on the right, and when “right” comes up there is no pause. “Left (pause) Left (pause) left, right, left.” More often soldiers mix things up a bit and say “Your left, right!” or something else. Certain intonations of “left, right” can actually be the lead-in to certain cadences, but that’s cadence specific and I won’t get into it here.

Please keep in mind that step isn’t determined by the word, but rather the rhythm. Don’t make the mistake of assuming each word = one step.

If you like, listen to this recording of “Hey, Hey Captain Jack!” and try to march along. You can actually hear the footsteps in the audio to represent the soldiers marching.

If you march to Captain Jack, your lyric/step will look something like this:

Hey (Left)
Hey (Right)
Captain (Left)
Jack! (Right)

Meet me (Left)
down by (Right)
the rail-road (Left)
track (Right)

If a soldier is out of step with the cadence, they can perform a “change step” while marching to get themselves back on the right foot. They don’t have to wait for a command to do this; if they realize someone’s nipping at their heels and they’re off-pace with the cadence, they can do it any time to get back into rhythm. Still, this can be tricky as you’re not supposed to look down while marching except maybe a passing glance to ensure you’re on step with everyone. You’re supposed to always stay on step with the person in front of you, unless you’re at the front, in which case you keep in step with the person on the far right (that person is called the “guide,” for reference.)

Again, this can be tricky because if the person in front of you is out of step, it could result in a chain reaction of everyone change-stepping to get on step with that person, resulting in half the unit being out of step with the guide. This is another reason why cadence is called; the person who’s calling the cadence (the “post,” for reference) is always on step with the guide, so if you’re on step with the person calling cadence, you’re probably right.

Cadence is actually kinda fun because the lyrics are usually humorous or risqué. They’re also often interactive, and soldiers will throw in their own add-ons or fun renditions. For example, if you listened to the above clip for Hey, Hey Captain Jack, you’ll notice that the soldiers go immediately from one verse to the next. In a normal unit though, you might hear a rendition that looks more like this…

(final line of chorus)
I’m gonna be your gunnin’ man!
(bonus lines)
The best I can!
For Uncle Sam!
Re-up, [Oh, re-up!] you’re crazy!
Re-up, [Oh, hell no!] you’re outta your mind!

These are doubly interactive lines because the part in square brackets is said by the soldiers before the line is fully finished.

Ordinarily when you call cadence, it looks like this:

Caller: “Re-up, you’re outta your mind!”
Soldiers: “Re-up, you’re outta your mind!”

But in this case, the “Oh, hell no!” is said after the caller says “re-up,” and then the line is repeated back normally.

Renditions like that vary by unit and some prefer that you don’t do it at all.

Sometimes cadences involve a “stomp” for bonus effect, usually to end a line for dramatic effect or to fill in for a explosion sound or to cut out a cuss word. The stomp is usually performed on the right foot where the verse would usually end, and is merely the soldiers taking a particularly firm step all at once to make a louder combined footstep. Below is an example in “They Say That in the Army”

“Oh lord, I wanna go!
But they won’t let me go-oh, oh-woah-oh, hey! [stomp]”

Some cadence tidbits:

• Cadence can be called at either quick time (normal speed) or double time (running speed) but some cadences are exclusively meant for running due to the pace of the lyrics.

• Cadences are always expected to be called-back loud and clear, even when running in formation.

• Cadences should end on the right step, and then soldiers should begin on the next left step they take.

• The post is usually the leader of the unit marching. If it’s a squad, it’s a squad leader. If it’s a platoon, it’s the platoon sergeant. It’s rare (if ever) for an officer to call cadence.

• Calling cadence is considered an essential part of enlisted life. Leadership will often call lower-enlisted up to call cadence to test their abilities. Calling cadence requires
(1) Knowledge of cadences. You can impress people if you can effectively call an uncommon cadence.
(2) A command voice and presence. Soldiers can hear when a person knows what they’re doing and when they don’t. Being able to sound off loud and clear shows your motivation and your
(3) Marching discipline. You call cadence WHILE marching, so you need to know at what point it’s appropriate to stop calling cadence and give a command if necessary. That means being cognizant of your surroundings and where your troops are going.

• Officers rarely, if ever, call cadence. Most NCOs would be insulted if an officer were leading a unit and calling cadence. The only time I’ve ever had that happen is
(1) On a battalion run, like once, my battalion commander stepped in for a minute, and it was a very symbolic gesture.
(2) My very high-speed platoon leader jumped in to call running cadence sometimes but the NCOs clearly didn’t care for this.

That’s everything I can think of as far as cadence goes! If you have any more questions, feel free to hit up my ask box, and stay tuned for Sing-a-long Sundays for more fun cadences you can use!

Red

Pairing: Dean x Reader

Word Count: 966

A/N – This is my submission for @riversong-sam’s 700 follower celebration. The prompt I chose was: ‘I’m busy right now and you’re distracting me.’ - The song: Dustin Lynch – Seein’ Red and the image is below. 

(Let’s pretend that this is in the bunker)

Dean sat there on his laptop again, his eyes remained unmoving from the screen in front of him, only removing himself to go get some more coffee but he barely even moved then, having Sam bring him food and more of the stimulating beverage.

You had called his name, multiple times, but still he sat there, unwavered. Contemplating, you thought of standing there in sexy lingerie but Sam was in the room and you were sure that he wouldn’t appreciate the gesture.

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Fade Away (Sonny Carisi x Reader)

Title: Fade Away (Based off the song Fade Away by Ryder) 

Characters: Dominick “Sonny” Carisi, Mike Dodds, Reader

Setting: New York Club, Reader’s apartment 

Warnings: slight smut, grinding, kissing, club scenes, language

A/N: Needed a fix for Sonny since I am a huge Law and Order: SVU fan and Sonny’s my favorite! Hope you enjoy! Also, Happy New Years! May 2017 bring even better writing! 

Originally posted by iheartcarisi

Keep reading

aree we gonna have a prob lem??? u got a bone to pick???? youve come so far, why now are u puallin on my DICK? I’D normally slap your face offf and every one HERE could wwwatch but i;;m feelin nice here;;;s some advice lissten up bbiatch (i like) lookin;;; HOT, buyin;; stuff they cannot (i likei) drinkin;; hard,, maxin;;; d ad;s creadit cards (i like) skippin gym, scarin her,,, screwin;;; him (i liakeo) killer clothes,,, kickin;; nerds in the nos e if u la ck the balls u c an g o play doells let your mommy FIX u ao sss nack (woah-oh) or u coau ld come smoke,,,, pouind some rum and cokke in my porsche with thei quarter back (woah-oh woah-oh woah-oh) honey what u waitin for??? welcome to my candy store time FOR u tto prove you;;rrre not a loser anymore and step into my candy store guys fall at YOUR feet, pay the check,,, help u cheat all u h ave to do,, say goodbye to shaomu that freaks not your friend, i can tell inn the end if she had you r shot,,,, s he would leave u to rot course if u dont care,,, fine,, go braiad her hair maybe sesamee street iis ON (woah-oh) or forget tthat creeep and g et in my jeep let;;;s go tear up someeone;s lawn (woah-oh woah-oh woah-oh) honey what u waittin for??? wwwelcome to MY candddy store yo u;;;ve just gout to prove you;re nout a pussy anymoure and step into my candy storre u can join the teammm,,,, or u can bitch and moan u can live the dream,,,, or u can die al one u can fly with eagles or if u ppprefer keep oin testin mmme,, and end uap liike her (veronica look,, r am invited me TO his homecomin party.. this PROVES he;s been thinkin aboaut me…. collor me stoked im so happy) (ooh woah) hoeney wwhat u waiutin foer (ssshut up heeather!!!!) step into my candy store tim e for u to prove yoaure not a LAME-ASS any more and step into my ccandy store it;s my candy store,, IT’S my candy it;;;s my caendy store,,,, its my cand y it;s my candy store,, it;s my candy store

hamilton staging notes

so as some of you may know, i went to see hamilton on the 27th. here’s some staging notes i compiled. they jump around a lot, but whatever–

btw, if you want to ask me about a specific number, just message me or send me an ask!!

• during helpless, peggy does the most adorable shoulder wiggly dance holding the letters
• the lams physicality is real tbh. during my shot, when laurens starts with “we’ll never be truly free”, laurens and ham are side hugging p much
• at the end of stay alive reprise, when phillip dies, both alexander and eliza are leaning over phillip’s body and eliza lets out a scream that turns into a sob and alexander reaches out to take her hand and she pulls away
• during my shot until his part, burr is sitting in the back reading
• the transition from my shot to story of tonight is the “woah oh oh oh"s slowly fading out and the four guys are laughing
• no matter what you do, do not sit centre of the front row. why? BECAUSE JONATHAN GROFF SPITS A L O T.
• at the end of non stop when everyone’s like "why do you write like history has its eyes on you” angelica is holding ham’s left hand and eliza is holding his right and then he starts on his first “i am not throwing away my shot” he rips his hand out of angelicas and on the second one he tears away from eliza… and then during take a break they’re in the same hand holding position and when ham says “i have to get my plan to congress, i can’t stop until i get my plan through congress” he slowly backs away from them
• what’d i miss is literally just daveed interacting with the audience and sticking his tongue out a lot
• ok the intro to the show (at least the one that i saw) is groff over the speaker saying stuff about ‘this is a message from your king, no photography/cellphones’ etc and he ends with “enjoy MY show”
• during helpless, laf goes to dance w angelica and ham p much Shoves him out of the way
• in helpless, peggy dances & chats with hercules and laf and then talks in the cute little corner w laurens and honestly im p sure jasmine and anthony just did that one day during rehearsal while having a moment and tommy kail was like “cool keep that”
• in the election of 1800, during the part where the ensemble talks abt the ppl running starting with “i don’t like adams” “well, he’s gonna lose, that’s just defeatist” the ppl talking are in a line talking from right to left (but it isn’t like a straight up line like it looks v casual) and as they talk burr is moving down the line trying to get the people’s view on him, and when the ppl say “he seems approachable” “like you could grab a beer with him!” burr does this freaking adorable fist pump thing
• at the end of a winter’s ball, when they say the whole “hey hey hey hey” im p sure it’s just ham, laurens, and burr, and they’re walking to the side of the stage and saying that to the women in the first two rows
• in non-stop when angelica is telling ham about how she’s going to london, when she gets to “my alexander, don’t forget to write” the spinny thing on the stage starts moving and she rotates away from hamilton and it’s this outstretched hand thing as they reach for each other and as she finishes eliza rotates towards him going in the same direction with “look at where we are”
• during meet me inside, while talking with gwash, ham is standing completely still, hands behind his back, until around “i don’t have your name, i don’t have your title” and then when he says “call me son one more time” he’s right in washington’s face and it’s v tense and u can see on ham’s face that he knows he done mucked up but he’s still holding his ground
• in cabinet battle 1 chris jackson talks to the audience and when he says “we’ll reconvene after a brief recess” his face is just like “HOLY SHIT NO” and out of the corner of his mouth like he’s trying to make sure the audience doesn’t notice he’s like “hamilton, a word”
• tbh gwash during the “we rendezvous with rochambeau, consolidate his gifts” is so much more angry than i expected
• say no to this is less sexy and scandalous than ppl described it as but it was still insanely amazing and the lighting dimmed and the ensemble popped out from all different parts of the stage to say “NO!”
• during blow us all away there’s a “play” going on starring two ensemble members in huge ballroom costumey stuff and phillip is standing in the audience yelling at george eacker who’s on the balcony in his “box”
• in one last time during the first chorus just before the “no, sir, why?!” ham freaking chugs down two drinks he’s legit like “i cannot deal with this while sober”
• during the reynolds pamphlet just before angelica’s part, phillip stands centre downstage and jefferson, madison, and burr are all dancing around him and mocking him my poor son
• when groff sings “why so blue” the stage lighting goes from red to blue
• in its quiet uptown, when they sing “she takes his hand” she reaches out and holds his hand and ham’s face is so heartbreaking and literally ten seconds later she reaches over when her other hand and layers it on top and they don’t even look at each other because that’s enough im not crying you’re crying
• at the end of guns and ships, gwash passes the letter to get alexander back to an ensemble member and they pass it along while dancing and it’s so beautiful and and then it reaches ham and i can’t describe it it’s so artsy and beautiful
• angelica has the most beautiful umbrella during take a break
• general note: watch anthony ramos during the “i imagine death so much it feels more like a memory” part of my shot okay just do it because he’s supposed to be frozen but he’ll probably be trying not to laugh

Folie à Deux Summary:

-Disloyal Order of Water Buffaloes:
Buzz, buzz, buzz.
VOCAL RANGE.
deTOX JUST TO RETOX
-I Don’t Care:
I really, really, REALLY don’t care.
Badass AF.
WAIT, MARK HOPPUS?
MiiIIiIiiiIiiisery.
-She’s My Winona:
Oh oh oh oh. Oh oh oh oh. Wa aoh oh ooh.
Woah oh oh. The thunder. Woah oh oh. The thunder.Woah oh oh. The thunder
As when I wake up. As when I wake up. Bop bop ba dop. Ba dop op ba dop
-America’s Suitehearts
pETE PLS STOP.
THE videoclip. MASTERPIECE.
Pete harassing Patrick. Cute Peterick
-Headfirst Slide Into Cooperstown on a Bad Bet
HOLY SMOKES THE VOCAL RANGE STRIKES AGAIN
Loooooong titles. Best thing ever.
Stupid husbands and wedding bands.
I JUST CAN´T STAND THE VOCAL RANGE.
-The (Shipped) Gold Standard
I wanna scream from the top of my lungs, but i’m no good at math. Wait…
Get get get get get out now.
-(Coffee’s for Closers)
High School Musical intro.
Coffee is for closers, not for believers.
PATRICK’S VOICE.
-What a Catch, Donnie
Okay, I’m not gonna cry this time… FUCK IT, I NEED TISSUES.
Patrick, no. yOUR VOICE NO. PETE NO. OH MY GOD ALL THE FEELS.
THE REFERENCES. PLS KILL ME.
Oh look, Andy and Joe in the boat. And… Brendon? What? WAIT. ALSO SPENCER.
-27
Basically we’re all just fucked and I can’t remember.
-Tiffany Blews
Apparently, you’re a little black dress, i’m a piece of art and we’re stuck on a little hot mess.
Wild Lil Wayne appeared.
-W.A.M.S.
I’m really into this thing about initials and secrets behind the letters and the dots.
Pharrell Williams was there also.
-20 Dollar Nose Bleed
Guess what? BRENDON URIE WAS THERE FOR SOME FUCKING REASON.
I LOVE THIS. I REALLY LOVE THIS.
-West Coast Smoker
Some poetry about suicidal cats.
Good thing that one part of the emo trinity include some references to the actual holy trinity in their songs.

  • my light: *is as loud as as many ambulances as it takes to save a savoir*
  • oh: oh
  • me: *floats through the room on a big balloon*
  • some: *say i'm such a fake*
  • my love: *is made up*
  • oh: woah oh oh

I ran away from you
And now look how far I got
I shared some secrets that I hope you keep
They’re words that don’t come out
And I should have crashed the car
The night I drove alone
Escape from august cold
Woah oh oh
And you talk like someone else
I ran away from you
And now something’s killing me
You hang me up as a souvenir of what I couldn’t be
And I should have crashed the car
When I was so alone
Escape from all I know
Woah oh oh
Woah oh oh

And you talk like someone else.

—  //Citizen//