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.
(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
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.
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
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.
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.
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:
me (Left) down by (Right) the
rail-road (Left) track
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…
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!
are doubly interactive lines because the part in square brackets is
said by the soldiers before the line is fully finished.
when you call cadence, it looks like this:
you’re outta your mind!” Soldiers: “Re-up, you’re outta your
But in this case, the “Oh, hell no!” is said
after the caller says “re-up,” and then the line is repeated back
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”
lord, I wanna go! But they won’t let me go-oh, oh-woah-oh, hey!
Some cadence tidbits:
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.
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.
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
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!
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
(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
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
Note: @arizonalovesher was on the hunt for some fluffy pics to cheer up her friend @hugs-and-fake-smiles. I had some Penelope ideas in mind but then after the season opening this popped into my head. I hope you like it 💕
The apartment was dark save for the crack of sunlight cast across the room. Emily wanted to go and tug the curtains shut but she couldn’t quite bring herself clamber out of bed.
Things hadn’t felt this bad since she was in Paris. Once she had recovered from her injuries and could move around it felt like she was living in a kind of zombie state for a while and the same thing had happened when the director had told the team to take six weeks off following Scratch’s death. Initially Emily had the distraction of making sure Matt was transferred to the team and then busying herself making sure Spencer could receive the support he needed in order to be reinstated (the director was not happy with Rossi’s decision in the field) and then making sure everyone else was okay. Then after that…
She hadn’t left the apartment in about two weeks.
As she was mustering up the energy to go to the curtains Emily heard a clatter from her kitchen. Every nerve in her body was suddenly inflamed. In a swift movement she grabbed her gun from the bedside drawer and headed out into the hall. There was another metal clang.
And then singing?
Emily lowered her gun and paused.
Yep, definitely singing and since it seemed unlikely that an armed intruder with ill intent would break into “All The Single Ladies” she relaxed.
“Woah-oh-oh woah-oh-hi Emily!” Garcia beamed at her as she threw some eggs into the pan she’d set up.
“What are you doing Penelope?”
“No I mean what are you doing in my apartment?”
“Wheels up” said Garcia with a shrug before turning to chop peppers.
Emily blinked. Garcia had tidied up too. The windows were thrown open to let the air in, her furniture was straightened and the empty bottles of tequila were stacked neatly by three full trash bags.
“I’ll take them out while your eating” said Garcia, noting Emily’s stare.
“How did you get in?” asked Emily. Garcia threw the peppers into the omelette. The smell was delicious and Emily mouth started to water.
“Sit” commanded Garcia, pointing to a stool that she’s pulled out in anticipation “I have still have a key from when…from when you were in Paris.”
Emily was about to protest when Sergio leapt up onto the counter.
“Hey buddy!” said Emily, scooping him up into her arms “You brought him for a visit?”
“I figured he could stay a while” said Garcia, plating up the omelette “I thought it would be nice for you. But no pets at the table while we’re eating. Eat up!”
The food was tasty and comforting and once Emily took her first bite she barely paused for breath. Along with the omelette was warm croissants, a steaming post of coffee and a bowl of fresh fruit and yogurt. Emily hadn’t realised how hungry she was. Garcia busied herself taking out the trash then loading the dishwasher.
“Penelope” Emily said gently after the food was demolished “What’s all this for?”
“Wheels. Up.” said Garcia again, not breaking eye contact. Emily felt her throat grow tight.
“Nuh uh uh shush!” commanded Penelope “I’m talking now boss lady. You are hurting and that is normal. You think you’ve failed us, failed Stephen in some way and that is normal too. I know you feel like it isn’t going to get better but it is because your family loves you and we are all hurting with you but we’re also gonna heal with you okay?”
“Okay” said Emily quietly.
“I brought these as well” Garcia said, producing a sparkly pink and gold box from under the counter. When Emily opened it it was filled with bath bombs, shower gels, and creams of various flavours.
“Penelope this is too much-”
“Emily I can smell you from here. It really isn’t too much” said Garcia with a wink.
“I…I guess I forgot to shower?”
“It’s okay, go and run the bath and I’m going to air the rest of the rooms in your apartment and then I’ll get started on the fort”
“Fort? Garcia I’m a grown woman, I run a highly respected unit in-”
“You don’t want a fort to eat snacks and watch chick flicks in all day?” asked Garcia.
There was a really long pause.
“I didn’t say that” pouted Emily.
“Yeah I thought so. Okay. Go get all sparkly squeaky clean oh glorious leader!”
Emily obeyed and came out of her bathroom and hour and a half later smelling like a mixture of passionfruit and coconut with a thin film of glitter on her skin. In her living room Garcia had built a structure that any architect would be proud of and there were bowls of pretzels, candy and popcorn ready to go.
“I wasn’t sure what you had or hadn’t seen so I brought all my DVDs from home” said Garcia, who had changed into bunny pyjamas “Grab a blanket and get under here!”
Emily grinned and made her way inside feeling happy, loved and safe.
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
Squiddles aren’t ordinary friends They work and play, and work again But they have homes and mommies too Yes, they have mommies just like you So let them go to bed right now So they can rest and make cute sounds ‘Cause if they don’t, they won’t be strong (If they can’t rest they won’t be strong) And they’re so small they won’t last long (Well, they are really tiny) And Plumbthroat’s fishing boat (Plumbthroat’s fishing boat) Woah oh oh oh (Is gonna kill the Squiddles if they don’t get any sleep) So let them go to sleep (So let them sleep)
Squiddly dee, Squiddly dum
Everyone sing a squiddly song Let’s all be friends and work as a team Squiddles for you, Squiddles for me Let’s be Tanglebuddies… Let’s be Tanglebuddies… Let’s be Tanglebuddies…
So…. I have thoughts about this. Who’s to say this song isn’t talking about those in player sessions?
Hear me out.
Those in sessions aren’t just ordinary friends because they’re trying to create a new world together, and their relationships are going to evolve over time.
Their “mommies” are custodians or guardians.
Jade and Karkat aren’t sleeping, and they’re not strong because of it.
“Plumbthroat’s fishing boat” could mean a vessel or ship related to Derse. Or there’s some relation between the Gods and Plumbthroat.
The “Let’s all be friends and work as a team” line could just talk about the payer sessions. Or it could elude to the kids and the trolls working together as well. Anything’s possible.
Crookedly in Love - Chapter Six (A Shawn Mendes Fan Fiction)
Let me know what you think :)
I hadn’t talked to Shawn in about a week and a half. He didn’t attempt to call me, and I didn’t want to hear from him.
Well, that was a lie. I partially did want to hear from him but only to hear he was sorry and that he regretted letting me walk away.
God, what is wrong with me? We aren’t even dating, and yet he can have such an effect on me. We have been best friends since we were twelve. We wrote songs together, and we really understood the way each other’s minds worked.
And here we are, pretending like none of that happened. Pretending like we were actually just songwriters and nothing more. Can that really happen? Can that really be possible?
I walked into my home, after a long day of school. I had avoided Mel like the plague. She was babbling on about her now famous boyfriend, Shawn, and how he had to drop out to pursue his dreams.
I rolled my eyes. I hated this, I hated hearing about him, not knowing the latest thing about him. It honestly was the worst feeling in the world. It made my stomach sink everyday.
My phone started to ring, and I dropped my backpack in the front hall to answer it.
My insides froze.
‘Hi,” I tried to remain calm.
“Uh, is this a bad time?”
“Nope,” I said, sighing.
“Okay,” Shawn replied, hesitantly. “Well, Nelson booked us a studio session tomorrow at three. Can you be there?”
“Well I signed a contract,” I said, shortly. I knew I was being mean, but he said he didn’t want to be best friend with me anymore. I’m just heartbroken.
“Can you bring your guitar?”
“I think the next song should be about something more generic. Not necessarily about love,” he told me.
“Like, feeling something coming. Feeling something great on its way. I don’t know.”
I understood exactly what he meant.
“You mean, something big?”
“Exactly. That sounds good. You get me, Jules.”
I remained silent for a moment. I wanted to cry because he sounded so distant even though he was still here.
“Alright. See you tomorrow.”
He sighed. “See you.”
I walked into the studio, and Shawn was already there messing about on his guitar.
I sat down on the couch beside him, and I smiled weakly.
“How’s it going?” I wondered politely.
“It’s good! I’ve just been promoting Life of the Party.”
“Actually, our song is number five right now on the top 100.”
“Yeah, I heard. That’s great.”
We sat in silence a little more. He shifted in his seat.
“Should we get started?” he wondered. I nodded, pulling out my guitar.
We set off to work, and I let my anger melt away. I knew we had to write a good song because I wanted to continue to be apart of the music industry, and Shawn wanted to have smash hits on the radio.
“So, something big, right?” I asked. “How about we start off with like a fun melody.”
He nodded enthusiastically. “Yeah, like…”
“How about,” I started to sing, “whoa, oh, oh, oh, oh, woah, oh, oh, oh oh.”
He nodded, strumming a pattern on the guitar. He mimicked my singing and grinned.
“Yes!” he said, playing it again and again. “Okay, and then I was thinking a lot about the first line. How about, ‘Gamble away, you might win it. It’s like 25 to life so you bust out of prison.’”
I nodded along, I loved the melody of the song already. It was upbeat, fun, a song to dance to.
“Yeah, but wait, change the lyric ‘gamble away’ to something snappier.”
He thought about it.
“How about ‘play the lotto’?”
“Perfect,” I smiled, genuinely.
We worked on the verses for what felt like hours, but time passed by so quickly. We loved what we were doing, we loved just tossing ideas back and forth.
“Sing the beginning,” he said, pulling out his phone. “Like the ‘woah, oh oh’ part.”
“Why? What are you doing?”
“Smile! It’s for my Instagram and Vine peeps,” he said, grinning. “Yup, the camera’s loving you.”
I snorted, but proceeded to play and sing. He smiled and bobbed along. I gave a small smile to the camera, and he posted it with the caption, “Working on something BIG for you guys with @julesrules”
“You really need to get a new Instagram username,” he teased. I rolled my eyes.
“I made it like years ago! What else should it be?”
“Julia Peters? Your name?”
“That’s boring,” I laughed.
We went back and forth, losing track even more.
“Okay, now the chorus,” Shawn moved forward. “I want it to say like, ‘yo something big is happening right now.”
I laughed out loud. “Okay, wait. Let’s start with that. How about…”
I wrote down lyrics and he looked at them:
Something big I feel it happening Out of my control
“I love it,” he said. Then he burst out into a giggled.
“Something big, it just sounds like I’m getting a-”
“Oh Shawn,” I pushed him, and he fell over a little in his seat. We both laughed really hard, delirious from the hours of writing. “God, it does kind of sound like you’re talking about a boner.”
“Like, out of my control?” he teased, dissolving in a fit of giggles all over again. I laughed with him, my angry barrier slowly melting.
He and I were back in our old rhythm, but I think he and I noticed that the tension was slowly disappearing. His smile kind of faded, and mine did too.
“I miss you,” he said, softly. “Like, I feel like you should know every moment of what’s happening because it’s your song too.”
I didn’t say anything. But my heart jolted with a faint sense of hope.
“I just - I don’t know what to do,” he said, exasperatedly.
“I don’t know what to tell you,” I murmured. “You’re going to do what you think you have to.”
“You know, Shawn, you do have a choice. It’s not up to her. If this isn’t what you want, then tell her.”
“What would you do? If someone you loved told you she was hurting because of a friendship you had? Wouldn’t you want to fix it for her?”
“Honestly?” I said.
“Honestly, I could never imagine sacrificing our friendship for anything or anyone. You were one of the few things I could count on being stable. I wouldn’t give you up. I don’t know.”
He couldn’t say anything to that and I didn’t want to hear anymore excuses anyways.
I shrugged. “I guess we just think differently about the situation.”
And just like that, the conversation ended and we were back to writing the song.
-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.