ed oak

Gravity

(Okieriete Onaodowan x Reader)

Word Count: 6033

Request/Summary: No request! (again…). Based off of Ed Sheeran’s Happier

Warnings: Brief diet smut, drinking because of emotional pain, way too many Dirty Dancing references (may or may not have been watching it while writing…)  angst, cussing.

Tagging: @satans-little-midgets @imagineham (extra special thanks to Steph for helping me with the title) @gwynstacee  @bleepblopbloop56 aaannnddd thanks to @hamilton-noodles most of this fic exists, so thanks, Jo.

A/N- SOEXCITEDFORYOUGUYSTOREADTHISOHMYGODAHHHPLEASEFEEDBACKTHANKS

Side note- Italics is the past, regular is the present. The present is organized linearly and the past is ambiguous to any specific order.


“Good morning.” Oak’s voice crackled as if he was speaking to you through a phone somewhere with bad reception, still coarse from his full night of sleep. You smiled. You couldn’t be mad at him for waking you up. You couldn’t be mad when he whispered in your ear like that. When you were encased in those big arms of his. When it was just cold enough in the room for you to want to stay close to him and under the mess of covers.

“Good morning.” You muttered back. You didn’t want to leave this moment behind. Not when he had his body wrapped around you, his breath against your skin, the room smelling just slightly of coffee, the covers soft against your skin, not when you were feeling like you were sinking into the mattress more and more with every passing second. You rolled over in his arms, your fingers finding the smooth polyester fabric of his navy colored t-shirt. You fiddled with the hem of his sleeve.

“I don’t want to get out of bed.” You told him, inhaling the scent of his chest- lavender, just like the soap bar you kept in the shower… for yourself.

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2

march {listen here} // the reigniting of hearts and consciousness

i. castle on the hill | ed sheeran; ii. we move like the ocean | bad suns; iii. deadwater | wet; iv. atlantis | bridgit mendler; v. sleepover | hayley kiyoko; vi. green light | lorde; vii. sweet life | frank ocean; viii. flesh without blood | grimes; ix. galway girl | ed sheeran; x. dead oaks | now, now; xi. ivy | frank ocean

4

go slow - A Barrier Junkies Playlist

This playlist is stocked with my current obsessions, slow-grooves, and the new, hip, and cool.  Check the list below, listen above.

-1 - Sufjan Stevens - “Prelude on the Esplanade” from The B.Q.E.
-2 - HAIM - “Go Slow” from Days Are Gone
-3 - London Grammar - “Sights” from If You Wait
-4 - Sir Sly - “Where I’m Going” from Gold
-5 - Wye Oak - “Sick Talk” from Shriek
-6 - John Mayer - “XO” Beyoncé cover
-7 - Coldplay - “Til Kingdom Come” from X & Y
-8 - Banks - “Before I Ever Met You” from Fall Over EP
-9 - The War On Drugs - “Red Eyes” from Lost In The Dream
-10 - Ed Sheeran - “Bloodstream” from X
-11 - Sia - “Eye of the Needle” from 1000 Forms Of Fear
-12 - alt-J - “Hunger Of The Pine” from This Is All Yours
-13 - Sufjan Stevens - “I Walked” from The Age of Adz
-14 - Coldplay - “Magic” from Ghost Stories
-15 - Banks - “Drowning” from Goddess
-16 - FKA Twigs - “Two Weeks” from LP1
-17 - Broods - “Coattails” from Broods EP
-18 - alt-J - “Something Good” from An Awesome Wave
-19 - Kimbra - “Love In High Places” from The Golden Echo
-20 - Sia - “Big Girls Cry” from 1000 Forms Of Fear
-21 - Ellie Goulding - “Hearts Without Chains” from Halcyon Days
-22 - Kid Cudi with HAIM - “Red Eye” from Indicud
-23 - Lorde - “A World Alone” from Pure Heroine
-24 - Sufjan Stevens - “Postlude - Critical Mass” from The B.Q.E.

aware

pairing: ed/winry
rating: k
summary: in which our bumbling idiot becomes, well, see title.
a/n: i haven’t written anything - anything - in nine months. my vast and sincere apologizes for this development but it is with my utmost hope that you enjoy this short little anecdote.
a/n2: also i have not proofread this. my apologizes again for any spelling/grammatical errors that may ensue.

enjoy!~

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WEB EXCLUSIVE: Ed and Lester Oaks hung out backstage to talk about all things Good Burger! 

PART II: HISTORY OF GILT                                                                       

BY: LAUREN GALLOWAY

Gold decoration on books has been around for centuries. From its past history to current use, on books both old and new, big and small, inexpensive and luxurious, Pitt Special Collections brings you a three part series on GILT.

Gilded books have a history of being luxury items, but at one point gilt was a decoration even bestowed on ordinary books. From the 1600s to the 1800s, books were bought as mere sheets, with only paper wrappers serving as a “cover.” This was the norm, as the owner of the book was expected to have the book bound later, under his or her specific desires. Often times, the wealthy would have their collections bound the exact same way so that their libraries would look uniform.  

Of course, gilt decorating on these books cost extra. By the late 1660s though, bindings were readily available with extra gilt on the spines and covers, and with gilt lettering. This became referred to as the “common” binding.

This copy of Little Men by Louisa May Alcott is probably a common binding. Even children got gilt on their books, as shown on this copy of The Adventures of Huckleberry Finn.

As gilt became a more common decoration, people got more creative with it.

Compare these two copies of She Stoops to Conquer. Even as gilt became a standard in bookbinding, using a significant amount to decorate books still cost a pretty penny, and still marked that its owner was a wealthy man or woman.

Gold is known as the traditional and most beautiful method to decorate books, and was adhered to the cloth or leather by great pressure and heat. In the early days, this took a great deal of time, skill, and money.

In the 1660s and 1670s, bookbinders began to gild the spine, with or instead of the edges of books. This was because people started shelving their books with the spines facing outwards instead of the fore-edges, which are the edges of paper opposite the spine; they basically shelved their books backwards!

The gilt edges of books became unnecessary because they were less visible, but were still used for elaborate bindings. By 1830, printers figured out how to adapt an iron printing press to block an entire design to the sides and spine of a book. Look at these copies of Jane Austen’s books.

Their gilt covers are exactly the same, except for the titles. If the title block was removable, it would make it extremely easy to use a printing press to stamp the same design onto these different books. It became a much cheaper process than to do every book by hand or to create a different cover for each title, and made them look nicely uniform.

Though gilded books used to be commonplace, in today’s world you have probably only experienced them first-hand if you have a new, fancy, expensive copy of a book, or if you have a very old book. If you get a chance to look at one yourself, you should take it; some are quite beautiful.

Next week: Booklovers’ Gilty Pleasures

Sources:

Bennett, Stuart. Trade Bookbinding in the British Isles: 1660-1800. First ed. New Castle, DE: Oak Knoll, 2004. Print.

McLean, Ruari. McLean, Ruari. Victorian Publishers’ Book-Bindings in Cloth and Leather. Berkeley and Los Angeles, CA: U of California, 1973.  

There’s nothing a certain type of record collector likes better than finding a stack of 78s on the Paramount label. Between 1917 and 1932, the label, which was one of several run by a furniture company in Grafton, Wisconsin, released thousands of records, but its real accomplishment was recording some of the greatest early blues and jazz performers. Jack White’s Third Man Records has joined with the reissue label Revenant to release the first of two packages documenting the label, with 800 songs from the label’s first ten years on a USB drive packed, with several books and packages of graphics, in a hand-made, velvet-upholstered oak box.  Ed Ward has the story today.

Photo by Dana (distortion) Yavin via Brooklyn Vegan

PART III: BOOKLOVERS’ GILT-Y PLEASURES                               

BY: LAUREN GALLOWAY

Gold decoration on books has been around for centuries. From its past history to current use, on books both old and new, big and small, inexpensive and luxurious, Pitt Special Collections brings you a three part series on GILT.

Gilt went from a high-end product to something that could be easily manufactured and replicated factory-style. That is why gilt books are not as rare as you might think. Gilt has the strange position of being at the same time an expensive luxury decoration, and a common feature on a book that anyone could own. But, books that were gilded, in addition to other features, could sometimes be the most deluxe, expensive, and rare books ever made.

This book is a special copy of Percy Bysshe Shelley’s poems. Shelley was friends with Lord Byron and was married to Mary Wollstonecraft Shelley, the author of Frankenstein. This Dove’s Press edition is bound in full navy morocco, with gilt-decorated spine and covers, and all edges gilt. It is one of only 200 copies. 

Next is a book whose pages might be little known, but whose cover will astound you.

Gilt covers the entire front and back covers, and the spine of Robert Burton’s The Anatomy of Melancholy (published in 1621), along with all edges gilt. This book also has doublures, the term for when the inside lining of a book is made of leather instead of paper. When a book has doublures it’s a sign that it is very expensive. Another sign is when a press or person have their names stamped or etched into the inside cover of the book, which this book also has.

Burton’s Anatomy of Melancholy is almost certainly the most deluxe gilded binding that Pitt Special Collections owns.

However, we are going to end with the most famous gilded book of all time.

Around the turn of the 20th century, the “greatest modern binding in the world” was created. The binding was to grace the pages of the Rubáiyát of Omar Khayyám (Edward Fitzgerald translation), and included 5000 separate pieces of leather for the onlay work, 100 square feet of gold leaf for the gilt, and 1051 semi-precious stones studded all over the front and back covers. When finished the book was auctioned off and sent to its new owner in the United States. However, the Omar’s journey there took it aboard the Titanic, and the book was destroyed.

In 1932 though, there was a second try for the masterpiece. After seven years of painstaking work replicating the original binding, the book was completed at the outbreak of World War II. Terrified that the book would be lost again, the makers sent the book to a special depository where it would be safe. But, in 1941, the depository was hit and the binding again destroyed, though the pages survived intact. In fact, had the binding been kept in the workshop all along, it would have survived, as the workshop was never touched by the war. After twice the tragedy though, the creation has never been attempted again.

The only fortunate part of this story is that photographs of the binding were taken in 1912. Although they are only black and white, it doesn’t take much imagination to see what the Omar must have looked like in its glory.

In the pictures, the peacock is the front cover, and the guitar is the back. The snake and skull are the front and back doublures, with the snake symbolizing Life, and the skull Death. Of the semi-precious stones mentioned before, there are topaz in the peacock tails, turquoises in the crowns, amethyst grapes in the vineleaves, and the eye of the snake (on the inside cover) is an emerald.

Finally, I’ll leave you with this quote: “If somehow miraculously resurrected intact, the Omar today would be priceless.”

Sources:

Carter, John, and Nicolas Barker. ABC for Book Collectors. 8th ed. New Castle, DE: Oak Knoll, 2004. Print.

Lewis, Roy Harley. Fine Bookbinding in the Twentieth Century. New York, NY: Arco, 1985. Print.