ed velvet

Insomniac Playlist

   Click the songs to hear them. I recommend headphones, a hot cup of tea and a book - put your phone away!

1. Sound Asleep // Blondie : This song just describes that state of mind where you’re craving sleep but it just won’t come to you. Packed with a whirling lullaby melody, a soothing, calming beat and Debbie Harry’s dreamy vocals - this song is perfect to wind down to.

2. Oblivion // Bastille : The basis of this song is about watching someone fall into oblivion and never managing to quite get there yourself. Starting with Dan’s clear, calming voice and a single piano, it escalates into a beautiful tangle of strings with mesmerizing electronic beats and heartwarming, layered high notes.

3. Pale Blue Eyes // The Velvet Underground : It may be decades old but for me, this song is my secret sleeping weapon. Consisting of a mellow bass, light riffs of acoustic-goodness and a pure voice singing some of the most beautiful words ever written - this song and it’s hypnotic nature will have you snoring in seconds.

4. Breathe // Of Verona : This song is purely about love, however the chorus can really help to soothe your breathing and chill you out. Starting out as just a silky voice and basic, haunting accompaniment, it gradually blossoms into a beautifully dramatic collision of cymbals, layered, echoing vocals and a lullaby-esque flooding of drums and piano.

5. Tempt You (Evocatio) // Nothing But Thieves : Pure slow-indie perfection about being tempted away from ‘the city’. It’s a mollifying, smooth vocal that will make your head spin paired with a gradual build-up of minimalistic guitar and electronic sounds - this is sure to send you into a deep on-the-edge-of-sleep feeling.

6. I Work Nights and You Work Days // To Kill A King : This song is written about someone who works nights and comes home to see their partner sleeping lightly. Consisting of a consoling, rich folk voice that lies softly alongside a piano laced with sections of heart-warming strings - this song will make your eyes feel heavy and your bones feel tired.

7. Hold You // Nina Nesbitt (ft. Kodaline) : A match made in lullaby heaven, this collaboration will have you drifting between dreamland and reality. A slightly raspy but somehow clear, Scottish female voice teamed up with a gentle and heart-wrenching, Irish male voice layered over the top of a folk-indie instrumental, this is a definite track for a sleep playlist.

8. The Parting Glass // Ed Sheeran : Now I’m not a massive Ed Sheeran fan, but this hidden track found at the end of Give Me Love from his first album (+) is so simple and yet so soothing that it had to be included. With the only accompaniment being Ed’s harmonized humming and the rest is his reassuring vocal, this minimalistic track is amazing as a lullaby.

9. Final Masquerade (Acoustic) // Linkin Park : The original version of this song was on The Hunting Party, an album that I only own on vinyl but the acoustic version was floating about on iTunes. A true acoustic featuring Chester’s mesmerizing vocal, contrasted with a lower male voice and packets of a woman’s voice during the beginning - this song is like a stepping stone to a chilled out mind.

10. Metal & Dust // London Grammar : Indie relaxation at it’s best, this song can be interpreted into many different messages. Filled with light and fluffy beats, some hidden strings possibly and dominated by Hannah’s velvet-coated vocals, this is fantastic.

Ed Brubaker was on the writing staff for HBO’s Westworld, so hopefully he can get the ball rolling on Velvet, an espionage thriller he created with Steve Epting — the man who drew some of Brubaker’s best Captain America and Winter Soldier stories ever. Velvet Templeton is the world’s most dangerous woman and suddenly finds herself being tracked after a renowned secret agent is killed. It’s filled with twists and turns and could resonate with audiences the same way that the Jason Bourne franchise or Angelina Jolie’s Salt did.

Brubaker wanted to do something with spy and noir fiction, embedding a female hero akin to Modesty Blaise or Black Widow, and guided by Epting, he created one of his best femme fatales to date. Image Comics’ properties usually head to television, but this can definitely follow in the mold of Kick-Ass and Kingsman as underrated gems that could take Hollywood by storm.

anonymous asked:

IMA BAKE ALL THE EGOS CAKES FOR THEIR BIRTHDAYS WHEN THEY COME AROUND WHAT DOES EVERYONE WANT??

Dark–German chocolate devil’s food cake

Wilford–strawberry cake with strawberry icing EXTRA ICING

Dr. Iplier–coffee cake

Silver Shepherd–layered cake of every flavor imaginable

Bim–glazed lemon cake

The Host–red velvet cake

Ed–yellow cake with chocolate icing

Google–doesn’t like cake; would rather have Lucky Charms

i wanna sleep next to you; k-pop songs that will make you fall asleep [listen]

exo - sing for you, bts - butterfly (prologue mix), monsta x - one love, seventeen - say yes, red velvet - one of these nights (piano ver.), akmu - around, bts - love is not over (full length edition), exo - what if, vixx - someday, got7 - moonshine, b.a.p - body&soul, tablo - home (ft. 이소라)

Secrets, Spies, and Leather: The Masterful Espionage of ‘Velvet’

When the world’s greatest spy is assassinated, it’s up to his secretary to avenge his death and bring his killers to justice. Except the world’s greatest spy is the “secretary” because, of course, the real World’s Greatest Spy isn’t the world famous secret agent, but the operative who has been hiding in plain sight for years while dismantling nefarious criminal syndicates or saving the planet from nuclear annihilation. This is Velvet Templeton, agent of ARC-7. 

Such is the premise for Ed Brubaker, Steve Epting, and Elizabeth Breitweiser’s brilliant, bloody, and beautiful Velvet, whose final story arc (for now) has recently been collected in a lovely trade paperback entitled The Man Who Stole the World. Velvet could almost be thought of as the last James Bond picture. As in, James Bond dies and Moneypenny, who turns out to be an even better spy than James, goes off on her own violent and sexy adventure to avenge him. Obviously, such a premise could never happen on screen (or in comics due to copyright laws… existing) but the world of spy fiction does not stop with the legendary screen icon that is Bond. From Cold War thrillers to pulp novels to classic films like The Third Man or The 39 Steps, well-told spy stories permeate fiction and imbue it with excitement and style. 

That style has never been more remarkable than in the pages of Velvet. Of course Bond has his own signature style that has been a joy to behold for decades. But the best design and artistic choices in Bond films have not just been the great outfits or cool cars (it’s hard to make a tuxedo-clad Sean Connery driving an Aston Martin look bad). Rather, it was the production design contributions by visionaries like Ken Adam who, with his art, turned drab offices or interrogation rooms into screen iconography. Incidentally, it was Ken Adam who designed the shadowy War Room in the classic Dr. Strangelove. In the early Bond films, Adam was a master of accomplishing a great deal with very little. So does The Third Man, turning the sewers of Vienna into a labyrinthine living metaphor for the shadowy world of spycraft and the black market, as well as gorgeous cinema in its own right. The visuals of Velvet work the same astonishing miracle, transforming Cold War office buildings, parking garages, and the beiges and browns of 1970s fashion into breathtakingly beautiful art.  

The partnership of artist Steve Epting and colorist Elizabeth Breitweiser, as seen in the above image, recreate 1970s Time Square (an unclean den of iniquity if there ever was one) into a glowing monument to car chases, nights in the city, and the unpredictable thrill of life as a spy. This sort of magic is summoned all throughout the series, as the events of the story (gracefully scripted by Ed Brubaker) are anything but magical or romantic. Trust is betrayed, hopes are dashed, and years-long friendships are destroyed amid broken bones and bullets, yet the art is so beautiful that the world is one the reader can’t help but want to spend time in. This sort of push-and-pull, the romance with both the aesthetic beauty and the ugliness of the action and setting, is one of the most singular aspects of Velvet. While Soviet Bloc architecture has never seemed more enchanting than when rendered by Epting and Breitweiser, the events that take place in those buildings are rife with piles of dead men and secrets. A wonderful setting for a story but not a pleasant place to physically spend time in.

The story itself is a suitably serpentine tale of backstabbing spycraft, with Brubaker’s plotting and second-to-none character development consistently engaging throughout. Many of the antagonists are current or former ARC-7 agents themselves, trying to do their job the best way they know how in the face of their superiors telling them Velvet, a much better agent than any of them, is a traitor (which she, of course, is not). Many of them are not any more or less virtuous than the KGB goons or ex-agents Velvet encounters. The most reprehensible actors are often Velvet’s superiors, people in charge of her safety and the security of her identity as a secret agent. This makes Velvet a woman apart from the world, unable to rely on her agency’s resources for help, and totally exposed to the perils of being a spy “out in the cold.” Even allies she enlists to help her are not really allies, more like people with the skill set she requires at that particular moment, people she happens to share common enemies with. These alliances are most interesting when they are particularly painful for Velvet, as sometimes she does have a shared history with these individuals, which comes with camaraderie and even affection. The world Brubaker builds is one in which spies can’t trust anyone, live a life devoid of roots, where they know by heart the time it takes to get from London’s Heathrow Airport to, say, a covert airfield in Prague via a land route that would eschew monitoring from any intelligence agencies. When such a person is presented with what, under any normal circumstances, would be a genuine relationship but could never be so because of the perpetual mistrust inherent in spycraft, the reader feels for the tragedy of that life. For Velvet to be so resourceful, to be cognizant of the world around her both in its grandest movements and in the most minute detail, yet unable to protect those she loves (or perhaps could love in the future), makes her a remarkably compelling character. Along the way she kicks bad guys in the face in leather catsuits and crashes cars and makes bureaucratic blowhards grit their teeth in blood-red rage, but these moments are all the more impactful because the reader roots for her to win so hard

But is it worth jumping in now that the series has come to a potential end point? Enthusiastically, yes. I am such a Brubaker/Epting/Breitweiser fan that I could not resist picking up Velvet issue by issue (frequently re-reading past issues to immerse myself back into the gorgeously cold Cold War story), but now readers have the opportunity to read the entire story at their leisure. With the final story arc, The Man Who Stole the World, the series comes to as satisfying and thrilling conclusion as readers could ever ask for. Even with all the blood, explosions, and existential angst Velvet contained in its 15-issue run, it ends on what might be the most optimistic note Ed Brubaker has ever written for a series conclusion. It’s exciting, fun, beautiful, and with believable characters who communicate in terse spy-speak so effortlessly cool, it’s impossible not to smile while reading. Any fans of spy fiction, Ed Brubaker, Cold War stories, or interesting comics in general owes it to themselves to read this comic.