just a song at twilight


I was reminded of this song that is the literal personification (songification?) of sexual tension by @love-in-mind-palace’s post. 

Had to do this, swear I wanted to use more than asip and tgg but those had so many moments already. These two will be the death of me.


Now I am strong (now I am strong).
You gave me all.
You gave all you had, and now I am whole.


                                                Don’t you worry, don’t you worry, child
                                                     See, heaven’s got a plan for you
                                               Don’t you worry, don’t you worry now

Have I found you?
Flightless bird

yamastar-kun  asked:

okay this got me thinking, if scar scar is Scarly and Effie drew her, could that mean that they are in the same universe? did i just crack the code? or is it just an easter egg?

*sings the Twilight Zone theme song*


Brony Polka (Weird Al Style Melody) - Animated James



“You love me,” I marveled. The sense of conviction and rightness washed through me again.

Though his eyes were still anxious, the crooked smile I loved best flashed across his face. “Truly, I do.”

My heart inflated like it was going to crack right through my ribs. It filled my chest and blocked my throat so that I could not speak.

He really did want me the way I wanted him—forever. It was only fear for my soul, for the human things he didn’t want to take from me, that made him so desperate to leave me mortal. Compared to the fear that he didn’t want me, this hurdle—my soul—seemed almost insignificant.

Meioses // Tokyo Ghoul Fanfic, Kirishima Touka/Sasaki Haise

i…idk. i woke up this morning and needed to write this.

comes directly after Voltas u//////////u this fic is part of this au that i’ve been writing.

important disclaimer: teacher/student AU is originally neimana ‘s idea! this is like…a fanfic of her AU, & veers from the timeline she wrote originally.

~2300 words. contains: teacher/student stuff, self-indulgence, and a lot of awkwardness. excerpt:

Really it’s the responsible thing to make sure that he’s alright. Yes, it’s responsible, and she nods to herself, and takes a breath, and after another minute she convinces herself to rap on Sasaki-sensei’s door.

She hears footsteps, and then the door swings open. Touka looks up, and pales, and then turns completely red.

A person has opened the door — a person who is definitely not Sasaki-sensei. What they are, though, is dripping wet, and wearing nothing except a towel that they are pinching into place around their waist.

“Hello?” They look left and right, and then down.

“Oh,” they say, with a smile. “Why, hello there, ma chérie.

Keep reading

take me to the feeling

“Run Away With Me” - Carly Rae Jepsen

Let’s start at the beginning. E•MO•TION opens with this track, which is a genius decision on Carly’s part for at least a couple of reasons. First, no other song on the album could serve as a better introduction to what E•MO•TION is all about, which is, of course, emotion (how did you guess?). This is a song whose central lyric is “take me to the feeling” - Carly presents feeling as a location, a place to be visited and inhabited, a destination that can only be reached if the journey is both facilitated and accompanied by the love of your life. This song is Carly taking your hand just at twilight, pulling you along a little side street in a city you’ve never been before, throwing you little grins over her shoulder every now and then, and bringing you to a whole new world, where you’ll stay by her side for the next 44 minutes and 2 seconds (minus bonus/deluxe edition tracks).

The second reason why this song is a genius opener choice is obviously the saxophone. Yes, the sax that launched a million Vines. It’s borderline ubiquitous by now, but try to think back to - or imagine - your first time hearing it within its original context. It’s a beckoning peal, convincing you keep listening, promising that what comes next will be exciting. That saxophone cuts through everything like a klaxon, the beat begins to throb, and then all of a sudden Carly is murmuring conspiratorially into your ear. The pulse picks up, gaining sparkle and energy with brisk fingersnaps and a juddering bass as the song hustles us inescapably towards the chorus. 

And what a chorus. It smashes through the wall, the kind of monstrous thing you can truly scream along with, just BABY! TAKE ME TO THE FEELING! even if you can’t hit the high notes. When Carly performs this live, her voice goes raspy on the “run away with me” part at the end of the chorus - it’s less a bouncy invitation and more a full-throated command. Carly is reeling you into her world with the most enticing musical plea possible. It’s like the pop-song equivalent of a flawlessly executed persuasive essay: here’s the thesis, we should run away, here’s the supporting evidence, all the reasons why we should run away, no one will notice, think of what we could experience, imagine how it would strengthen our love, we could see the whole world in this one night. 

The music video, filmed by Carly’s real-life boyfriend, is just more proof. We see Carly gallivanting her way through subways and airports and crosswalks with her Joan Jett-esque bob perpetually fluttering in her face. The footage is shaky and skewed at times, as if the cameraman was laughing while filming. Carly runs up a flight of stairs, and here’s the thesis again, a golden thread weaving the whole song together. We should run away. Run away with me.