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Top 30 Classic Rock Songs

(In no particular order)

1. Starman by David Bowie

2. Dancing with Myself by Billy Idol

3. Heart of Glass by Blondie

4. Pride (in the name of love) by U2

5. Under Pressure by  Queen & David Bowie

6. Don’t you (Forget about me) by Simple Minds

7. Every Breath You Take by The Police

8. Money by Pink Floyd

9. Paint it Black by The Rolling Stones

10. Break On Through The Doors

11. More than a Feeling by Boston

12. Talk Dirty to Me by Poison

13. Roxanne by The Police

14. Lemon Tree by  Fool’s Garden

15. White Wedding by Billy Idol

16. Just like Heaven by The Cure

17. Hold the Line by Toto

18. Teenage Riot by The Ataris

19. This Charming Man by The Smiths

20. Maria by Blondie

21. Panama by Van Halen

22. Children of the Revolution by T. Rex

23. Island Girl by Elton John

24. What’s up by 4 Non Blondes

25. The Air that I Breathe by The Hollies

26. Dream on by Aerosmith

27. Stairway to Heaven by Led Zeppelin

28. Iris by The Goo Goo Dolls

29. Carry on my Wayward Son by Kansas

30. Brain Damage by Pink Floyd


I suppose this counts as HOW TO DO ART, Pt. 6 : Self Reflection

I made this because I wanted people to know what I mean when I say things like  “I’m not that good, my art looks like shit”

Part of it is standards. I’m not saying my friends have low standards, it’s just that their standards aren’t nearly as high as mine. When I’m drawing, I’m thinking of all the artists I love and wanting to create something just as great–not in terms of style, but in terms of appeal…there’s some artists who draw so well I could look at their work for ages, and I don’t often feel that way about my own art. When my art doesn’t have that appeal that I like to see, I write it off as bad, even if there’s a lot of things good about it.

Some of the things I’ve listed here are my own preference. There’s nothing wrong with using references, I just don’t want to be as reliant on them to create a good picture as I am right now. I like what I do now, but I also want to do fanart that goes beyond just drawing a photo in my style.

Also, people seem to like my style (that’s the impression I get from reading all the tags of everyone who reblogs my stuff), but I just…don’t…I guess my biggest thing is that it’s too tame and I’m not pushing things as much as I could be.

Some things I’ve listed, though, would be beneficial for all artists. Like learning proper anatomy and how to basic backgrounds could really improve any piece, I think.

The moral of the story is: There’s nothing wrong with disliking your own work or focusing on the flaws. In fact, I think it’s natural for everyone learning something, whether it’s art or music or a language or whatever. The key is to take those frustrations and flaws, and use them as a motivator to improve your work. 

Always keep in mind, things can’t improve without being bad first. All my drawings may look like shit to me now, but I keep going because I know one day, hopefully, I’ll look at a drawing and be like “…this isn’t so shitty”

Marvel’s Kevin Feige on ‘Spider-Man’s’ Future and Why Brie Larson Was Perfect for ‘Captain Marvel’
By Brent Lang

Marvel Studios president Kevin Feige is on one heck of a run. Each of the company’s 14 films over the past eight years has opened in first place at the domestic box office, and they’ve brought in more than $10 billion globally. That success is a boon for Disney CEO Bob Iger, who led the $4 billion acquisition of the comic-book empire Marvel Entertainment in 2009.

But it’s Feige who is credited with Marvel’s signature style — a blend of humor, optimism, and spectacle that has attracted legions of fans around the world. And he’s had great success in elevating lesser-known characters, like Iron Man, Captain America, and Doctor Strange, into big-screen brands.

Feige spoke with Variety about Marvel’s plans to promote diversity, upcoming projects, and what it is that makes him anxious.

How much freedom do you give actors to put their own imprint on characters?
They have a lot of freedom to take what has made the characters as popular [as they’ve been] for as long as they’ve appeared in the comics, and evolve it and grow it. Think about what you saw Benedict [Cumberbatch] do in “Doctor Strange” — he embodied that character and made it his own. That’s similar to what Robert Downey Jr. did by molding and shaping and turning [Iron Man] into something even more contemporary and relatable.

Would you recast your biggest superheroes with other actors if, say, Robert Downey Jr. or Chris Evans decide they want to move on?
Luckily we don’t have to make that decision anytime soon. There are a lot of movies that everyone is signed on for, and we get to enjoy them for a long time. Robert Downey Jr. is Iron Man, and right now I can’t envision anyone else. Chris Evans has embodied Captain America as well as any actor has ever embodied an iconic pop-culture figure like that. I go back to Chris Reeve as Superman as the gold standard, and I think Evans is right there. I couldn’t imagine anybody else.

But you also look to history: We have a new Spider-Man right now who was in our “Civil War” film and is in “Spider-Man: Homecoming,” and the audience has embraced it. And you can look to Sherlock Holmes, James Bond, and Batman as characters that last longer than any one actor playing them. There’s a precedent for it in other franchises that suggests it’s possible. But right now I don’t want to think about it and don’t need to think about it.

“Spider-Man: Homecoming” is backed by Sony but produced by Marvel. How will that change this version of “Spider-Man”?
It takes place inside the cinematic universe that we have built across 14 films. In the previous films, Spider-Man was the only superhero who existed in that world. In the comic books, Spider-Man always existed in a world where the Avengers existed, and Iron Man existed, and the Hulk would run through the streets, and Captain America had been thawed out of the ice. In the film, he’s a young kid who has to be home at curfew so his Aunt May doesn’t get worried, and go to school, and do his homework. That’s in contrast to Tony Stark’s life or Stephen Strange’s.

Fox controls the film rights to “The X-Men” and “The Fantastic Four.” Could you partner with them on a movie as you did with Sony?
It’s an impossibility at this juncture. We certainly have enough films to keep us busy for a number of lifetimes.

There are more comic-book movies being made, with DC trying to develop its own cinematic universe. Are you worried about the competition?
What other people are adapting from the comics medium, I watch with as much interest as I do any other movies. Because I’m a fan, and I want to see what other people are doing in the world.

I’ve always believed in expanding the definition of what a Marvel Studios movie could be. We try to keep audiences coming back in greater numbers by doing the unexpected and not simply following a pattern or a mold or a formula.

There’s a lot of discussion of inclusion in the business. Do you believe Marvel has a role to play in creating opportunities for people of color, women, and other groups?
Absolutely. The comics have always been progressive. They’ve showcased all sorts of different cultures and ethnicities. And we want to stay true to that. When you look at “Black Panther” — when you look at “Captain Marvel,” which will be Brie Larson in the title role — it is a very important thing for us to have diversity both in front of the camera and behind the camera.

Is finding a female director for “Captain Marvel” a priority?
It is. Having a female director at the helm to tell the story of a woman who is also our most powerful hero by far is very important to us.

What makes her so powerful?
If you had the collector cards of the Marvel characters and you could see the power levels, she would be off the charts compared to anyone that we’ve previously introduced in a film.

Why was Brie Larson the right fit?
With Captain Marvel, who has powers that approach a level that we haven’t seen before in our films, you need to counter- balance that by finding somebody who is also very human and very relatable and can get into a groove with the audience, where they’re willing to see her fly through the sun and punch a moon away from a spacecraft. At the same time, we need her to land and have relatable flaws.

Brie is a person you’re going to want to go on this journey with, just like Benedict or Robert or Chris Pratt.

You’ve had a string of hits Do you ever greenlight a film about a character that may be interesting but isn’t well-known, and get seized by anxiety that the audience won’t show up?
I feel anxiety about every scene and every character in every movie we’ve ever made. That’s why when you sit down for your first test screening, you’re nauseated. It would be hubris to think people are going to love everything you put in front of them.

submitted by Boyd

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Happy New Year y'all!

The Remembrance of Pain (Time Will Explain) by Jaded, a Rogue One/Persuasion fusion fic.

Chapter 4: Led by Jyn, the Partisans and Alliance go into occupied Jedha City in search of a pilot with a message.

It is Maia who finds a face to fit the name. She pulls Jyn into an empty market stall with a burnt red awning and opens her hands. Maia makes a holo projector appears out of nowhere, like a summoner’s trick, and with a flick of finger, a picture springs to life.

The pilot’s name is spelled out in Aurebesh, and his face turns slowly, a three-dimensional hologram of the most-wanted man on Jedha after Saw Gerrera. “There you are, Bodhi Rook,” Jyn breathes.

Read Chapter 4 here at AO3: (x)

The Haitian Revolution (French: Révolution haïtienne [ʁevɔlysjɔ̃ ajisjɛ̃n]), was a successful anti-slavery and anti-colonial insurrection that took place in the former French colony of Saint Domingue that lasted from 1791 until 1804. It impacted the institution of slavery throughout the Americas. Self-liberated slaves destroyed slavery at home, fought to preserve their freedom, and with the collaboration of mulattoes, founded the sovereign state of Haiti.[2][3][4] It led to the greatest slave uprising since Spartacus, who led an unsuccessful revolt against the Roman Republic nearly 1,900 years prior.[5]

Lose To Win Chapter 1 Part 1 (HLITF & KBTBB )

Title: Lose To Win Chapter 1
Fandom: Her Love In The Force & Kiss By The Baddest Bidder & Metro PD: Close To You
Rated: Drama, Thriller, Angst, Fluff, Smut
Characters: Goto, Kaga, Ishigami, Soma, Ayumu, Namba, Eisuke, Soryu, Mamoru, Baba, Ota, Kirisawa
Summary: Smut with Kaga! Fans of HLITF / Kaga, the game needs more love.

Background: This series occurs (6 months) after the previous series Switching Places , click on the link if you’re interested or confused at any point.

Mika first encounter with them again 2 months after the fail operation, it was Baba’s birthday and it led to a 4 parts Epilogue with 3 parts smut. At last, Mika had moved and avoided all contacts with the bidders, making it clear to Mia that she couldn’t meet them under any circumstances.

Another 6 months later, she was back at the Tres Spades Hotel under Eisuke’s request. (Order)

Notes: sunflowerblackrabbit / ladystar0710 / medievalbingeprincess69 / silver-red-rose / makingastar / ayaka-oh / mirandaflamel / dms-903 / vmendoza1901 / tsuki-tsundere

Special thanks to my beta reader- @nitelotus


[ Another 6 months have passed since you last saw the bidders, they recently returned to Tokyo from Dubai ]

Slowly lifting your head up from a bow to another guest, you let out a sigh and impatiently pace around the lobby. It’s a quiet day at the hotel and it’s boring the hell out of you, given the fact that this isn’t even an actual mission. Six months, you’ve had complete control of you life again, solving cases, arresting criminals, interrogating suspects and occasional one night stands.

Six wonderful months with no bidders, no auctions, no Eisuke the ass or the mobster you’d finally stop thinking of. Mia has moved to Dubai with them for the new hotel and you couldn’t be happier. Until the moment Eisuke is sitting in the chief’s office and “requires” your assistance- the lucky bastard just always gets his way. However, it concerns Mia and it’s a rather easy task so why not? As long as the pervert isn’t laying his hands on her, following him and sees what he’s hiding would be a piece of cake.

Half an hour later, the target has arrived, giving you a big unpleasant grin and hugs as soon as he spots you. “I’ve got some business to attend love, then I’ll see ya at the penthouse. Would be best if we’re alone, if ya know what I mean?” You force a smile and head to his floor shortly after.  Looking through the peephole from the room across his since Eisuke has given you a master key, it doesn’t take long til he has a visitor- a man you actually recognize.

Nishimura, a drug dealer you’ve arrested quite a few times. Eisuke’s target is buying and selling drugs in his hotel, the guy must have a death wish. Just as your hands reach the doorknob, a figure appears from the shadow and kneels down in front of the door opposite, sliding a spy camera underneath. The tall man moves quickly but you’d partly make out of his face structure, those determined eyes and messy dark brown hair. You know this man, you’d recognize his back anywhere, since you’ve dug your nails into it so many times, embracing it from behind for years- his back has been your sanctuary, your very own safe place. How could you ever forget?

Returning his camera back to his inner pocket, he enters the room in no time. Seconds later, you go in to find them lying unconscious on the floor while the only man standing points a gun at you. “Hello, Kaga.”

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lazeiness  asked:

hey if you ever do a doctor who musical could u pretty please make it a doomsday fix-it! version and just have rose and the doctor together for the entire season 3 - 4 with the rest of the characters & events happening the same way? or u could just do it the easy way and not have that dalek shoot the doctor.

That’s up to Fairlith and whomever else she gets to write a Doctor Who musical with her, I’m afraid. I don’t have creative input on this one.

And the thing is, seasons 3 & 4 would play out differently with Rose instead of Martha or Donna, because she’s a very different person to the other two.

I’m also unsure how the Doctor not getting shot by the Dalek would be the easy way of changing things. That happened right at the end of Season 4, and led to the Metacrisis Doctor and the DoctorDonna, who was pretty vital to saving the whole of reality.

A Doctor Who musical would probably have to be a broad but self-contained story, very likely with as many Doctors as could be feasibly fit inside for audience appeal and for fun!


ATSF, Chicago, Illinois, 1946 by Center for Railroad Photography & Art
Via Flickr:
Atchison, Topeka & Santa Fe Railway passenger train “Second 4,” the second section of the eastbound California Limited led by 4-6-2 steam locomotive no. 3404, crossing the Sanitary District canal at Bridge 9C east of McCook on its way into Chicago on June 23, 1946. Photograph by Wallace W. Abbey, © 2015, Center for Railroad Photography and Art. Abbey-01-055-03