song lyrics that mean a lot at the moment

t-omlinstar  asked:

I really like your input about H's songwriting. It usually calms me down cause I tend to overreact, but you help me see the reason. So thank you!!!!!

no problem! like the thing is that there is so much imagery in harry’s lyrics and he’s soooo clever and talented. he’s a storyteller. and i feel like sometimes people want to take every single lyric as literal when he’s said numerous times that his songs really aren’t literal and even though he is /honest/ in his writing, it doesn’t mean that the songs are always about his life or his pov either. i just wish people would actually /listen/ to him when he talks about songwriting because i find him fascinating and his brain is fucking genius.

like for example, yeah i do think a lot of the very personal, intimate love songs (especially ones that reference things that i can see being about louis) are about his relationship. because i’m someone who believes he has been with louis for however many years now. but that doesn’t mean that i think every lyric in the song is literal either. he uses tons of metaphors and personification of feelings and emotions.

but even if i thought from the dining table was about his own relationship, i believe that he and louis are fine so i would take the lyrics as a story created out of a particular moment in time or emotion he may have been feeling. i also think it could easily be a song about his parents with a title like that. 

people are going to interpret songs the way they want. if they want to believe that he is singing about an actual woman he banged in “Woman” and not look deeper into it, then that’s good for them. personally, i think harry is way more talented and clever than people give him credit for. and i think he can tell a story about a nameless woman without he himself being the actually voice of the song.

missingmywing  asked:

Sephiroth, perhaps?

Five Headcanons for - Sephiroth

More apologies are probably needed for this

—- Sephiroth has an awful sleep-pattern. Sometimes it’s relatively normal, he can sleep the night without issue but others it’s the worse thing he’s ever experienced. More often than not he can’t sleep at all and often goes weeks without any decent sleep, he cat naps when he has the chance to but they don’t really help. He tends to forget how tall he is when he’s tired and ends up hitting his head on the top of doors far too often, when he does he backs up a bit and just gives the doorframe a soft offended look and then Genesis has to threaten everyone in the room not to ever say anything about it or he’ll destroy them.

—- He hates paperwork, he hates it so much, it truly baffles him. He’s a very straight-forward person so the language of business really doesn’t gel well with him and he ends up having to read the paper in front of him a half-dozen times before he begins to figure out what it’s saying. An easy way to bribe Sephiroth is to sit with him and translate the papers for him, it’s how Genesis gets away with so much.

—- Sephiroth is one of those people who can memorize song lyrics without really thinking about it, he doesn’t listen to music voluntarily so when he can offhandedly recite all the words to the newest song on the charts everyone stares. Really, he only heard it the once over the radio on the way back from a mission.

—- He’s still learning how to interact with ‘real’ people so a lot of what people say or mean just goes right over his head, leaving everyone in the conversation thoroughly confused about what’s going on. It’s a great moment when he finally grasps what someone’s saying without anyone’s help; he gets this small, pleased smile on his face, his eyes light up and he just looks so proud with himself.

—- He’s a really tactile person when he can get away with it and he’s comfortable enough. He likes casual touches and the solidity of another person under his hand, he finds it very grounding, especially immediately after a fight. It’s not uncommon to see him with his hand around either Genesis’ or Angeal’s arm after a fight has finished. If they’re just spending time together in either of their apartments then he’ll gravitate next to someone and curl around them like a large, content cat.

anonymous asked:

So i was just listening to Famy - Ava which was the song that played in the background when Stiles saw Derek's initials at the start of S5...And IDK fam I just started getting really really fucking emotional because the lyrics are just so beautiful and reminds me of them so so much like "TWo oceans inbetween us and I wait for shore" and "My conscious burning my eyes are too cuddled up with a heart contempt does she love you and I swear I do" Yeah, just really touching even if unintentional.

Aw I just went and listened and I really like it. If they thought about the lyrics at all they were proooobably intended for Scallison (even though that’s a little odd and messed up considering Kira was right there…) but it works so much for Sterek and especially for a miserable Stiles missing the hell out of Derek. I mean…

I’m sorry to any St*lia people but I could in-detail analyze this, like “follow me through this empty dream, I’m sleeping next to someone new, my conscience burning…”?? Or how about “I’m such a coward, these wretched things I do…” This is not a happy person (in a happy relationship) thinking these things. This is someone missing the hell out of a person who’s moved on, who’s settled into an unhappy situation –– “I wait for shore, there’s a gate I see, there’s a way for me// now this one sits here and whispers things to me”… They’re stuck in miserable relationship with “this one” but they’re just waiting, waiting to cross those oceans, to make it through that gate, to find the way to the thing they really want.

Though the thing they want is probably off with someone new (Braeden, who Derek left town with), leaving Stiles hopeless and “cuddled up with hard contempt//Does she love you? I swear I do.” It’s just… it’s an awesome song but it’s so tragic, and it’s so perfect for Sterek at that point in the series.

(But then… the more I analyze the lyrics, the more upset I get for Kira if this song was intended as a Scallison moment, because she’d be the unwanted placeholder in that scenario. That poor girl, she deserved a lot better.)

[Oh, and song and lyrics links for anyone who wants to read for themselves]


So this is how I decorated my graduation cap. I tried to fit in a little bit of everything that I like (missed R5 though). Got some One Direction, Shawn Mendes, Pretty Little Liars, and Twenty One Pilots.
•The TØP reference is “Anyone from anywhere can do anything” Tyler Joseph said that in their acceptance speech after winning their very first Grammy, and at that moment when I heard Tyler say those words, I knew that that phrase would always have a deep meaning to me and would find a lot of motivation from it |-/
•One Direction references are their song lyrics from DMD and lyrics from 18. “Only time will tell…” Is one of Liam’s tattoos, as well as the four arrows ›››› are also one of his tattoos but if you’re a directioner you most likely know what the arrows tattoo stands for ››››
•Shawn reference was lyrics from Life of the Party. I think that song goes well with the idea of high school.
•Pretty Little Liars reference were some lines from a scene that I will always remember ❤ it was right before the 5 years forward.
~And of course I had a 2017 on there because the class of 2017 rocks 🤙🏼

When You Go (Part 1)

Words: 1600+(including song lyrics)

Summary: You and Misha were together until insecurity and lack of communication led to an unresolved break up. He seems to have moved on fine while you are still struggling with losing him. You write a song to try and finalize that chapter of your life in hopes that you can move on without him.

A/N: So the song is not in fact an original, just using that for the story. It is a song written and performed by Jonathan Coulton.
Also, obviously there is no hate for Vicky; this is a fictional story and in real life I love Vicki, Misha, and their family.
And lastly, this is my very first fic. I’d appreciate any constructive criticism.

Warnings: Kind of angsty, adult themes(smutish-but nothing major,) some language, mentions of growing insecurities


“You’re sure he won’t be here?” you asked Jensen for the third time this evening. He sighed and reminded you again that Misha wouldn’t be attending due to a previous engagement.

You were glad he wouldn’t be there to see you perform at the Saturday Night Special. You had written a song after your breakup and had always wanted to perform it; but you weren’t ready for him to hear it.

Sighing, you asked “He’s with her, isn’t he?” Jensen knew he was, but didn’t want to rub it in your face so he didn’t answer; just offered an apologetic smile.


Keep reading

anonymous asked:



some trivia about the individual girls:


  • has an entire folder on her computer dedicated to pictures of cat paws
  • owns so many fucking snap-backs, all of which have stupid shit like “dope” or “fuck” or “stop” printed on them. 
  • one year for her birthday, every single one of her friends got her a rainbow flag. she now has like 12 and sometimes she likes to use them for blankets. bailey always rolls her eyes because “kels, those are so fucking thin. they’re not blankets. youre being ridiculous” “let me be GAY BAILEY” 
  • would get along with kent parson. like, out of all the characters in the comic, she would probably click best with parse. him or lardo. the three of them could literally take over the world if they wanted to
  • on that note, her and bailey would DEFINITELY be down for a threesome with lardo. they’ve told her this. it’s a thing. 
  • hates shopping only because she’s so impatient that if the first four things she tries on don’t look good she just. storms out. 
  • fave 1d member is louis
  • uses old spice deodorant because it’s just BETTER than girl deodorant
  • used to be a dancer, but she likes team sports better. she still knows how to move tho. bailey is v lucky. 


  • loves dogs more than she loves her parents
  • her snapchat is truly a gift to all of her friends. she’s so gorgeous and she’s always postin selfies. her story is always like sooooo long but its worth it and no one ever skips it because she is an angel
  • is really close with march and april, since she’s the same year as them and they were freshies together. the person she’s closest to is kelsey, obviously, but the three of them have a p unbreakable bond, and when kelsey is drunkenly running around shirtless at parties making all the cishets slightly uncomfortable, bailey is usualy chilling with march and april, leaning on march and shit talking people with april in a deadpan voice
  • SHE PAN!!!
  • collects sunglasses. she wears sunglasses inside and people would get on her about it except she’s literally so pretty and intimidating and she looks good no matter what so why would they do that the answer is they wouldn’t bc they don’t want t get punched in the face
  • she has anxiety but in a VERY different way than jack. like at one point kelsey mentions to bitty that bailey has anxiety and bitty is like “??? she’s nothing like jack ????” and kelsey is like “shhh anxiety presents itself differently for different people” 
    • people assume she’s just very Cool and Intimidating, but literally after every interaction with other humans she turns to kelsey and is like “they hated me didn’t they” and kelsey is like “BABE no they loved you and thought you were cool and hot” and bailey is like “ok thank god”
    • her anxiety attacks aren’t very physical, they’re mostly pretty dissociative and internal. kelsey and march are the only ones who are good at helping her through them
  • hates doing laundry bc she has SO MANY FUCKIN CLOTHES 
  • her favorite thing in the world is putting her face rly close to fans and talking and doing the robot voice. kelsey gets fed up with this about .4 seconds into the summer. 
    • “kel-sey sher-man. i have come to steal your boo-ty. beep boop”
      “why must you ru-in my fun. boop.”
      “i love you. beep beep.”
      “robots can’t love”
      (gasp) “THIS ONE DOES”
  • her fave ice cream flavor is rocky road


  • has a tumblr. used to be a fandom blogger when she was in high school, but now she’s just kind of an aesthetic/funny shit/reblogs her friends’ selfies kinda blog.
  • eats more ice cream than any person should. she’s also tiny. where does the ice cream go? how is she so in shape? what’s going on? she’s magic
  • used to do ballet, and could probably still do most of the moves. she basically only quit bc she reached the age where, if she wanted to make a career out of it, she would have to start seriously working towards it and she was like “fuck that” so she decided to be a jock instead.
  • on the topic of that: she does not fit in with Jock Girl aesthetic at all. she’s small and hates to smell bad and complains about practice a lot, but she loves her sport and she loves her girls so it’s fine.
  • loves boybands so fucking much. refers to one direction as “her boys”.
  • forgets that shes very small and tries to fight people all the time. especially if they’re mean to amanda. it’s fucking game over if you fuck with amanda
  • SO MANY PET NAMES. all the girls call each other babe and sis, but sara is the one to break out all the “sweetie”s and “honey”s and “angel”s. she calls amanda “her b” so often. it’s ridiculous.
  • her favorite animal is cats, and she has a ton of clothes with cat prints on them. she wants to own like 500 cats. she’s a mess.
  • used to collect stuffed horses. she was a horse girl. no one knows this except for amanda because she doesn’t want to be shamed.
  • only child
  • tragically heterosexual. she wishes so badly that she could just date amanda and be done, but she loves boys too much.
  • has broken every phone she’s ever had in less than a year. she’s a phone dropper. invest in a case, idiot. 
  • loves photography. she’s not good at it, but she tries really hard and has like 3000 followers on instagram so. it’s chill.
  • loves scented candles and bath bombs and never shuts up about baths. 


  • underestimates her own height a lot and bumps her head on shit all the fucking time
  • gives the best hugs
  • can draw!!! and paint!!! 
  • loves movies a lot and gets v invested in tv shows
  • will not ever say no to giving people a piggyback ride
    • one time she tried to give march a piggyback ride, but since march is also stupidly tall, it ended with both of them running into trees and making everyone else fear for their lives. 
  • both her and sara are theatre majors!! they talk about theatre ALL THE TIME!! also they’re both v v talented and tend to burst into song all the fucking time. it gets worse if they’re actually involved in a musical at the moment. 
    • the entire team knows all the lyrics to every song in hamilton simply bc amanda and sara won’t fucking stop
  • her fave movie is the lion king
  • she’s an alto (sara is a soprano, this is the only thing that causes them any problems in their friendship, but it also means they can sing all the fuckin harmonies like woah)
  • loves markers and crayons. especially brand new packs. 
  • platonic kisses are something that she wholeheartedly believes in. amanda has a lot of love to give ok.
  • giggly drunk

I was gonna write about jessie too, but jessie is basically piper’s baby so i’ll let her add on with jessie, march, april, and caitlin if she wants. (and mal and mol)




It’s always complicated to choose what to give as a gift on Christmas to your significant other. This is our first year together as a couple, so I decided to give my beau something with a lot of meaning. First of all, I thought of making him brownies and a Christmas card from scratch (because the ones I found on stores were hideous) that enbodies the way I feel about the holiday and about him.

On the other hand I developed a memory jar for him. I took a mason jar and decorated it so it would look good. In the jar I placed lots of messages which were classified by color:

  • the yellow cards were lyric fragments that I’ve dedicated to him in these months we’ve been together.
  • the green cards were movie scenes or dialogues that make me think of our relationship or the way I feel about him.
  • the brown cards were songs or scenes from Broadway musicals that I’ve dedicated to him.
  • the beige cards were moments that we’ve spent together ever since we first met and that have a lot of meaning to us.

I also wrapped a couple of gifts (a men fragance which I’d love to him to wear and a Pokémon game he wanted) and arranged them in that basket so they could look decent. I spent some of my free time to get this thing done but I assure you it was worth it. You can see in his face that he is really happy with his present and I’m happy of being with him for the holidays. alexo26 I’m very thankful to have you as my boyfriend and I hope we can spend lots of holidays together later on. I love you :)i

i just came home after seeing green day my dudes

and let me tell you

it was awesome (that’s putting it mildly though) 

few fun facts about me and my concert:

- first time i heard Scattered live and it was actually incredible I love that song so much

- billie screwed up the lyrics to “Still Breathing” so he was like “fuck, let’s start over” but the crowd kept singing so instead of starting over he was encouraged by the crowd to continue and i thought that was a beautiful moment considering which song it was. sorta symbolic ya know


- Billie said “jag älsker dig” which means “i love you” and it was so cute tbh


- First time i heard Are We the Waiting live and everyone (including myself) held up their phones and it literally looked like a “starry night” as the lyrics goes. IT WAS BEAUTIFUL.

- First time i heard christie road live!! there was a dude next to me who yelled “PLAY CHRISTIE ROAD” and like 5 minutes later they did lol


- I honestly have no complaints. I guess i would have loved to hear more songs from Revolution Radio, but I love the fact that the setlist was very mixed. Would have loved to hear 21 guns live though and i still don’t understand why they don’t play that one since it was a big hit. Oh well!


Paramore asks

1. First Paramore song you’ve ever listened to
2. 5 Favorite Paramore songs (because i know it’s impossible to pick one)
3. 5 Favorite Paramore songs to listen to when you’re sad
4. 5 Favorite Paramore songs to listen to when you’re happy
5. Favorite Paramore song to listen to when you’re upset or angry
6. 3 Paramore Songs that makes you cry
7. 3 Favorite music videos of Paramore
8. 3 Favorite Paramore songs played live
9. Favorite Paramore song from a lyrically aspect
10. Favorite Paramore song from the melody aspect
11. Last Paramore song you listened to
12. Favorite line from a Paramore song
13. Favorite live performance of Paramore
14. Favorite acoustic song of Paramore
15. Favorite Paramore album
16. Favorite song of All We Know Is Falling
17. Favorite song of Riot!
18. Favorite song of Brand New Eyes
19. Favorite song of Paramore (the self titled album)
20. Favorite song of Singles Club
21. A Paramore song that you didn’t like at first, but ended up loving
22. A Paramore song that breaks your heart
23. Favorite Paramore song to sing in the shower
24. Favorite Paramore song at this moment
25. An underrated Paramore song
26. A Paramore song that calms you down
27. If you could get any Paramore lyrics tattooed, which would you choose
28. Favorite Paramore song title
29. A Paramore song that has a lot of meaning to you
30. A Paramore song you can’t help but dance to

send me a number and I’ll tell you!

Do you realize - that everyone you know someday will die

Take a deep breath and then wait a second. Stay. Click “Play”, listen to this song and its lyrics. And now tell me that it’s not a perfect bittersweet and tragic song for Hartwin! I can’t tell you what I would give for a dark fan video with this song.

I always say stuff like “If Kingsman wouldn’t be that light-hearted” (you know what I mean - there are lots of sad moments but it’s still a fun action movie). And I repeat myself: If Kingsman wouldn’t be that light-hearted and they bring back a brainwashed evil!Harry then … Just think about that song. And Eggsy seeing Harry Hart for the first time. Maybe during a huge fight in the finale of “Kingsman: The Golden Circle”.

Whatever he is doing in that moment - maybe he is fighting, maybe he is chasing down an enemy - he stops. He freezes. Harry’s name on Eggsy’s lips. He lowers his gun and looks stunned at his mentor. Eggsy is unguarded but he doesn’t care. He only cares for Harry in this moment. Because Harry is alive, Harry is here. And when Eggsy suddenly starts walking towards Harry, it’s Merlin who suddenly grabs his arm to hold him back

That’s the moment in which Harry Hart points his gun at Eggsy and Merlin … and shoots.

Made with SoundCloud
Catch Me If You Can - "Goodbye" & lyrics
"Goodbye" from the original recording of the Broadway musical Catch Me If You Can. This version is sung by Aaron Tveit. *lyrics* It's my happy ending, now it...

Why this song is so important to me:

Interviewer: “You had this great moment on stage after you sang Goodbye (…) and you kind broke down on stage”

Aaron Tveit: “I think it was an emotional release of a long long time and a lot of hard work and a lot of ups and downs with the show and then also the fact that i was kind of gobsmacked by the audience reaction at that time, I mean, they clapped, you know, stood up in the middle of the show after the thing, which… also it was very strange to sing that song about just… the contest of the song in the show all the sudden was the same as me, I mean, as a performer in his own show on stage, it was me in my show on stage singing about how this is the last time we’re gonna do this, and it’s over and it’s fine so it was really like art imitating life imitating art, completely in the moment, And with the audience reaction (…) and I was kind of addressing the fact that it was closing and I wasn’t getting to do that anymore. It was all those things that just kind of came out in a huge emotional release in front of two thousand people… but, yeah, it was great!”



Warning: long post….
but so good.

Close To Home: A Conversation About Beyoncé’s ‘Lemonade' 


A Beyoncé album release is now a communal experience. Who among us (and if you’re here reading this, you’re one of us) made it through this weekend without a conversation, typed or yelled, about her intent, her intonation, her read, her past, her bat, Serena, Tina, Etta, Warsan, Pipilotti, Zendaya? Whether you love her, hate her, or stay strong in your neutrality, our exchanges are kind of the point. This is what art makes us do. No doubt our opinions are in some places monetized and our vocalization of them surely buoys the price of Lemonade on up to $17.99. But what Beyoncé’s got us talking about now is what we women are really always talking about, under our breath, late night on the phone, after the kids are down, over coffee, at the bar, in tears, irrespective of anybody’s album drop: our worth. The video version of this album reflects the private lives of a certain group of women who share a set of memories and experiences; the arc of its narrative will be harrowingly close to home for all of us.

We asked Professor Regina Bradley and writer dream hampton to share their dialogue about the visual album with us, to show the many directions Lemonade is sending people, knowing the two of them don’t come to the art or the artist from the same place, knowing they require different things if they’re to feel represented, knowing that feeling is a major factor in what’s happening right now culturally, but it’s not the only thing. Uniting their perspectives here is our attempt to arm each other with information and knowledge and hard-earned truths. So that when we’re talking about Beyoncé, we’re really saying something. Regina and dream spoke on the phone Sunday afternoon. —Frannie Kelley


Regina Bradley: I was like, wow. So much wow. That was my immediate reaction. And then I went on a Twitter rant. Because I saw a tweet that was like, “Well, this is so much that I don’t understand.” I heard everything from “creepy” to “It’s not for me.” So of course I put on, you know, my southern hat and I was like, “Some of the stuff in that video wasn’t meant for everybody!” It was a love note to southern black girls.

dream hampton: I’m not on Twitter and haven’t been since last August, but I went on there and I saw that the Internet was melting. I was looking for rare Prince video, because a lot of people are sharing amazing performance footage and I just couldn’t get enough this weekend. And I saw that Bey had released this album, which I of course knew she was releasing. I mean, we do have to say that part, like: I know these folks, or whatever.

I saw someone who was a writer for Hannibal, the very dark TV show about cannibalism, and I saw her tweet out that she didn’t think this album was for her, but she still was intrigued. And I thought, I bet when she was creating her scripts and her art she wasn’t telling NBC, “This is going to be a show for cannibals. That’s who’s gonna watch my show.” But in this moment, confronted with this many black girls on camera — and thank you Kahlil Joseph for honoring us in this way, to create this kind of visual altar to black girls, and black girl femmes — you know, in that moment, you can’t locate yourself? I wasn’t looking for myself inHannibal, a story about FBI agents or cannibals, because I have no desire to be either. But I loved what she was doing and I didn’t begin my read on that work with this feeling of rejection. And that was what was in her tweet. She’s a white woman and she felt rejected looking at this video.

Regina Bradley: I think what made folks uncomfortable was the fact that she was pulling from not only a blues tradition, but a southern black woman blues tradition. Shug Avery, Bessie Smith, Rosetta Tharpe and other blueswomen performers used their voices to sonically and lyrically expound upon their personal trauma and strife as a collective call-to-arms for black women. Blueswomen in the south traveled and wandered and did not censor their existence. They made people uncomfortable. I say Beyoncé made people uncomfortable because her performance in Lemonade wasn’t just a curation of the blueswoman aesthetic but an active reckoning with it as it manifested in southern spaces. Pair the blueswoman tradition with the traditional memory of the south as traumatic and backwards and you get a ripe space for unpacking the multiple layers of black women’s healing and existence that Beyoncé tackles in this project.

dream hampton: When I think of the mashup that’s happening here in terms of artists — and there are two collaborators that stand out, obviously, in this project, even though there were many — one of them is Warsan Shire, the poet who I have loved since I found her on Myspace in 2009. She’s a Somali Muslim raised in London and her writing is beautiful and these are her musings on romantic love.

And then you have Kahlil Joseph, who is interested in all kinds of black magic. He did a beautiful short film on Oklahoma rodeos. He did Shabazz Palace’s first video, “Belhaven Meridian,” a nod to the great filmmaker Charles Burnett. He also did a conjuring video for Flying Lotus, which cast Lotus as an Elegba/Eshu in a Cadillac who kind of comes to collect the beautiful Brooklyn dancer Storyboard Pete. Kahlil is absolutely a director who is influenced by Terrence Malick, and he really looks at film as a philosophical medium. And then you add Beyoncé.

Ann Powers wrote a great piece when Beyoncé did the 2013 Super Bowl. She was looking at Beyoncé and Destiny’s Child and that whole syncopated, southern marching band tradition and stepping contests. Beyoncé, even though she’s incredibly popular, probably the most popular artist we’ve had since Michael Jackson, is performing very straightforward R&B and always has, since Destiny’s Child. She has always performed very southern, black music since Destiny’s Child. I thought her first album reminded me of Prince in that it wandered. I’m talking about songs like “Speechless,” like “Naughty Girl,” like “Hip Hop Star,” like “Be with U.” I think that people were kind of happy when she came out with the album after that, B'day, because it returned to the Beyoncé that they were used to, with these big giant hits, from Destiny’s Child. But that first album, besides “Crazy In Love,” was to me deeply influenced by Prince. And then when she did B'day she returned to songs like “Upgrade U” and “Get Me Bodied” and “Ring the Alarm,” “Freakum Dress” — that album felt more like Destiny’s Child, Michael Jackson, I’m coming for you with hits. And Lemonade comes back to the kind of wandering and exploring she was doing on her debut. When you take away all of the videos, you get some very interesting mashups. The James Blake. The White Stripes.

Regina Bradley: I was listening to “Don’t Hurt Yourself,” the song that plays during the section of Lemonade called “Anger,” and I thought about Prince. The live instrumentation, the boisterousness of the music, I thought, this was for Prince. And I think she’s always in a space to do that. But I really enjoyed the fact that she’s making folks uncomfortable with her music right now and the imagery associated with it.

I guess on the one hand I feel like my ear has been tainted when listening to Beyoncé, because for me it’s mostly been what I’ve heard on the radio and it wasn’t until lately that I was like, let me actually dig into it and think about what these influences mean. But one thing that I, as a literary person, was looking at during the actual video album yesterday was so many references to black women writers, singers, and just this quotidian black woman experience that I was so in love with. Finally, you didn’t have to have these supreme cosmic influences just to have a conversation. I felt like it was an everyday conversation that I was having with her through these videos. Ok, well — maybe not the red light, going around town knocking people out with a bat named Hot Sauce. But for me, I saw the influences of Zora Neale Hurston.

dream hampton: I would say in that moment you’re also seeing Kahlil Joseph, who also has a real connection and interest in Zora. That’s what I mean that this is a mashup. And some of it is just musings — Warsan could be happy in a romantic relationship. Now her poems and Beyoncé’s lyrics are being taken literally and used to speculate about Jay and Beyoncé’s relationship. But in the end, these three artists, Warsan Shire, Kahlil Joseph and Beyoncé, are reflecting what they choose to, of their interests, back into their art.

Regina Bradley: The actual visuals probably teach a lot more than the lyrics. And I’m not trying to discount those at all. But we’re in a current visual cultural moment and we learn more through what we see than what we hear.

dream hampton: But let’s not act like lyrics have ever been deep. I mean, that’s what makes Prince an anomaly. Literally. These kind of love musings tend to never be deep. But that’s where Warsan Shire comes in and complicates it. And I say that loving music! As an academic yourself, as someone who writes, myself, we would probably overwrite songs. Because we would be overthinking them. Now Prince, of course, knew how to do thinking but simple love songs. He knew how to make really complicated lyrics make sense in a pop song — when you listen to a song like “Lady Cab Driver” and he says, “This is for the moon … so beautifully complex.” We don’t expect our pop love songs to be sonnets. You’re not going to hear that in an average song. By “average” I mean the very best. I mean The Beatles.

And that’s why it’s lovely that Kahlil brought in Warsan Shire and had her go even deeper on a literary level than a song. That’s what makes this project a masterpiece. Because all of them are playing their parts. Beyoncé is the consummate performer, she is black girl magic personified in this moment. Warsan is bringing that literary genius to it and, because Kahlil is deeply invested in a visual folklore, he’s directing all that into an ancient yet modern visual folklore around black people.

Regina Bradley: I’m still processing it. Even though I’ve watched it three times, there’s so much stuff I’m still missing. One of the things that stood out to me is when they were preparing dinner. The whole idea of soul food as a southern trope, and actually having a seat at the table that black women have been preparing for others, that was big for me.

dream hampton: That was a visual nod to Julie Dash’s Daughters Of The Dust.

Regina Bradley: Daughters Of The Dust and also Alice Walker’s In Search Of Our Mothers’ Gardens.

dream hampton: Yes! And Carrie Mae Weems’s Kitchen too! It’s gorgeous, this idea that we’re going to feed one another into love and healing. That food is healing, that our fellowship is healing. That all women’s spaces are sacred. And all of that comes through. I’ve said this before, but I don’t measure a woman’s strength by her ability to endure suffering. I think true strength is about reaching out when you need help. It is about forgiveness, which Bey has in there. But there’s also a call for accountability. Accountability in our most intimate relationships and accountability as it relates to the images of the mothers of these three victims of police violence.

Regina Bradley: That accountability is real, though. Like Beyoncé’s done so many times in the past, she’s putting her money where her mouth is. She doesn’t speak up in public spaces other than her music. I feel like her work begs the question, “What else do you want me to do?”

But I’m most struck by her use of antebellum imagery to situate her southernness. Southern black girls and women are at the front of Beyoncé’s vision. Not in the back. Not in her peripherals or tucked away under the heavy assumptions of southern black women and girls as hopeless. We are in the front. We are joyful. We are communal. Antebellum blackness as joyous and fruitful seems oxymoronic for black women. Slave women are the most silenced and traumatic representations of southern black women. It is a massive undertaking to sift through the forced silence regarding the physical, social and spiritual violence of slave women to locate the quiet of black women’s endurance. In Lemonade, the trauma of slavery itself does not propel the images of black women in undeniably southern spaces forward. Rather, the antebellum south serves as an entry point for Beyoncé to recognize the historical and cultural horrors of black womanhood while reclaiming the survival techniques passed down over time.

Towards the end of the film, a group of girls runs from a garden with fresh vegetables in their arms. Another shot shows a group of black women in antebellum dresses proceeding into a kitchen to chop vegetables, grind spices and prepare to literally and figuratively break bread. The agency of the antebellum south as the epitome of white southern pride gives way to the quiet dignity of black women as workers, healers and conjurers. The imagery is not new: Black women in head wraps, simple white dresses gathered in communal spaces like a cooking house and a southern plantation manor with black girls running through white columns off of a porch are referenced in multiple slave narratives like Linda Brent’s Incidents in the Life of a Slave Girl.

Yet the work being done is for the women’s own benefit, culminating in a communal dinner underneath a massive oak tree with Spanish moss and performances by Beyoncé of her song “Freedom” and ballerina Michaela dePrince. The gathering women and girls are of multiple ages, smiling and conversing with one another. This scene juxtaposes with an empty candlelit table and a lone black girl — possibly a house slave — sitting at the table. The scene quickly cuts back to the same communal table in the dark under candlelight. The rapidness of the transition between the two scenes is like a blink. It suggests that the women at the table are the dream of the solitary black girl. What I most appreciate about Lemonade is its ability to pull the viewer through multiple lenses, historical periods and vantage points to complicate southern black women. It demonstrates healing as messy, non-linear and generational. Sometimes we deal with the same s*** that our mothers and grandmothers and foremothers experienced. The responsibility of remembering is not only a collective, but it’s a collective for multiple generations of black women.

dream hampton: The other thing that I really loved in the film is this way that she really loved up on her father and on Jay Z as a father. Kahlil reflects that back to us with all these everyday fathers in New Orleans loving on their baby girls.

Regina Bradley: I thought it was gorgeous. I cried a little bit because it made me think of my dad. Especially when he [Beyoncé’s father, in a clip of home video] was like, “What would you do if your grandparents were here?” And she was like, “We would have fun.” He said, “Tell them.” I’m like, yes! The ancestors are everywhere. We have to speak them into existence. We have to remember to keep them alive. He was instilling that in her.

dream hampton: And then the father that Jay is with Blue Ivy is something that she has to love the most about him. I know that, having been his friend for the past 20 years, this is my favorite phase of his life. This phase where he gets to be deeply connected with his daughter. Because for him, and he’s been public about this, this isn’t me snitching on him, at least he was public about this in the book we worked on together, Decoded, he healed his relationship with his father at the very last stage of his father’s life; his father was dying. And that made it possible for him to be in his first real love relationship, which is with his wife. And to see him be able to do more healing around that karmic energy, with his own daughter, is beautiful. Beyoncé must really love that about Jay.

Regina Bradley: And it’s an ongoing process, too. That idea of the vulnerability that’s associated with being a father. For me, one of the things I’ll always remember about my dad is we had a kind of rocky relationship in the beginning. I remember one time we were talking when I was 14 and I was like, “I don’t need you” and he cried. I had never seen a grown man cry before that. My dad was a big dude. He was like 6'5" and 300 pounds. And he was crying. He said, “But I need you though.” With Jay Z being such a public figure and actually letting us see him be vulnerable with his daughter, it wasn’t refreshing, but more like like, “I’m also human too.” It added levels of humanity for him that we don’t often reserve for superstars.

dream hampton: And I think that’s something that we’re guilty of, which is stripping celebrities of their humanity. The way that we talk about them. Grown people who may or may not have given birth, which is a big deal, openly speculating about whether she had her own child. This kind of viciousness. I remember Jay saying early on, when he first started dating her, there are only two headlines to write about a celebrity couple: They’re together and they’re divorced. And that’s all anyone’s interested in.

We really do say the worst things to our lovers. And we really do treat our lovers the very worst and the very best. That’s part of what intimacy is about, being so up in somebody’s stuff that they can’t avoid all the parts of you. But I do love that Beyoncé, unlike blueswomen before her, rejects the idea of sacrificial love as the wife’s duty in a cis-het relationship. In this suite, she demands accountability before we get forgiveness. She’s also being fully present in her rage, and fully understanding of what it is she deserves.

Some classic standards are hard for me to listen to: songs that were recorded by some of my favorite black women, Billie Holiday and Dinah Washington, but weren’t always written by them. Often they were written by white men and they’re sacrificial songs, they are not about being in your power at all times. Beyoncé brings us this power. She’s not the first to bring us this — '70s rock star Betty Davis, Miles Davis’ ex-wife, brought us this, in the “Anti Love Song,” for instance. We’ve seen it before, we’ve absolutely seen it in hip-hop. But it’s so good for Beyoncé to bring that archetype back — “I know what I deserve, I know that god lives in me, I am a divine being and that I deserve all the respect and all the care.” And that’s what the accountability piece is, that you will care for me in the way I deserve to be cared for.

Regina Bradley: And I’m starting to care for myself.

dream hampton: Or that I’ve always cared for myself! We don’t always have to have the hero’s journey, where people have to hit rock bottom and come back up. That’s not our tradition: a single person on a single journey.

Regina Bradley: Multiple journeys.

dream hampton: And not just multi-journey, but your crew, with your woes.

Regina Bradley: You need a squad. Every woman needs a squad.

dream hampton: And in that sense, Kahlil turns away from the hero’s journey and populates this video, even though it’s clearly about Beyoncé, with all of these other black women in different phases of their life. And I think that that’s important.

Regina Bradley: Yes. Because squad love is the best love.



* Who made the first move; 
I actually don’t think any of them really did. It just kind of happened

* Who said ‘I love you’ first; 
Ivan. I can imagine that Gilbert would probably be very chocked by it and then angst - do I need to say more, pls

* How often they fight; 
They usually don’t have serious fights. They probably argue about small things sometimes but when they actually have serious fights, it’s very serious alright

* Whose big spoon/little spoon; 
I think they switch from time to time but Ivan is probably big spoon most of the time.

* What their nicknames are for each other; 
Ivan usually calls Gilbert ‘Gil’ and Gilbert likes to call Ivan ‘Vanya’ (◔⌣◔)
(I just really like those nicknames)

* Whose the better cook; 
Gilbert. Ivan’s cooking isn’t bad, but Gilbert’s is just better. 

* Their song;
Ok this is actually a really difficult question. I have so many songs for this pairing omfg, you wouldn’t believe-
But one song I just think fits this ship perfectly is ”I know I’m a Wolf”. I mean the freaking pairing is called snowrabbit ffs do you understand what I mean?
Also, the song ”World so Cold” by 12 Stones fits them too. The lyrics are absolutely perfect. I mean the song isn’t that good but man the freaking lyrics 
* Who remembers their anniversaries; 
Both. They do simply not forget those moments, they’re to important to forget. 

* Their favorite thing to do together (besides sex); 
I can imagine that they just like to cuddle a lot, and just enjoy each other’s presence. I also think that they like to sing (and play instruments) together, I happen to have a headcanon that they spent a lot of time doing that after ww2. (◑_◑) Imagine Ivan playing ‘White Flame’ and ‘Winter’ on the piano tho omfg 
I also think that they like to play in the snow and build snowmen during winter because both of them are fucking dorks. 

* Who ‘wears the pants’ in the relationship; 
Ivan. ( ͡° __ ͡°) Even though Ivan is actually very shy when it comes to things like this that’s how it is most of the time.
(they probably switch sometimes tho because Gilbert is stubborn as fuck)  

* How they would get engaged;
I actually have a lot of feelings about this..,
so, imagine that one day, gay marriage is finally legalized in Russia. And Ivan is just so incredibly that he’s crying like a little kid. Like really imagine that everyone’s celebrating on the streets of Moscow and then Gilbert arrives and can you imagine him just running into Ivan’s arms and they desperately cling to each other like the world is going to end if they don’t, like it’s just really happy but sad at the same time and then Gilbert asks if Ivan want’s to marry him and—
ok no I’m done
*lays down*
*cries a lot*

* What their wedding would be like;
Happiness. *still crying* 
Can you imagine tho, they’re standing in a Russian church (because russian churches are beautiful that’s why) and like, all their closest friends are there and it’d just be really happy and beautiful because they can finally be together (Francis is the priest, the axis are bridesmaids and Natalya is the ring bearer ok) and I don’t even fucking know, jesus christ *continues sobbing* 

* How many kids they’ll have; 
I don’t think they’d have any.

This Year (The Mountain Goats) Live Cover

One of my favorite bands ever is called The Mountain Goats. So there’s a song that I thought about a lot when I wrote this album called “This Year,“ and the lyric of the chorus is ‘I’m gonna make it through this year if it kills me,’ and it’s  something I used to drive around New Jersey a lot screaming to myself in my worst moments alone… and, um, it sounds sort of comical, but in the moment it was really important to me… we just learned it yesterday, so there’s a ninety-nine percent chance that we’re gonna fuck it up all over you guys, but I realize that the spirit of this song and how much it means to me, and how much it would mean to me to play to you guys, it feels like you could deal with a whole colossal amount of fuck ups.

There once was a time in 2012 when I first listened to Starlight and instantly fell in love with the whole song- the lyrics, the beat of the song, the meaning, EVERYTHING about the song. Starlight is not only my favorite Taylor song but it’s my favorite song period. The lyrics that struck me were “dream impossible dreams”. They remind me to always keep going and most importantly to never give up and keep dreaming. Taylor has made such a big impact on my life the last few years and I love her so much for it. Her music, specifically Starlight, has helped me out of my darkest moments. Thank you, Taylor for everything. And I’ll always be dreaming impossible dreams.


I titled this video “Change” for a number of reasons. What I think is most apparent to a lot of you, is the format of the video is entirely different than what we normally upload on the channel.

This video for me was about pushing myself creatively and focusing more about the fulfillment of creating. It’s the change I want to see in myself - Less analyzing and more feeling. A change of pace. A recognition and conscious decision to sit peacefully in a moment instead of trying to find what it means. I’ve been feeling quite bombarded lately with the “White Noise” of our modern world - The Tweets, Comments, Likes. I wanted to stop contributing to the buzz in the technological hive. This led me to my next choice - The music.

Now, a lot of you have voiced your distaste with my song choice. I chose the song primarily for the vibe and lyrics. There is a slight juxtaposition with the scenic views and rhythmic hip-hop/urban undertones of the song. I felt like it was an acknowledgment that even though I can be surrounded by nature, I still can’t completely tune out the inner city that pulses through me. It again harps on this idea of how I feel troubled with trying to disconnect and be present.

The lyrics of this song really spoke to me. I’m going to highlight some points of the song with the images on screen to look further into what I was trying to convey:

:34 - :38

“Chasing big endeavors facing stormy weather.

I say say okay cause it just makes you better.”

I start off by showing the cafe that we visited - A sweet little place nestled in a tiny town. Luke and I love to travel, and this year has been a year of chasing our dream of wanderlust. This has presented it’s challenges, but it has strengthen us as a couple. The camera ends with Luke on screen looking in the distance. More deeply, I wanted to capture that he as a husband makes me better as a person.


“Bet I remember everything”

I wanted to capture small details of mundane things to again, be in the moment. To show viewers what we were drinking may seem insignificant, but it’s the details of any experience that makes it memorable - Even China Cola and water in a “Ball” glass. Our time on Earth is a makeup of little moments.

:46 - :49

“Married to the game I, I might go and get a wedding ring”

Being a Youtube couple, at times you feel like you are married to YouTube as well. The previous scene was a close up of Luke’s wedding ring on his finger, and then it quickly jumps to a clip of the local theatre in the town we visited. I wanted to symbolize the “marrying” between our relationship and that of the limelight in cinema. Our little moments, from the previous lyrics, are now shared on stage to a wider audience - YouTube

:55 - 1:21

“I’m still the same me, we’re the same team

big dreams, small town…”

For those of you who don’t know, Luke and I are living in the same town I grew up in. Although I am finding comfort in the familiarity - It’s hard to break old habits from adolescence. The Hudson River Valley is a huge part of my makeup. The bridge we went over is called “The Walkway Over the Hudson” - I flipped back and forth between shots of the river and us, to give the viewer this “ping pong” sensation. This concept of going back and forth between what has become innate in us as people because of where we grew up, to the present person we are today and how we can’t necessarily get away from our pasts.

1:47 - 2:00

“This generation we say I love you to keep somebody

but if you love yourself you won’t need somebody

.. be yourself don’t try to be somebody”

The scene starts off with Luke far away from the camera - Of which I catch up to him and our shadows are walking side by side. A relationship is ongoing and in the end is a working, living thing. I struggle with loving myself. The emptiness of our silhouettes was to highlight the void a person may feel when they lack self acceptance. The camera is more focused on myself, because it is something that I have been finding rather difficult lately. The camera tilts more toward my footsteps being placed onto the bridge to show that I am making the labored process to actively change my shortcomings.

2:08 - 2:11

“Don’t worry about the haters and all of that

I’ll tell em just to fall back”

Believe it or not, the song continues after this line - I specifically cut off the rest to focus on these two. Being a “public figure” has it’s share of compromises, of which puts you at the mercy of people’s opinions about you. It’s hard to disconnect your views about yourself with those of opinionated strangers.

2:12 - 2:33

The footage goes from a picturesque view to an obscure reflection in a car windscreen. When you look in a mirror, you expect to see yourself staring back at you. The reflection in the car is one that is visibly unclear, as I’m literally looking into the future. I left this footage rolling to show how lost I’ve become with trying to find myself. I am changing, and the road is unclear - Again, picking up the title of the video “Change”

2:33 - End

The last image of the video is of Luke, I reversed a clip that was previously seen in the video. I did this for two reasons - One to convey a changed perspective of an incident. Sometimes you need to go back and revisit things several times until they become clear. Secondly, I wanted to end on him because he is the constant in my life. When times are uncertain, he is always who I turn to, and all change is possible with his support. In the background is also the Hudson, a place that we call home. It is one last reminder that even though we feel the change that is coming, we are still somehow connected to the past.

If you’ve read this far, I really appreciate you taking the time to understand my vision for this video. I thought about explaining this with an audio overlay, but I didn’t want to disrupt anyone’s interpretation of what they were seeing, because art is subjective, and I really thought it would ruin what I was trying to achieve.

I wrote all of this out because I thought it was important to let people see a different side of me, and more specifically how my brain works. I am a thinker - probably an over thinker. I try to put a lot of meaning behind my words and actions. I wanted to share more of who I am, because our relationship as content creator and viewer has changed.

Join me for the upcoming journey <3

anonymous asked:

I agree about "you and I" There's just something a out it...

there’s just something about the way harry and louis are when they’re standing on stage singing that song to tens of thousands of people.

like they’re right next to each other, fully able to appreciate the moment. each one is ALWAYS got glancing at the other at some point.

and I mean I know I know that they’re not credited as writing it, but there’s definitely some heavy meaning behind those lyrics,

and while I can’t quite put my finger on how the lyrics came to be, I think it means a lot to them. 


K&B; I wil try to fix you

YEY another video :) this one was kind of spur of the moment but i desperately wanted to vid klaine up to date and I have this week off so just did it :) I know this song is so overused but I really thought it fit them so well this season I couldn’t resist. And because everyone knows the song, you’ll be able to focus on the scenes more than the lyrics so much :)

I really hope you enjoy this, I put a lot of my heart into it, and it really means a lot to me :)



L: We broke up twice and got back together again twice

K: I blew it. I blew the best thing that ever happened to me
B: He’s gone… maybe forever

B: I just want to stop feeling like I’m a bad person
K: I started seeing this therapist who said I have this thing with love

B: We haven’t sounded that good since the very first duet that we sang, you remember what it was?
K: It was Baby It’s Cold Outside. The entire time we were singing I just wanted to turn off that damn boom box, confess my undying love for you and give you the world’s most passionate kiss

B: I honestly thought that I would never find real love
K: And then you came along. And even if someone had told me that it wasn’t going to work out. That after all of our struggling and all of our work, it would just end in heartache…
B: I would have said yes

K: I don’t want to do it on a night that you’ve spent half of dancing with another guy
B: This is cheating
K: I feel like I have taken crazy pills
B: Why are you yelling at me?
K: How am I supposed to believe that you love me when I can’t even trust you
B: I was with someone
B: You’re completely aloof and totally… do you even want to marry me
K: Maybe I don’t!

K: I know everything completely was messed up before but everything’s fine now so… will you go to the wedding with me? I mean unless there’s somebody else?
B: There’s no one else

A: You still love him don’t you?

D: You still love him. You never stopped

B: It made us realise that we’re… we’re just better as friends

K: I realised that trust is a choice
K: I choose to trust and to love you through everything

B: Oh there you are… I’ve been looking for you forever

K: I am a work in progress
B: I am a work in progress

K: I do
B: I do


Song: Fix you (G.lee Cast Version)