@exosaint & @mukduckk tagged me for the first 10 songs that show up on shuffle thank youu :’)

  1. placebo - battle for the sun
  2. yazoo - in my room
  3. george michael - praying for time
  4. cavetown - 888
  5. the front bottoms - swimming pool
  6. depeche mode - everything counts
  7. sufjan stevens - casimir pulaski day
  8. new order - your silent face
  9. kevin abstract - papercut
  10. car seat headrest - something soon

i tag @cuttingmyfingersoff09 @fameinfamy @localstargazer @therealbrandazzle @spiitkid @drugmoms 


Steven Universe, 1976.
The only thing that keeps me from making a full video of this is the need of a properly funky arrangement of the theme song.

More retro-fitted shows filed under my “title art” tag.
(Also on Ko-fi and Instagram! Links in blog.)

i want to be in a shitty band and write heavy songs and play basement shows and do stupid shit and have fun and fuck up my hair and drive around in a crappy van full of instruments and scream til my throat bleeds and get bruises all over and make friends and live a little

Over The Garden Wall is Underrated

Over the Garden Wall is a masterpiece cartoon show, recieving a 9.2/10 in IMDb and 4/5 on Hulu and yet so underrated. While many people are talking modern shows like Star vs The Forces of Evil, Steven Universe, OK KO: Let’s Be Heroes, Duck Tales, Adventure Time, and so forth or even talk about older shows that are done like Avatar the Last Airbender, Gravity Falls, Teen Titans, etc. 

Keep reading

Thoughts on Getaway Car

So I just have a lot of feelings regarding Getaway Car and needed to get them out and I didn’t think it would be this long but here we are.

  • Oh my god I just love this song so much, it’s so beautiful, both lyrically and musically
  • The way she sings certain words is just so beautiful (listen to her singing “I knew it from the first” and “he was running after us” and you’ll know what I mean)
  • It’s strange but it almost makes me feel dreamy, and it seems somewhat whimsical, especially during the chorus, and because of this it sounds and feels like freedom at first
  • But only when you listen to it fully do you understand the true sadness in it
  • This is song of tragedy: the tragedy of an unwanted relationship; the tragedy of a relationship that would never work out; the tragedy of a relationship that was doomed from the start; the tragedy of wanting to escape so badly you make all the wrong choices; the tragedy of wanting freedom, only to become lost when you obtain it
  • It is the tragedy of becoming so intoxicated by freedom that you don’t care about the consequences of obtaining it
  • Parts of it seem almost accusatory in tone, with him refusing to acknowledge his part in the tragedy – they were both aware this was a doomed relationship from the start but he’s feigning innocence
  • The chorus after the first verse has the original air of freedom about it – she’s escaped, the wind is blowing in her hair as she cruises down the highway, laughing with happiness and freedom, ignoring all the warning signs
  • However, the chorus after the second verse is more ominous, with it almost seeming to weigh heavily with a sense of foreboding – she’s realised their mistakes, but it’s too late, everything is crumbling beneath them
  • The way she sings “we’re both sorry” makes me so sad, it’s just filled with such regret and melancholy
  • There’s almost a sadness in her voice in the bridge when she describes leaving him, and 
  • When she sings “I’m in a getaway car/I left you in a motel bar”, there’s such a soft sadness to it but it builds up into confidence 
  • I love the reference to Bonnie and Clyde because they’re usually romanticised and depicted as a couple insanely in love, which is far from the truth – beneath this veil they fundamentally had a toxic relationship and committed horrendous crimes, and while this is obviously not what she’s depicting in this song, I think it’s similar
  • On the outside, to the media, to the public, they appear to have the perfect and idealised relationship, but underneath that it’s far from the truth – there are cracks that cannot be fixed, and they ultimately turn out to be disastrous for each other
  • Undoubtedly the media played a large role in this, referencing back to the second verse when she describes their relationship being turned into a circus, and ultimately ruining whatever romance they may have had, leaving them both with regrets
  • The outro has conflicting undertones of anger, determination, and confidence to it but overwhelmingly has an air of freedom surrounding it
  • Although she’s describing how she was crying and dying throughout this relationship that she thought would free her, there’s almost relief in her voice now that she has finally and truly escaped 
  • I can almost imagine her stealing the getaway car and driving down the highway once again as she originally had in verse one, but this time she is alone and free and happy
  • Despite the conflicting feelings the outro gives off, it doesn’t give one of self-pity or sadness and I love it for that. It describes an almost toxic relationship that she escapes from, and she shows that she is not broken because of this. I just love that whether she intended to or not, this song shows that you can escape from relationships that are unfulfilling or unhealthy for you, and you’ll be okay afterwards
  • So basically, it’s the best of both worlds: It has a beautiful and compelling melody while simultaneously having meaningful lyrics, especially when analysed in depth
  • Honestly I don’t know if this is what Taylor was thinking when she wrote this song, and tbh it probably wasn’t, but that’s what I love so much about music and poetry and art – it can mean anything you want it to

i know i need to let you go.

in fact i’m beginning to hate myself for not doing so.

i say nothing because your name is the only thing that slips off of my tongue and no one wants to hear me vocalize you running circles around my mind anymore.

i wonder how you interpret the songs that you showed me so long ago. do you think of me or does another girl belong to them?

i’m constantly checking your social media accounts because i still want to know what you’re thinking of even if i know it’s not me.

despite needing to let go of you

i don’t want to.


A definitive timeline of Seventeen’s AL1 story

Don’t know why I’m starting this past 9pm when I have school tomorrow but due to an anxious bout (which has lasted for about two months) I’ve learnt that when inspiration hits, I just got to run with it, or should I say bat with it, amirite? (we’ll get to that later on)  LETS BEGIN.

Originally posted by yunchanpai

Firstly we have to understand the vague points of time the music videos have taken place in. At first I thought that from Adore U to Boom Boom, all of the comebacks were on an alternate timeline to don’t wanna cry, however seventeen has stated that we are in fact wrong and that this all in the same timeline.

Adore U’ (is a funky pop song-) shows a crush a boy has on someone, but is inexperienced and marks it down to adoration rather than affection, as to not confront their own feelings. In this we can see an innocent fear of not knowing what to really say to someone and knowing the right words to express what you’re feeling. ‘Mansae’ is a bit different, although the schoolboy concept would have fit the song adore u, the lyrics are a bit different. It’s almost as if the boy has accepted the crush as what it is , liking someone, however instead of confessing they act immature (like schoolboys) and are jealous instead. ‘Pretty U’ is a bit different and shows some development. It has a musical theatre style and shows some development, they’ve actually confessed their feelings. Here’s when things get a bit rocky. ‘Very Nice’ is probably one of the most impactful songs ‘I’ve heard from seventeen. Although the lyrics describe a first date, the music video is a bit different. Whenever one of the boys starts to feel something for the girl, their heart explodes. It’s almost as though they can’t actually handle it . This is later reinforced in ‘Boom Boom’ where they claim that everything is because of the love interest . Up until this point the songs seem pretty normal, light hearted and tells the story of someone’s first romance. Although it seems unrequited and unresponsive, the main character seems happy, even with the the one-sidedness of it all.

You see, this is what makes me suspicious. Back in their seventeen project days, they said quite a few times how they didn’t want to be regular idols and they wanted to be artists instead, ones who worked very closely with the production of the songs and choreography. This is what makes everything seem off to me. We’ll come back to this later on.

After Boom Boom is when I think things get really weird. At this point in time is where Seventeen as a group itself gains momentum and popularity, being put to such a high standard of even getting to be put in ‘EBS’ with Exo and Bts. This almost seems to pressure them even more. It was hard enough coming from a company which didn’t have a lot of money, but now that they were quite popular, it was even harder being able to maintain that. This is when I think chapter 0.5 happens, just before don’t wanna cry. As we’ve seen in the unit songs, this is a side of seventeen we’ve never seen before. 

Although change up is upbeat and catchy, the lyrics seem quite desperate. It’s almost as though the leaders are trying to prove themselves, saying that others wouldn’t understand what they had been doing and how had it is. Change up actually means a pitch in baseball, where the pitcher moves fast but the ball is significantly slower to confuse the batter.Furthermore, in ‘trauma’ the hip hop unit all speak about the mental blocks they’ve had, all one individual room only to realise they’re all facing it together. Lilli Yabbay could actually be symbolic of death as it’s used in funerals for many cultures. In the music video, we can see how the music had brought them to life, but as soon as it ended they were on the floor, much like everyone around.This could refer to people sleeping on the performance unit, or more logically, the fear of having people be dissatisfied or not being able to truly express what they want to say before their fans part with them. 


I feel like this entire time we’ve though about this boy falls in love story as a basic romance and nothing more. The closer you look, maybe it could refer to their dream. Back when they looked adoringly at their favourite singers up on that stage. Back in their school days, holding a trainee title but no guarantees. Pretty U could be when they realised that they knew debut was the only option for them . Aju Nice is their debut, a point of excitement, we can see their change from mansae in the use of their female leads. Before they would get discouraged with the lack of response from the girl (which could be the lack of attention from the public) but when in very nice we can see how they continue to work for her attention and to see some emotion, running towards her at the end even after their metaphorical downfalls. Boom Boom is when they realise that hard work does pay off, but their B-side Fast Pace shows us how they miss the freedom they had before people really knew who they were.

Gonna continue this when I catch wind of the vocal unit. This took me an hour and 11 minutes, gosh I’m slow. Goodnight 

Part One | Part Two coming soon

I’ve been thinking a lot about why this has affected so many of us so deeply. I’m sure a lot of us have heard the phrase, “but he was just a celebrity” or “you didn’t even know him”. And I keep thinking about that. I keep thinking, it isn’t fair, I shouldn’t feel like my entire life has been flipped upside down because of the passing of a person I’ve never met personally. So why does it feel like that? 

I think that for most people (and this is coming from an American’s point of view, so seeing mostly American celebrities), celebrities are like these untouchable beings. We know that they’re people, that technically they’re just like us, but it’s like they exist on another plane. Like they’re living on a completely different level, and all we can do is watch them. And for those that do find a deeper connection to these celebrities, the connection can only go so far because of this disconnect.

But SHINee was never really like that. They’ve always been very open and personal with their fans. They’re not afraid to get close physically. Think about Taemin handing out lollipops during their debut era, or Jonghyun sitting outside 5 feet away from fans and talking with them. Yes, there have been incidents where getting too close to the fans caused issues, but for the most part, there was always this trust between the boys and shawols. Like when Jonghyun went down to the audience and told shawols that he knew they wouldn’t hurt him and let them touch his hair.

But that’s just the physical aspect of it. They’ve also been very open in a personal way. Of course, as fans we may never truly know if they were always being themselves, but it really seemed like they were not hiding anything most of the time. If they wanted to cry, they cried. if they wanted to laugh, they laughed. They were always very open about who they are. They were even open about fights they’ve had with each other, when most groups try to keep up the “no we never fight we love each other too much” image.

And with Jonghyun especially, he bared his soul to us. In his writings, in his songs, in his radio show, he never hid how he felt. He connected on such a deep and personal level with so many people because he shared how he felt, and for a lot of us, we felt the same way. Even though we couldn’t respond to him, when he talked on Blue Night about how he was feeling, it would feel like we were having an actual conversation with him. It felt like talking to a friend that understood your struggles.

And I think that’s why it hurts so much. Of course, it’s going to feel differently for fans than for his closest friends and family. But it still hurts so much for fans because it doesn’t feel like we lost someone we never knew, it feels like we lost a friend. We lost someone so important to us, that we connected with on a personal level, past what we just see in performances or music videos. And other people can’t understand that, because they’ve only ever seen celebrities as things meant to entertain, and not as actual people that you can have a deep connection to.

anonymous asked:

Can I get some soft reddie headcanons? Like them being romantic and cute and lots of kisses

- richie stares at eddie a lot when he’s not looking, and even if stan says its creepy he doesn’t care

- also eddie stares at him too

- they hold hands under the table at lunch

- and in the Aladdin when the losers go every friday for movie night eddie leans his head on richie’s shoulder as rich draws patterns onto the back of eddie’s hand

- they do that thing where if one of them is talking to someone the other will come up and kiss them or just wrap themselves around them and they act like nothing’s happening

- eddie pouts to get what he wants, and richie is a sucker for it

- eddie steals richie’s clothes A LOT so he turns up to school sometimes half asleep and in richie’s oversized black hoodie that’s nearly halfway down his thighs and it gives him sweater paws and richie has heart eyes all day because his boy is so cute

- richie tried to wear one of eddie’s shirts and he looked like he’d put it through the wash too many times

- eddie calls richie baby when he’s tired in the morning and richie leaves to pee or cook him breakfast and he’s just softly calling ‘baby’ until richie comes back

- eddie gives richie hickeys, not the other way round

- their first kiss was after richie ran away from home and he ran to eddie’s house in the pouring rain and eddie ran outside to scold him about hypothermia and getting sick but the second he saw richie’s puffy eyes and his bottom lip quivering he hugged him so hard and kissed him like he adored him and richie still dreams about that kiss years later

- for eddie’s birthday richie made him a playlist of all the songs they listened to together and said he had to listen to it on the way to the quarry, where richie was sat with a cake, blankets, pillows, junk food and his guitar and eddie burst into tears

- richie wrote eddie a song but he hasn’t showed him yet because he’s so embarrassed and it’s really raw and true to his heart

- eddie said ‘i love you’ for the first time when he was drunk on new years and richie nearly cried

- eddie said it again in the morning and richie did actually cry

One day, you’ll meet a guy. And ultimately he’s going to find out. How you chew, how you sip, how you dance, how you smell at every point of the day. The fact that the most of your friends are shallow. tbw your face looks underneath your makeup. How you love chocolate, how you can be hyper at times, how certain games and songs and shows make you happy. How you think you look ugly. And know what? He’s still going to love you

anonymous asked:

I understand that reputation follows a timeline, but why are delicate and end game at the beginning of the album since they’re supposedly about Joe?

i think tracks 1 to 7 tell taylor’s story with an air of fear of her reputation and the effect it had on her line of thinking. That doesnt mean it’s not telling her story any less but it’s telling one side of it, if you will. it’s the newsprint side, kinda. then 8-15 are the real taylor without any of that.

Part One: Their story but with her repuation’s effect on it 

- Ready For it? — they met each other, he was a ghost (for reasons Taylor does not give us) she was (supposedly) a robber, a stealer of hearts. Despite these outside opinions they see a future with each other.

- End Game – their attraction to one another was instant - they couldnt ignore it. He was into her despite what society was telling him to think, due to her ‘big reputation’. She tried to push away but she realized he’s had a permanent effect on her and she wants him around - forever 

- I did something bad - – i still think this one is interesting bc the title lends you to think one thing - it’s a statement. “i did something bad” - but the lyric throughout is “they say i did something bad” - so did she really do anything bad at all, or is she just being accused of it, like the witches were?. And she toys with the whole, if you say im this bad person then go ahead, say it. light me up. accuse me. i cant stop you.

Don’t Blame Me - here i think she’s toying around with the part of her rep of falling in love too fast, being ‘blind for love’, and the great part about this song is that she leaves you not knowing whether loving joe actually is like a drug or an addiction to her or if she’s being exaggerative. Because sometimes when you fall in love that is actually how it feels. Either way, she sees herself with him for the rest of her life.

- Delicate - taylor is questioning how someone could like her despite her reputation never having been worse and the song, to me, shows a turning point where she says … ok, so given all the shit everyones saying about me, he’s not running away…he must really like me .. for me. And it talks of the turning point of the rs turning into something, but a nervousness at the same time. Dont leave, i dont want to share you, think of all that we could do, i know i said a lot of stuff did i blow it, do you feel this too, do you dream of me, it’s all the vulnerabilities you feel at the beginning of a relationship when you don’t want to fuck things up because things are… delicate.

Lwymmd - Everything that happened with all the drama, her reputation getting marred, everything that everyone was saying, brought her to a realization that she needed to regroup. That meant a priority change, an acceptance of how things are now, and that is what the ‘the old taylor is dead’ speaks to.

So it Goes – death of the old taylor, once she accepted it, led her to a place of moving on to the next chapter in her life. And that is a chapter with Joe. And it’s undeniable the effect they have on each other, a magic they work. Also,‘so it goes’ is a literary term used to bridge from the death in the literature to the next scene or the next part in the story. It’s a very well crafted transition.

Part Two: Their Story as told without her reputation sneaking in to it 

Gorgeous – i met you and instantly felt an attraction (but nothing happened then) but damn you had me feeling some kind of way

Getaway Car – and then i had a rebound relationship to get out of the previous one 

King of my Heart - i had resigned myself to being alone (again), but our paths crossed again, and you were persistent (2nd time she’s told us that), and things were instant between us. both physically, spiritually and emotionally. This song perhaps tells the longest story of the album bc it starts off with taylor being content being alone and ends with her going…. i’m not going to have any more ‘ends’ to relationships,… you’re the one. All at once, this is enough. i dont need anything else.

Dancing with our hands tied – their relationship wasn’t a perfect situation - taylor dealt with a lot of fear that the media would ruin it when they were found out. And she worried that would tear them apart. But as the song progresses she comes to a realization that no matter what disaster they face, no matter how insurmountable it may seem, they will face it together and she is sure she will still be dancing with him. Dancing = metaphor for being w/ him. 

-- Dress - Underlying meaning beyond taking off her dress: She was reluctant to really bare herself for him, emotionally, it was a big step for her, she was nervous, but she did, and she really wanted to … because he’s been by her side and always seen who she really, truly is. And she can’t explain the attraction between them but she doesnt need to, she just knows he’s her one and only, her life line, the one that keeps her alive, he’s had a permanent effect on her.

– This is why we can’t have nice things – this tells the part of her story where she is saying, i am done dealing with the bullshit and have shifted my priorities. It was nice while it lasted til you stupid idiots ruined it. Fake people, fake friends, people who love drama, the media … i wont be fodder for your entertainment anymore. The new taylor isnt putting up with that bullshit. Again priority shift and focus on what is really impt .. 

– Call it What you Want - and speaking of the media and the people who love drama, she’s saying, i dont give a fuck what you call my relationship with joe, call it whatever you want bc i am not listening. he’s been there for me through the storms and been by my side and he knows me for reals, for who i really am. He gets me. He’s focused on me. And me on him. 

– New Year’s Day - is a final statement, a conclusion, this is the one time she talks about their future together on the album. It’s basically a love letter to joe saying that she will be there through his good times and bad, that their story isnt going to end, that they have a long road ahead of them, that she wants it all, with him, forevermore.


Halren 😍 should perform this song on award shows or something cuz they keep slaying it and this song is a BOP

if the silence was a song


“It’s … Your show is on so late at night,” Keith tries to explain, as if Lance didn’t know this already. “I guess I was just wondering why that is.”

A crackling silence answers him, and Keith’s stomach sinks. Did Lance hang up? Keith can’t exactly blame him.

But then he hears Lance make a noise––a short huff of breath that might have been either an impatient sigh or a quiet laugh … Keith has no clue.

“That’s the reason you’re calling? To complain about my time slot?”

or, Keith starts anonymously calling Lance’s college radio show and develops an unexpected crush.

Rating: T
Relationship: Klance
Words: 14,981
Status: Chapters 1/1 (Complete)

Read on Ao3

This is my vld halloween exchange gift for @quintessenced! (sorry i’m a day late lol) you mentioned you like radio host aus and i loved that idea!! so yeah happy late halloween elliot, and i really hope you like this. :)

p.s. i made a playlist to go along with this fic which you can listen to either on spotify or playmoss 🎶


Here are some pictures from my Visualizing and Depicting Ideas final project based on “Ghost Quartet”! I wanted to create something that would function as a cover/liner notes for a CD of the song cycle accompanied by illustrations that correspond with some of the songs from the show. (maybe I’ll just make some more for fun…)

‘Call It What You Want’ is truly a beautiful song both in its writing and production. Graceful lyrics describe a relationship doomed from the start but not by outside forces. The anxiety of the past makes it difficult to accept this love as something ‘good and right’. But as the acceptance seeps in through the cracks in the walls built from the bricks of insecurities and fears, like light, two hearts are illuminated within the safety of each other.

As a single, this song does the job of helping to underscore another part of the album’s theme. While trying to be discreet and maintain Taylor’s trust, I will say this song shows (just as many have suspected) one of the album’s prominent themes of a love, sacred in its genuinity and growth.

In this sense, Taylor has embraced the concept of singles (promotional or not) being utilized to define an album, like a synopsis in a way, rather than as a method of attracting audiences. Though the previously released songs have been very significant of her sonic development, they are also a concentration and representation of the album.

With 11 songs left to be heard of the album, you’ll find that she has successfully simplistically represented every angle of this album in its form. In terms of production, subject matter, and lyrical flexibility, while fluctuating between the complex and the satirically simplistic, she has strategically given the world a bit of what they want to know of this highly anticipated album.