spittoon

The Hetalia countries as random Spongebob quotes

EsItaly: I’ll have you know I stubbed my toe last week and only cried for 20 minutes.

Germany: Welcome to the Salty Spittoon. How tough are ya?

Japan: And say hello to used napkin!

America: You like Krabby Patties, don’t you, England Squidward?

England: Just blew out of Stupidtown?

France: ALL I KNOW IS FINE DINING AND BREATHING.

China: Can I be excused for the rest of my life?

Russia: You’ll never guessed what I found in my sock last night.

Poland: Am I a pretty girl?

Prussia: I can’t see my forehead.

Austria: No, Prussia Patrick, mayonnaise is not an instrument.

Lithuania: I’m a good noodle!

Romano: Ravioli Ravioli give me the formuoli.

Canada: I’ll remember you all in therapy.

Greece: The inner machinations of my mind are an enigma

Turkey: LEEDLE LEEDLE LEE

Estonia: I’M UGLY AND I’M PROUD

Iceland: Imagination.

Norway: INDOORS INDOORS, INDOOOOOOORS.

Denmark: I’M READY I’M READY I’M READY

Finland: He has such a way with words…

Sweden: Happy Leif Eriksen Day! A tinga tinga torgen!

anonymous asked:

*a tumble weed rolls by, crickets can be heard chirping*

Me, rocking in a creaky rocking chair on my old front porch: I been owner o'this here snaps blog for many moons. The snaps used to be plentiful, almost daily… then the well ran dry. We been thirsty e'er since. Ol’ Huss don’t throw us no bones no more. Alls we got left is scraps and dreams. *spits into my spittoon creating a high pitched ping*

To Note:

This is how I study literature and it works for me( my lit exams marks are typically 70/75 sometimes higher or in the high sixties( 60’s) but everyone is different and it is important that you use what works for you! I hope this helps you in any way big or small!


1: Read the novel. Just read it with no stopping to take notes or highlight, if possible try to enjoy it. This gives you a general idea of all the themes, plots,characters and others.

2: Get a notebook  or leaflets of paper binder/folder to keep it all in one place. I prefer a notebook. What I have in this notebook:

  • I tend to leave the first page blank and later paste a quote on it.
  • table of contents.
  • summary of full book.
  • any research on particular topics (this was homework but i would recommend researching a little if the book mentions a lot of like historical stuff or things you just don’t know).
  • the main character’s family tree.
  • a page each for the main characters then I put a page for important families in the book (examples Radley and Ewells family in To Kill A Mockingbird). As well as one or two pages titled ‘minor characters’ where any little detail about these characters can be jotted down here. More on what these pages contain later on.
  • chapter summaries in order, with beginning and ending page numbers along with a short analysis (on a post-it). I also add a quote that I i liked or felt was important but that isn’t necessary as quotes are covered later down. These summaries are written after I reread that particular chapter, where I underline words I don’t know the meaning of and you can highlight important thing if you want,preferably to a colour code system. here’s a nice little guide to annotating by @mildstudies

3: So what I usually have on these main characters’ pages are:

  • basic character information (name, age, race.
  • character sketch (basically the qualities of the person like bravery and kindness).
  • character growth (more so for the protagonist).
  • an important quote or two that was said by the character but again that’s not necessary.
  • my thoughts on the character which I think is really important.

4: Quotes are very important in literature and most if not all teachers will encourage you to use them in your essays so these are two things you can do:

  • just write quotes that each person said on their character’s page and quotes from the narrative itself on a separate page.
  • or the second way which I prefer is to arrange these quotes by chapter, highlighting which character said it and then writing a brief analysis on it. You can also arrange them by person and highlight the chapter and page number. I love either ways.

5: Vocabulary is also important ( my teacher once told me about a question asking for the meaning of 'spittoon’ in To Kill A Mockingbird.) When reading over the novel I underline words I don’t know and transfer them onto a separate sheet of paper (arrange by chapter) and write down the meanings. You can use two columns to do this, one with word and the other definition. You can also use studyign’s summary foldables method and make (online) flashcards to test yourself.

6: Reviewing for exams can be hard, especially if you don’t have the time to reread the entire books. But that’s okay because you have the chapter summaries and analysis and all your other information although I do recommend reading or simply skimming the really important chapters. Here are some other tips:

  • know your exam format and the type of questions. My exam typically gives us two choices for the novel, each of which gives us a particular topic (one example is Jem’s punishment for what he did to Mrs. Dubose) and then three to four things they’d like us to include (example: why did he do that to Mrs. Dubose.) We are to write these in essay formats.
  • write essays on the book to review later (for TKAM I’m writing an essay on the theme racism using references from the book as well as I wrote a view on Scout’s character and Atticus’ parenting style.) This is really good to read before an exam.
  • do mock papers, preferably within the usual time period of your exams.
  • get a good night sleep, eat a good breakfast and believe in yourself. You’ve put in the work, you’ll reap the benefits.

Important:

I guess this can be considered hardcore because I’m probably the only one in my class that does this much work but the main reason is that I am being tested on this at the end of the term for probably three terms in all as well as in 2018, two years after we started doing this novel, I will be tested on it for an exam that the entire region (i believe it’s similar to gcse) so all this work is in preparation for that so do adjust it to fit your needs. I’m also very open to ways to improve this!

ShAmy : The “Best OTP ever” Progression
— 

Penny: What’s up?

Sheldon: I came to ask if you would like to go on a date with me.

Penny: I’m sorry, what?

Sheldon: A date. You and me. Dining, dancing, perhaps you’d like to take in a prizefight.

Penny: God, are you trying to make Amy jealous?

Sheldon: No. Why is everyone so obsessed with Amy and Stuart? And whether or not they may be having more pumpkin lattes or intercourse tonight.

Penny: Okay, listen to me. Playing games is not gonna help get Amy back.

Sheldon: I am not trying to get her back. But, out of curiosity, what is a way?

Penny: All right, honey, let me tell you a story. There was a guy I liked, and I never told him how I felt. Eventually, he started going out with someone else, and I always regretted it. Do you see where I’m going with this?

Sheldon: I believe I do.

Penny: Mm.

Sheldon: I’m the guy.

Penny: You’re not the guy.

Sheldon: Are you sure? That would explain so much. Your constant presence in my apartment, that baffling dalliance with Leonard just to be near me, the way you call me sweetie all the time.

Penny: I call everyone sweetie.

Sheldon: You tramp.

Penny: Look, Sheldon, all I’m saying is strap on a pair and go talk to Amy.

Sheldon: Strap on a pair? Of what, skates?

Penny: Oh, sweetie, you are so not the guy.


5 x 10 The Flaming Spittoon Acquisition

4

Willie Mae “Big Mamma” Thornton (December 11, 1926-July 25, 1984) -was an American rhythm-and-blues singer and songwriter. She was the first to record Leiber and Stoller’sHound Dog”, in 1952,[1] which became her biggest hit, staying seven weeks at number one on the Billboard R&B chart in 1953[2] and selling almost two million copies.[3] However, her success was overshadowed three years later, when Elvis Presley recorded his more popular rendition of “Hound Dog”.[4] Similarly, Thornton’s “Ball ‘n’ Chain” (written in 1961 but not released until 1968) had a bigger impact when performed and recorded by Janis Joplin in the late 1960s.

Thornton’s performances were characterized by her deep, powerful voice and strong sense of self. She tapped into a liberated black feminist persona, through which she freed herself from many of the expectations of musical, lyrical, and physical practice for black women.[5] She was given her nickname, “Big Mama,” by Frank Schiffman, the manager of Harlem’s Apollo Theater, because of her strong voice, size, and personality. Thornton used her voice to its full potential, once stating that she was louder than any microphone and didn’t want a microphone to ever be as loud as she was. She was known for her strong voice.[6] Joplin’s biographer Alice Echols said that Thornton could sing in a “pretty voice” but did not want to. Thornton said, “My singing comes from my experience.…My own experience. I never had no one teach me nothin’. I never went to school for music or nothin’. I taught myself to sing and to blow harmonica and even to play drums by watchin’ other people! I can’t read music, but I know what I’m singing! I don’t sing like nobody but myself.”[7]

Her style was heavily influenced by gospel music, which she grew up listening to at the home of a preacher, though her genre could be described as blues.[5] Thornton was quoted in a 1980 article in the New York TImes: “when I was comin’ up, listening to Bessie Smith and all, they sung from their heart and soul and expressed themselves. That’s why when I do a song by Jimmy Reed or somebody, I have my own way of singing it. Because I don’t want to be Jimmy Reed, I want to be me. I like to put myself into whatever I’m doin’ so I can feel it”.[8]

Thornton was famous for her transgressive gender expression. She often dressed as a man in her performances, wearing work shirts and slacks. She did not care about the opinions of others and “was openly gay and performed risque songs unabashedly.”[9] Improvisation was a notable part of her performance. She often entered call-and-response exchanges with her band, inserting confident and subversive remarks. Her play with gender and sexuality set the stage for later rock-and-roll artists’ plays with sexuality.[5]

Scholars such as Maureen Mahon have praised Thornton for subverting traditional roles of African-American women.[5] She added a female voice to a field that was dominated by white males, and her strong personality transgressed stereotypes of what an African-American woman should be. This transgression was an integral part of her performance and stage persona.[10] Elvis Presley and Janis Joplin admired her unique style of singing and incorporated elements of it in their own work. Her vocal sound and style of delivery are key parts of her style and are recognizable in Presley’s and Joplin’s work.[7]

Thornton’s birth certificate states that she was born in Ariton, Alabama,[11] but in an interview with Chris Strachwitz she claimed Montgomery, Alabama, as her birthplace, probably because Montgomery was better known than Ariton.[12] She was introduced to music in a Baptist church, where her father was a minister and her mother a singer. She and her six siblings began to sing at early ages.[13] Her mother died young, and Willlie Mae left school and got a job washing and cleaning spittoons in a local tavern. In 1940 she left home and, with the help of Diamond Teeth Mary, joined Sammy Greens Hot Harlem Revue and was soon billed as the “New Bessie Smith”.[12] Her musical education started in the church but continued through her observation of the rhythm-and-blues singers Bessie Smith and Memphis Minnie, whom she deeply admired.[14]

Thornton’s career began to take off when she moved to Houston in 1948. “A new kind of popular blues was coming out of the clubs in Texas and Los Angeles, full of brass horns, jumpy rhythms, and wisecracking lyrics.”[15] She signed a recording contract with Peacock Records in 1951 and performed at the Apollo Theater in 1952. Also in 1952, she recorded “Hound Dog” while working with another Peacock artist, Johnny Otis. The songwriters, Jerry Leiber and Mike Stoller,[4] were present at the recording, with Leiber demonstrating the song in the vocal style they had envisioned.[16][17] The record was produced by Leiber and Stoller. Otis played drums after the original drummer was unable to play an adequate part. It was the first recording produced by Leiber and Stoller. The record went to number one on the R&B chart.[18] The record made her a star, but she saw little of the profits.[19] On Christmas Day 1954 in a Houston, Texas theatre she witnessed fellow performer Johnny Ace, also signed to Duke and Peacock record labels, accidentally shoot and kill himself while playing with a .22 pistol.[8] Thornton continued to record for Peacock until 1957 and performed in R&B package tours with Junior Parker and Esther Phillips. Thornton originally recorded her song “Ball ‘n’ Chain” for Bay-Tone Records in the early 1960s, “and though the label chose not to release the song…they did hold on to the copyright—which meant that Thornton missed out on the publishing royalties when Janis Joplin recorded the song later in the decade.”[14] 

As her career began to fade in the late 1950s and early 1960s,[1] she left Houston and relocated to the San Francisco Bay area, “playing clubs in San Francisco and L.A. and recording for a succession of labels”,[14] notably the Berkeley-based Arhoolie Records. In 1965, she toured with the American Folk Blues Festival in Europe,[20] where her success was notable “because very few female blues singers at that time had ever enjoyed success across the Atlantic.”[21] While in England that year, she recorded her first album for Arhoolie, Big Mama Thornton – In Europe. It featured backing by blues veterans Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter “Shakey” Horton (harmonica), except for three songs on which Fred McDowell provided acoustic slide guitar.

In 1966, Thornton recorded her second album for Arhoolie, Big Mama Thornton with the Muddy Waters Blues Band – 1966, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). She performed at the Monterey Jazz Festival in 1966 and 1968. Her last album for Arhoolie, Ball n’ Chain, was released in 1968. It was made up of tracks from her two previous albums, plus her composition “Ball and Chain” and the standard “Wade in the Water”. A small combo including her frequent guitarist Edward “Bee” Houston provided backup for the two songs. Janis Joplin and Big Brother and the Holding Company’s performance of “Ball 'n’ Chain” at the Monterey Pop Festival in 1967 and the release of the song on their number one album Cheap Thrills renewed interest in Thornton’s career.[5]

By 1969, Thornton had signed with Mercury Records, which released her most successful album, Stronger Than Dirt, which reached number 198 in the Billboard Top 200 record chart. Thornton had now signed a contract with Pentagram Records and could finally fulfill one of her biggest dreams. A blues woman and the daughter of a preacher, Thornton loved the blues and what she called the “good singing” of gospel artists like the Dixie Hummingbirds and Mahalia Jackson. She had always wanted to record a gospel record, and with the album Saved (PE 10005), she achieved that longtime goal. The album includes the gospel classics “Oh, Happy Day,” “Down By The Riverside,” “Glory, Glory Hallelujah,” “He’s Got the Whole World in His Hands,” “Lord Save Me,” “Swing Low, Sweet Chariot,” “One More River” and “Go Down Moses”.[12]

By then the American blues revival had come to an end. While the original blues acts like Thornton mostly played smaller venues, younger people played their versions of blues in massive arenas for big money. Since the blues had seeped into other genres of music, the blues musician no longer needed impoverishment or geography for substantiation; the style was enough. While at home the offers became fewer and smaller, things changed for good in 1972, when Thornton was asked to rejoin the American Folk Blues Festival tour. She thought of Europe as a good place for her, and, with the lack of engagements in the United States, she agreed happily. The tour, beginning on March 2. brought Thornton to Germany, France, Switzerland, Austria, Italy, the Netherlands, Denmark, Norway, Finland, and Sweden, where it ended on March 27 in Stockholm. With her on the bill were Eddie Boyd, Big Joe Williams, Robert Pete Williams, T- Bone Walker, Paul Lenart, Hartley Severns, Edward Taylor and Vinton Johnson. As in 1965, they garnered recognition and respect from other musicians who wanted to see them.[12]

In the 1970s, years of heavy drinking began to damage Thornton’s health. She was in a serious auto accident but recovered to perform at the 1973 Newport Jazz Festival with Muddy Waters, B.B. King, and Eddie “Cleanhead” Vinson (a recording of this performance, The Blues—A Real Summit Meeting, was released by Buddha Records). Thornton’s last albums were Jail and Sassy Mama for Vanguard Records in 1975. Other songs from the recording session were released in 2000 on Big Mama Swings. Jail captured her performances during mid-1970s concerts at two prisons in the northwestern United States.[12] She was backed by a blues ensemble that featured sustained jams by George “Harmonica” Smith and included the guitarists Doug Macleod, Bee Houston and Steve Wachsman; the drummer Todd Nelson; the saxophonist Bill Potter; the bassist Bruce Sieverson; and the pianist J. D. Nicholson. She toured intensively through the United States and Canada, played at the Juneteenth Blues Fest in Houston and shared the bill with John Lee Hooker.[12] She performed at the San Francisco Blues Festival in 1979 and the Newport Jazz Festival in 1980. In the early 1970s, Thornton’s sexual proclivities became a question among blues fans.[15] Big Mama also performed in the “Blues Is a Woman” concert that year, alongside classic blues legend Sippie Wallace, sporting a man’s three-piece suit, straw hat, and gold watch. She sat at stage center and played pieces she wanted to play, which were not on the program.[22] Thornton took part in the Tribal Stomp at Monterey Fairgrounds, the Third Annual Sacramento Blues Festival, the Los Angeles Bicentennial Blues with BB King and Muddy Waters. She was a guest on an ABC-TV special hosted by the actor Hal Holbrook joined by Aretha Franklin and toured through the club scene. She was also part of the award-winning PBS television special Three Generations of the blues with Sippie Wallace and Jeannie Cheatham.[12]

Thornton was found dead at age 57 by medical personnel in a Los Angeles boarding house[23] on July 25, 1984. She died of heart and liver disorders due to her longstanding alcohol abuse. She had lost 255 pounds (116 kg) in a short time as a result of illness, her weight dropping from 350 to 95 pounds (159–43 kg).[14]

Literature: Spörke, Michael: Big Mama Thornton - The Life And Music. Jefferson: McFarland, 2014. ISBN 978-0-7864-7759-3 

During her career, Thornton was nominated for the Blues Music Awards six times.[5] In 1984, she was inducted into the Blues Hall of Fame. In addition to “Ball 'n’ Chain” and “They Call Me Big Mama,” Thornton wrote twenty other blues songs. Her “Ball 'n’ Chain” is included in the Rock and Roll Hall of Fame list of the “500 Songs That Shaped Rock and Roll”.[18]

It wasn’t until Janis Joplin covered Thornton’s “Ball 'n’ Chain” that it became a huge hit. Thornton did not receive compensation for her song, but Joplin gave her the recognition she deserved by having Thornton open for her. Joplin found her singing voice through Thornton, who praised Joplin’s version of “Ball 'n’ Chain”, saying, “That girl feels like I do.”[24]

Thornton subsequently received greater recognition for her popular songs, but she is still underappreciated for her influence on the blues and soul music.[25] Thornton’s music was also influential in shaping American popular music. The lack of appreciation she received for “Hound Dog” and “Ball 'n’ Chain” as they became popular hits is representative of the lack of recognition she received during her career as a whole.[26]

Many critics argue that Thornton’s lack of recognition in the music industry is a reflection of an era of racial segregation in the United States, both physically and in the music industry.[5][26] Scholars suggest that Thornton’s lack of access to broader audiences (both white and black), may have been a barrier to her commercial success as both a vocalist and a composer.[5][26]

The first full-length biography of Thornton, Big Mama Thornton: The Life and Music, by Michael Spörke, was published in 2014.[12]

In 2004, the nonprofit Willie Mae Rock Camp for Girls, named for Thornton, was founded to offer a musical education to girls from ages eight to eighteen.[5]


Source: https://en.wikipedia.org/wiki/Big_Mama_Thornton

"Song of myself," Diane Seuss

If there’s pee on the seat it’s my pee,
battery’s dead I killed it, canary at the bottom
of the cage I bury it, like God tromping the sky
in his undershirt carrying his brass spittoon,
raging and sobbing in his Hush Puppy house
slippers with the backs broke down, no Mrs.
God to make him reasonable as he gets out
the straight razor to slice the hair off his face,
using the Black Sea as a mirror when everyone
knows the Black Sea is a terrible mirror,
like God is a terrible simile for me but like
God with his mirror, I use it.

Gintama anime ep 323/manga chaps 574, 575, 576, and 577

Dear Gintama gods and Sorachi-sama,

Thank you so much for enriching our lives and feeding our brains with Gintama. Gintama is our Altana. I am so grateful for all that you have given us and continue to give us, and for your constant tolerance of my mindless chatter. Once again, I humbly submit to you what I am most appreciative of in this week’s episode. Please do not let this be the last season of the show.

I am thankful for the following:

- Sakamoto, the expert Joui interpreter,

- Joui spit-takes,

- Sakamoto, the trusty Joui spittoon,

- friends who are both liabilities and saviors,

- the old friends family who helps protect the new friends family of their dear friend brother,

- the Joui 4 (and Kondou?)

- crazy, violent, blood-thirsty Yatos,

- the universe’s stupidest strongest father and son,

- the universe’s most awesome little sister,

- Yato family drama,

- Kagura-chan,

- Kagura-chan,

- KAGURA, the Leader, Boss, future Queen of Kabuki-chou,

- rainbow demons who interrupt family dramas,

- pissed Papis,

and lastly, my favorite manga to anime SCENES (cuz there was too much awesome for me to just choose one):

Yours truly,

A silly fangirl with yaoi dreams

(^3^)

100 proofs that Sheldon Lee Cooper loves Amy Farrah Fowler.
  1. He said it. And Sheldon Cooper does not lie.
  2. From the very beginning, he felt something deeper than just friendship for Amy.
  3. From the beginning, he wanted to procreate with her.
  4. He went with Amy when she had to make a quick stop for feminine hygiene supplies.
  5. He communicates with her on a daily basis.
  6. The first time he lost her, he bought 25 cats in order to fill the void.
  7. After their first argument, he accepted to take 65% of the fault.
  8. He was jealous when Amy felt aroused by Zack.
  9. The first time she held his hand, he let her do it despite hating physical contact.
  10. Same when she first kissed him. He found this kiss, “fascinating”.
  11. He danced with her.
  12. The night she kissed him when she was drunk, he stayed with her until she passed out on her bathroom floor.
  13. He folded a towel and put it under her head as a pillow that night too.
  14. When Amy went to a wedding with Leonard, he judo-chopped him and proclaimed : “She is not for you” twice.
  15. He knew he wanted to be with her before she even became his girlfriend.
  16. He is worried when he fails to contact her through the various means of technological communication.
  17. When she was sad about the girls going dress shopping without her, he agreed to cuddle to make her feel better.
  18. As soon as he felt that he was going to lose her in “The flaming Spittoon Acquisition”, he caught her back and asked her to be his girlfriend.
  19. He could not stand to lose her and see her with another guy. He still can.
  20. He has a relationship agreement with her.
  21. He always goes to the zoo with her.
  22. He bought her a tiara. A tiara !
  23. He once spent his vacation working with Amy at her laboratory.
  24. He has “girlfriend-boyfriend sing-a-long night” with her.
  25. When he left his place in the middle of the night playing bongos, her apartment was his first choice destination.
  26. He agreed to sleep on her couch that night. (the guy who once kicked Penny out of her own bed because he did not want to sleep on a couch)
  27. He let Penny cut his hair only with the persuasion of Amy.
  28. He trusts Amy.
  29. He plays doctor (Star Trek style) with her.
  30. He surprised himself having feelings and thinking about her at inappropriate times.
  31. He reached her hand for comfort when they watched Howard’s rocket launch into space.
  32. He agrees to held her hand when they’re at the movies.
  33. Couple costumes !
  34. He defended her honor when she got into an argument with Wheaton.
  35. He thinks she’s part saint and part squirrel.
  36. Despite being germaphobe, he takes care of her when she is sick.
  37. He applies vaporub on her chest.
  38. He sings “Soft kitty” to her.
  39. He cares about her well-being.
  40. With time Sheldon gets more and more comfortable when it comes to touching Amy.
  41. He liked it when she held him when he was upset because of Kripke’s work.
  42. He has not ruled coitus with Amy.
  43. Amy is his emergency point of contact at Caltech.
  44. He considers their relationship to be a serious one.
  45. He considers intimacy.
  46. He takes her opinion into account.
  47. He agreed to experience a form of virtual intimacy with her when they played D&D.
  48. It seems like he doesn’t mind when she is in his bedroom.
  49. Once, while they were eavesdropping, her head is touching Sheldon’s shoulder. He did not push her away.
  50. He shares his favorite movies with her.
  51. He has a baby called “Fun with flags” with her.
  52. He watches French movies with her.
  53. He loves her for who she is, quirks and all.
  54. Once, he could not sleep because they had an argument.
  55. He actually does not mind having her around at work.
  56. He apologizes to her when he does something wrong.
  57. He looks at her in a very special way. Same when he smiles at her.
  58. He thinks she is great.
  59. He thinks she is brilliant.
  60. He thinks she is a wonderful girlfriend.
  61. And a wonderful neuroscientist.
  62. She is one of his screen savers.
  63. When he was in Texas for his nephew’s birth, he missed her and wished she was there with him.
  64. He kisses her.
  65. He always puts his arms around her when they kiss.
  66. She is the only person he has initiated a kiss with.
  67. He once let her rest her head on his shoulder in the middle of a shop.
  68. Once, he woke up hungover and his first thought was : “Where is Amy ?”
  69. When he came back after his trip around the country, he was afraid that she might think less of him.
  70. He does not want to disappoint her.
  71. He cares about her opinion.
  72. Sheldon will take suggestions and criticism from Amy and will apologize to her.
  73. He brags about his relationship with Amy because he thinks it’s the best one.
  74. He’s proud to be with her.
  75. She is his only exception.
  76. He thinks she is pretty.
  77. So much so that it gave him a panic attack once.
  78. He celebrates christmas. Just for her.
  79. He hates Santa Claus and yet, he took a picture with him. For Amy.
  80. He treasures her.
  81. He thinks her and him are smarter than anyone else.
  82. He looks at her eyes when she watches old French movies.
  83. He knows her very well.
  84. He enjoys how harp music causes her fingers to dance as if she’s playing along.
  85. He got jealous when she helped Kripke with his work.
  86. Amy is the only one he does not act condescending to.
  87. He regularly break his rigid rules for her.
  88. He wanted to buy a pet for him and her.
  89. He wants to live on Mars with her.
  90. He loves the idea of having kids with her on Mars.
  91. Once, on a date night Sheldon was having such a good time that he wanted Amy to extend the parameters of date night.
  92. He had a sleepover in a fort with her.
  93. He makes out with her.
  94. He has an engagement ring.
  95. He wants to marry her.
  96. He wants to spend the rest of his life with her.
  97. He wants to start a family with her.
  98. He wants to live with her.
  99. Losing her is driving him crazy.
  100. He loves her. Period.