the blue room recording

Slippery Slopes

Characters: Dean, Reader & Sam

Pairing: Dean x Reader

Warnings: Cursing, talks of being nude.

Summary: Reader slips because the floor’s wet and it’s super embarrassing but then it’s not.

A/N: This is for @jalove-wecallhimdean​‘s Do it like Dean challenge. I choose one of my favorite Dean lines, “Nipples?”.  Congrats on your Milestone Heather!! This was super fun to write and I hope it is enjoyed as much as I liked it. You like ? Let me know because I love feedback. Have a fantastic Friday Y’all!

Originally posted by lookprettyliveclassyplaydirty

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We wrote it in Nick’s room with the blue drum machine and a four-track recorder. I was really lovelorn at the time. ‘They don’t love you like I love you’ was straight from a love letter and I just plucked it out of there because I thought it had a good ring to it. Just a simple statement that really stuck with people. You know, I say 'love letter’ but it was a fucking e-mail. Motherfucker. You know what? I’m going to rewrite history right here. I wrote it with a quill. It was a feather quill, written in blood.
—  Karen O on writing “Maps” in Meet Me in the Bathroom by Lizzy Goodman
Revenge on Ethan

Markiplier, Ethan, Tyler

Summary: SEQUEL TO ETHAN AND TYLER AS A LER TAG TEAM & REVENGE ON JACK [WARNING THIS IS A TICKLE FIC]

I love feedback! Critique is greatly appreciated! Such stale titles… God I suck at titles. BUT anywho, Buddy and I are workin real hard on these fics and we’ve got a lot to do so be patient with me and her. 

CO AUTHOR: BUDDY AKA @stargazingbear THAAANK YOOOOUUU BUDDY!!!

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Today on how RvB uses names to explore identity and loyalties: Agent Conneticut.

When CT tells the Freelancers to stop referring to her as ‘Connie’, CT’s already working against the program and sending intel to the insurrectionists. She’s set her path, and now all that’s left for her to do is cut herself off from her team.

It’s implied throughout the flashbacks that the Freelancers were very close to each other, originally, and CT’s no exception. In her scenes with Wash she’s trying to steer him in (what she thinks is) the right direction, and she seems to be at least somewhat close to South.

And that’s why she’s doing this. By telling Wash - and the rest of the Freelancers by extension - to stop calling her Connie, she’s consciously creating a distance between them. Because, it’s implied (several times), she’s not as good a spy as she’d like to be, and she knows it.

She’s justifying the change by saying 'makes me sound like a fucking kid’, referring to how the 'ie’/'ey’ suffixes to shortened name forms are used tor kids - Anne, Annie. Mike, Mikey.

But CT is fine with the insurrectionist leader calling her Connie. It’s fine, because she wants to maintain her emotional connection with him. And then she refers to herself as Connie to Tex in an attempt to establish an emotional connection. Tex, whom CT expects (hopes, really) would be on her side once she learns everything CT has left her.

[More on the exploration of identity via names in RvB: Tex and Church]

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Lorenz Hart and Richard Rogers- The Blue Room (1926 recording by Phil Ohman and Victor Arden with Their Orchestra)

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Ladies with a free pass to my panties  ➸ Ashley Frangipane / Halsey

Blue is my creative color. When I cut vocals for my record, I had blue lights in the studio. When I wrote my EP, Room 93, for me it was a very blue sounding record. I mean that in the sense that it was cool and it was space-y and it was ethereal and it just gave off these blue vibes. So I want to look like a performer who reflects what she has to say and so I went ahead and I did the blue and I’m stuck, I can’t change it. I gotta keep it, it’s so good.

anonymous asked:

hii I'm rlly bored so you have any fun fluffy gang headcanons. you probably don't know me but I'm @roblowes bae ok now you know me

aww hi!! and okay i got u

  • ponyboy is the biggest cuddle bug out of the entire gang
  • especially when he’s sleepy and he gets “”dreamy”” tired eyes its so cute
  • johnny starts taking soda’s flannels as well BUT only the dark blue ones
  • ((he says its bc they’re warm for when he’s sleeping in the lot but its bc he likes them and he thinks they make him look tuff))
  • soda practiced for YEARS learning how to say the alphabet backwards and when he finally gets it he’s so proud of it
  • whenever the gang goes somewhere long distance they play the alphabet game
  • dallas’s only contribution to the game is when he sees a sign that has a bad word in it
  • darry gives him the dad glare through the rearview mirror but then he points one out HIMSELF
  • ponyboy is at the dx w/ soda one day and he organizes the entire toolbox that he thinks is soda’s by color of the tool handle ((bc soda said he could)) 
  • but it ends up being steve’s toolbox and he’s like WHAT the HELL happened i can’t find ANYTHING what did yOU DO
  • and dumps it all out on the floor to look for something that was right on top
  • two bit falls asleep in the weirdest ways and darry takes pictures and adds it to his blackmail box
  • curly is dyslexic and cute lil ponyboy teaches him the thing with your thumbs where you hold them up to see which is b and which is d bc b comes before d
  • cherry has a pastel blue record player in her room and she dances around in the mornings while getting ready
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Hank Mobley, American jazz tenor saxofonist (1930–1986), New York City, October 1963 | photo Francis Wolff (German-American, 1907–1971) | Blue Note Records 

Cover shoot for Hank Mobley’s album No Room For Squares

“In 1960, a very modern building designed by Edward Durell Stone was erected on the southern most face of Columbus Circle to display the art collection of supermarket magnate Huntington Hartford. In those days, all of the entrances to the subway stations were of the same uniform and stodgy design. Somehow, the subway entrance in front of the Huntington Hartford got a new design that was in sync with the building itself.

Photographer Francis Wolff would occasionally take Blue Note artists to Central Park or Times Square to shoot portraits with a New York backdrop. In October 1963, Wolff shot Hank Mobley emerging from that modern subway station which was just a couple of blocks from Blue Note’s office.

The album that Mobley recorded that month for Blue Note would eventually be titled No Room For Squares. Designer Reid Miles, always keen of eye, saw this shot of Mobley in shades descending the stairs into the subway and immediately zeroed in on the circle in the fencing surrounding his face. Crop, crop and voila! No room for squares indeed.” (Morrison Hotel Gallery)