this is only the end song

anonymous asked:

Hey Will! Having that whole fiasco with Carrie and Lowell in mind, what about Mount Eerie's A Crow Looked at Me is different/better? How his approach to grief more effective? I just listened to it in full and it is really such a beautiful and emotionally affecting record.

I would be hard-pressed to judge anyone’s approach to grief as “more effective”. I don’t know either of these men; I’m only familiar with what art they’ve released publicly. As far as the albums go, their artistic approaches are very different. ACL@M is confrontational, explicit; it’s more or less impossible to listen to it without grappling directly with the same emotions Phil E experienced. Its songs cannot be pulled out for a playlist or put on in the background. You have to experience it in full each time, like a film or short story. The exactness with which images and motifs unfold and repeat through the record emphasize this feeling. C&L, meanwhile, is collagist, open-ended; you can take away what you want from it. Its beats align with the rise and fall of musical movements, rather than a lyrical narrative. There are images that stand out clearly, but the importance is in the images themselves, the stark, individual clarity of their depiction, rather than in an unseen thread tying the images together. The listener brings that thread of meaning to the table, as is more often the case with music. I have always had a personal preference for built-in narrative, for the meaning behind images over the images themselves, hence my earlier nastiness over C&L, and my seemingly hypocritical admiration of ACL@M. What seems important to note is that both artists, in response to personal tragedy, made a work of art that was very much “them” - that pushed them to embrace their artistic tendencies, and make something out of those tendencies that could legitimately be called a masterpiece, something that could stand for the whole of their artistic output. If you are a music publication, please do not report on this post. Thanks.

Every time Apocalypse Noctis comes on my iPod I get motivated to draw something dynamic and epic and something way out of my drawing skill, then the song ends and Iose motivation and I end up with a doodle like this. Every damn time.

anonymous asked:

I am in the middle of reading CN after putting it in my mark for later list due to my workload being a bitch and boy is it a treat! Currently ended chapter 6 and i am loving every bit of it! Like that part with the van morrison song playing and them dancing under the starlight was roo romantic it made my heart burst!! Also i dont think i have ever wanted to people who i know are gonna get together to get together right this second so badly!

Oh, thank you!  I’m glad you are enjoying it.  You only have, what?  Another 100K or so for them to figure it out?  LOL, I do love my slow burns.  Hope you enjoy the rest!

guys I missed having canon victuuri feels and I am still rewatching the anime (probably will do until we get second season) and I just noticed something from the ending song

I am sorry if this has been done before but LOOK AT THIS

so we all know the ending song is instagram posts (and idk why I never thought about pausing to see what they have written under the pictures until now) 

so we have this one first and under it victor wrote this

Nakasu in Japan, where is that?

oh look it’s all the way in fukuoka! an hour drive away!

did he drive there alone? he couldn’t have gotten all the way there only to drink alone, take the train?

and trust me you wouldn’t want to take a train to another city alone when you have a Japanese friend to save you the trouble of getting lost 

so yeah why not take yuuri on date, that he doesn’t know is a date, yet 

(notice he is wearing the same shirt from the previous post) it’s already morning

oh time- 

flies so fast

when does time fly so fast? when you enjoy it and don’t want it to end

let’s take a look at how they look at each other again

and I can’t work out what yuuri is holding but I’d like to think its a stuffed poodle they won at an arcade or something

Falling in love with you
was like starting a TV-series
of which you know
that there will only be one season.
Watching episode after episode,
pouring your heart into the characters,
getting drawn into the story,
despite knowing
that it will come to an end all to soon,
perhabs even with a major cliffhanger,
without any chance of a happy ending.
—  // and yet, you just cannot deny that it is worth the pain
Best parts of Beauty and the Beast 2017:


-The Beasts makeup in the beginning
-After Belle rejects Gaston’s dinner offer and he was like “oh, you’re busy?” and she just says “no.” SAVAGE.
- “Now let’s go to the East Wing or as I like to call it, the ONLY Wing…”
. -The entire “Gaston” song scene
- “I don’t have any tastebuds, but I can tell this is delicious”
- Belle throwing a snowball at the Beast and Beast responding by PELTING a huge snowball at her face
-That growl that the Beast did at the end after he had already transformed back 😳
- Lefou and that one thug getting to dance together at the end.

I’m sure I can come up with some more…

why has no one talked about the importance of the word “hello” in twenty one pilots and its evolving meaning

tyler wrote trees at the age of 17. trees first appeared in no phun intended. the song appears again in regional at best and vessel, redone, revamped, remastered. three versions of the same song - the number three being a recurring motif in their songs. “hello” being a scream into the void, in desperation and loneliness. ending every single concert with a unique rendition of trees, an ever-increasing number of people screaming “hello” back at him.

then there’s self titled, the only album before vessel that didn’t have trees in it. instead, “hello” appears in another form, in addict with a pen. this “hello” is hesitant, a wary greeting, insecure but still trying to reach out.

and finally, there is the “hello” in blurryface - in korean (annyeonghaeseyo) at the beginning of tear in my heart, but a “hello” nonetheless. this newest “hello” precedes the only love song tyler has ever released, dedicated to his wife, shouted in enthusiasm and love and hope.

Too Little Too Late (BHK version)
Brian H. Kim
Too Little Too Late (BHK version)

From Star vs. the Forces of Evil - Just Friends.

Dominic: Hey Brian, did we get Nick Lachey singing ‘Too Little Too Late?’

Brian: No, we only have audio of Adam and Rider singing that song.

Dominic: Oh, maybe you could sing it? For the end of the Love Sentence concert. With a piano. Like, you know how sometimes boybands will give one of their members a big solo ballad?


Brian: Oh, sure.

So did anyone notice...

Joker is the only character to be positioned in front of rainbows in the end credits song…

which I thought didn’t mean anything, but then…

Batman’s got an interesting color scheme there. 

It’s almost like…

it means something

When I'm little...

~ I don’t swear at all
~ I giggle at everything
~ I always want cuddles
~ I need lots of attention
~ I will only want to eat candy
~I slur on my words a bit or put random ’s’ at the end of words
~ I will always have a stuffie with me
~ Will get upset easier than normal
~ Will need 10x more reassurance on everythiiiiiiing
~ I will more than likely be singing a Disney song to myself
~ Will skip and bounce around if I’m in public
~ Will not be able to sit still for more than a minute
~ I am clumsier than usual (which is a lot)
~ Will get distracted more than usual
~ Will make random noises to express how I feel about somethin e.g. humming, squeaking, laughing
~ I love having my hair played with
~I will always want to hold someone’s hand


Don’t doubt it, don’t doubt it
Victory is in your veins
You know it, you know it
And you will not negotiate
Just fight it, just fight it
And be transformed

If we go down, we go down together  ♪
Requested by @aslee82 - a drawing of Saeyoung based on the song Paris by the Chainsmokers. It made me imagine running away with him, leaving everything behind like in one of his bad endings and only having each other. Driving in his car and watching the starry night sky~

I love how much this screenshot tells us.
Lefou is illiterate and struggling to spell Gaston, all the people in the pub are looking at him a bit disappointed and Gaston is looking at them apologetically for Lefou stopping the song to spell his name. Lefou turns around and Gaston is turned away, but Stanley is looking right at Lefou. He is listening to him. He doesn’t look like he’s ridiculing him or laughing at him, he’s looking and listening to Lefou. I’d like to think that Stanley had a thing for Lefou the whole time, but he was less open than Lefou, whom is a very boisterous character. It’s only near the end you see his comfort, wearing a dress and smiling and dancing Lefou without even moving or flinching, instead, again, looking him right in the eyes and never drawing his attention away.
These two will be the end of me!


If you’re a musician, the SNL stage and its acoustics can be a hell of a challenge. A lot of artists that I’ve seen end up showcasing more of the weaknesses in vocals than wowing with their strengths. 

And look, I have mixed opinions on the Lorde’s newest singles but you cannot deny the raw talent and musical ability that she showcases in this performance. Her voice is etheral and her emotional connection to the song and audience feels visceral.

It is truly a phenomenal performance

highlights of the auckland p!atd concert

-during the guitar solo of bohemian rhapsody all lights were on kenny and everyone was cheering him on
-before playing i write sins “THIS IS A BRAND NEW SONG”
-gay pride flag on the mic stand during girls/girls/boys
-dallon’s finger wag in “love is not a choice” i could picture the fucking smirk on his face
-dallon’s hair flips
-”you’re all beautiful”
-”this song…this one’s about my buddy, spencer.” cue everyone screaming
-everyone clapping and swaying their arms at the end of nine in the afternoon
-”That sign says fight me, brendon. Not only is that an invitation, i believe in equal rights to everybody.”
-backflip during miss jackson
-brendon’s fucking high notes????????????
-someone onstage (it could’ve been kenny????) dabbed
-victorious (the last song) had confetti blasting fucking everywhere that people kept
-brendon/etc doing a bow at the end
-”this means the world to us. i want to thank you from the bottom, top, left, right, and everywhere of our hearts. thank you.”

a note on burr’s intellect and how it’s portrayed musically

i’m only going to be talking about burr’s short verse in my shot bc otherwise this would be ten miles long, but let me just say: lin-manuel miranda is a fucking genius. (warning, this is going to be a long post.)

as far as i recall, this is the only time burr raps in the narrative. and it’s 4 measures to tell hamilton and crew to shut up, in a language they’ll understand (rap), after being asked in the previous song to rap a bit.

just for a second, let me talk about internal rhyme.

internal rhyme is a component of rap that’s exactly what it sounds like: the rhymes within a verse that don’t fall in line with the ends of the phrases. they can still rhyme with the ends of the phrases too, but they aren’t on the ends of the phrases. (most of the time, you’ll notice internal rhymes because there’ll be emphasis on the rhymed syllables.)

now, hamilton’s verses are laden with internal rhyme: i could cite a billion examples, but i’ll only pull one for now.

“older”, “colder”, and “shoulder” are grouped together in the same rhyme scheme, with “shoulder” being the main source of internal rhyme.

similarly, “(disad)vantage”, “manage”, “brandish”, and “famished” are all in the same rhyme scheme, with “manage” being the main source of internal rhyme (although it can be argued that “brandish” is too because of the way it plows through the end of the phrase there with the straight sixteenth notes.) (also, shoutout to those polysyllabic rhymes for showcasing hamilton’s intelligence.)

now we’ll take a look at hamilton’s crew’s verses. start with lafayette:

there’s not really internal rhyme in here. because of his accent, lafayette can pull rhyming “france” and “’on(archy)”, but that’s about it. not surprising; he’s not unintelligent, it’s just that he’s still figuring out english.

then mulligan:

mulligan’s got a bit of internal rhyme going on with “chance”, “(ad)vance”, and “pants”. the “so(cially)” and “sew(in’)” could be argued too, but the fact that the emphasis is placed on the “ly” of socially and not on the “so” makes it hard to argue.

then of course, laurens:

laurens, getting up there with hamilton and bringing in some polysyllabic rhymes! we’ve got “truly free” and “you and me”; “you and i” and “do or die”; “sally in”, “stallion”, and “battalion”. that’s three different rhyme schemes, so good for you– but then, we’d expect a good command of the english from someone who helped hamilton write essays.

now, finally, we get to burr:

“gen(iuses)” and “keep”. “trouble” and “double”. “with” and “sit(uation)”. that’s already three internal rhymes, completely separate from the end rhyme. (he fits a polysyllabic rhyme in there too with “trouble” and “double”.)

and then the internal rhyme that goes with the end rhyme?

“fraught”, “got”, “taught”, “talk”, and “shot”.

that’s five instances of rhyming in two measures. let me repeat that: five instances of rhyming in two measures. the example i cited has hamilton doing four instances of rhyme in three measures.

burr’s intelligence and command of the english language is at least on par with hamilton’s, if not greater, as evidenced later by their partnership as lawyers; but lin-manuel miranda manages to portray that just in four measures.

that’s how to develop a character musically.


“When I was younger I saw my daddy cry,
And curse at the wind.
He broke his own heart and I watched,
As he tried to reassemble it;
And my momma swore,
That she would never let herself forget.
And that was the day that I promised,
I’d never sing of love if it does not exist;

But darling, you are the only exception.

Maybe I know somewhere,
Deep in my soul,
That love never lasts;
And we’ve got to find other ways,
To make it alone,
Or keep a straight face.
And I’ve always lived like this,
Keeping a comfortable distance.
And up until now I’ve sworn to myself,
That I’m content with loneliness,
Because none of it was ever worth the risk;

Well, you are the only exception.

I’ve got a tight grip on reality,
But I can’t let go of what’s in front of me, here.
I know you’re leaving in the morning;
When you wake up,
Leave me with some kind of proof it’s not a dream.

You are the only exception,
And I’m on my way to believing.”