what it is to burn tour

Magnus Bane Quotes for the signs
  • Aries : Those of you who are mortal, you burn so fiercely.
  • Taurus : You’re seventeen, you can’t have wasted a life you’ve barely lived.
  • Gemini : Sure, and Madonna wants me as a backup dancer on her next world tour.
  • Cancer : You endure what is unbearable, and you bear it. That is all.
  • Leo : There's no need to clarify my finger snap, the implication was clear in the snap itself.
  • Virgo : I never date anyone my cat doesn’t like.
  • Libra : I've been alive for hundreds of years. I've been with men, been with women - with faeries and warlocks and vampires, and even a djinn or two.
  • Scorpio : They say time heals all wounds, but that presumes the source of the grief is finite
  • Sagittarius : The good suffer, the evil flourish, and all that is mortal passes away.
  • Capricorn : God knows we’re all drawn toward what’s beautiful and broken; I have been, but some people cannot be fixed.
  • Aquarius : Or we could go somewhere else, anywhere you want. Thailand, South Carolina, Brazil, Peru – Oh, wait, no, I’m banned from Peru. I’d forgotten about that.
  • Pisces : Every teenager in the world feels like that, feels broken or out of place, different somehow, royalty mistakenly born into a family of peasants.

softblaze  asked:

*screams into ur inbox* CHUBBY DUMPLING

That moment when someone reads your tags to the end and does the exact thing you hoped for. Heart eyes, @softblaze. Four for you.

So, yes, Chubby Dumpling, SINCE YOU ASKED. 

Originally posted by beigency

Just watch Chris’s FACE when Seb says that. Watch him almost drop his water onto the floor because he really, really wants to pay attention to what’s being said. And who can blame him? It was a golden moment, one that’s pretty much burned into my brain. 

Finding out that the nickname existed would have been good enough, but then we get Chris’s beautiful reaction?

Originally posted by bowie28

Seb was going to move on, like it never happened, like it was just any other answer to an interview question. Chris couldn’t do it, he could not let go of something that beautiful and pure.

And something that TRUE.

Originally posted by veronikaphoenix

Obviously he is not at peak Chubby Dumpling here, but there’s a bit of softness. (And let us never forget, this interview wasn’t too long before this one, where I don’t think you can argue the softness at all. Assuming you wanted to argue about that, and why would you?)

Oh, weird blue shirt, how the dumpster loves you.

I like to imagine that every so often, maybe late at night, Seb’s phone goes off, and it’s a text with just those two words. And he can’t help but laugh, because for one thing, it’s ridiculous – and also, he knows that Chris could barely type those two all-important words because he was laughing so hard.



I want a girl with a mind like a diamond
I want a girl who knows what’s best
I want a girl with shoes that cut
And eyes that burn like cigarettes

I want a girl with the right allocations
Who’s fast, thorough, and sharp as a tack
She’s playing with her jewelry
She’s putting up her hair
She’s touring the facilities
And picking up slack
I want a girl with a short skirt shorts and a long jacket.


Doing another song meme because this is too perfect for Serahlin.

I want a girl with a mind like a diamond
I want a girl who knows what’s best
I want a girl with shoes that cut
And eyes that burn like cigarettes

I want a girl with the right allocations
Who’s fast and thorough
And sharp as a tack
She’s playing with her jewelry
She’s putting up her hair

She’s touring the facility
And picking up slack

I want a girl with a short skirt and a lonnnng jacket……

I want a girl who gets up early
I want a girl who stays up late
I want a girl with uninterrupted prosperity
Who uses a machete to cut through red tape
With fingernails that shine like justice
And a voice that is dark like tinted glass

She is fast and thorough
And sharp as a tack
She’s touring the facility
And picking up slack

I want a girl with a short skirt and a lonnnnng…. lonnng jacket

I want a girl with a smooth liquidation
I want a girl with good dividends
At Citibank we will meet accidentally
We’ll start to talk when she borrows my pen

She wants a car with a cupholder arm rest
She wants a car that will get her there
She’s changing her name from Kitty to Karen
She’s trading her MG for a white Chrysler La Baron

I want a girl with a short skirt and a lonnnnggggggggg jacket

An Interview with Chris Corner of IAMX: His Project, His Vision, His Life

U: Right off, I want to start talking about Everything is Burning, your latest mini-album. In what way is this a continuation of your last full LP, Metanoia, as is suggested by the title?

C: It was basically, the songs that were written for Metanoia–I had too many songs, and these are the outtakes from that album. It was such a special album for me; it was a very personal journey that it felt like those songs needed to still be a part of that era and to be connected with the emotion of that album and to basically finish off the story of that record. So, it was important for me that they weren’t seen as a separate entity, that they are a continuation of that record. Kind of like a completion of that era.

U: Did you have any more songs other than the seven that you released?

C: I did. I had a couple more, but I think that it was enough. I mean, it was meant to be a mini-album, just a small addition to what was already out there. But then, management had the idea of putting on the remixes there, so I let them get on with that.

U: Could you elaborate on how the title relates to the songs in this release?

C: Well, Everything is Burning is the title of one of the songs that was actually going to be on Metanoia. It’s pretty much self-explanatory, a sort of observation or reflection of the state of humanity and the world and how that related or fed into my own illness, my own struggles with depression, anxiety, and that’s basically what the whole of Metanoia is about. Going through a dark time coming out stronger through the other side. Everything is Burning is just one piece in the puzzle of a more angry side of the project.

U: Angry?

C: I guess angry, yeah. Disillusioned, angry.

U: Well I definitely notice more screaming on this release than on your past releases, which leads to my next question. Metanoia, meaning a change in mind or an inner transformation, suggests that you have had a personal change. Is the concept of everything burning a part of that change you had in the making of Metanoia or is it another change, a post-Metanoia change?

C: It is post-Metanoia, but I think it’s the resolution for me; the completion of the change. When I wrote Metanoia, I was still dealing with the aftermath of the problems that I’ve had and part of dealing with the problems is writing about the problems, discussing the problems, having therapy, whatever you have to do. That was a long period for me. it was about two, three years where I didn’t really write. I couldn’t be creative. I was in a very dark hole. Being able to complete Metanoia–or, well, finishing the record–was the beginning of my recovery. I would say that Everything is Burning is the endpoint. Well, endpoint suggests that it’s never going to come back, but it’s more–for this time, it feels like the resolution of that change.

U: Since you mention that, I wanted to discuss the album cover. We see a face hidden in smoke, presumably portraying the meaning of the title. But if that were the case, would ‘Everything’ refer to yourself, as in possibly saying you are the one burning–the one maybe suffering–or something along the lines of that?

C: Yeah, I mean that’s integrated into the meaning. I think the frustration or the depressive feedback that you get from observing the world when you’re in a sick state, when you’re in a difficult state, it makes things worse. You become hypersensitive to watching news, you become antisocial.

U: It almost makes you hate the world.

C: It does, but because you’re so focused internally–I mean if you learn to avoid “triggers,” then you can slowly come out of that illness. It’s totally possible. But, the thing about the idea that it’s internalized–the personal burning–is also true. That is what was happening. It’s compounded by the world outside. So you do have to switch off and internalize it. You do have to repair yourself away from the rest of the world.

U: How did the design for the cover come about? Who made it?

C: It’s actually a picture by a French artist who we contacted cause we really liked her artwork. She does only self-portraits. She’s called Laurence Demaison. She does very unusual self-portraits. That’s her self-portrait [in the album cover]. She does quite elaborate setups with analog photography and it’s all self-taken. She’s very creative. We loved them. We asked her if we could use some of her stuff and she said yes, so basically we used it for the whole campaign. The picture on the front of Metanoia is also her. She’s a very interesting character.

U: Did that influence songwriting in any way or was that after the songs were written?

C: It was around the same time actually, and I could see in her art that she was also a very introverted, frustrated, also humorous person. I felt a real affinity for her work. It didn’t specifically influence what I was doing, but it definitely complemented what I was doing.

U: Speaking of complementing things, I want to switch over to the second half of Everything is Burning. How did you get in contact with the artists who remixed your songs? Did you pick out these artists specifically or did they contact you?

C: Some contacted me. Sometimes we contacted them. Often, it’s a very relaxed thing. It’s not like big record label contacts big artist and pays big money. It’s very much who we know and who we like and who likes us. It’s very important for me that the person understand the music, wants to do it and isn’t doing it for the money. So, the collection of artists is people that we do connect with.

U: You have someone like Gary Numan on there, who is a legend in the electronic scene.

C: He is a legend. He’s actually become a friend. He also lives in L.A and we’ve been thinking about collaborating on some level somehow and I asked him to do that. He loved the song, so he wanted to do it.

U: Are there any sounds that you wanted to experiment with or explore for this mini-album? I know you mentioned these were outtakes, but would you say the process for these seven songs differed from the others in Metanoia?

C: With Metanoia, I felt I had to go back to my electronic roots a bit, simplify my setup. I was very antisocial at the time, so I didn’t really want to collaborate. I didn’t want to do any recordings with anybody else, so I did it all myself in the box, you know, in the computer. So, a result of that was that it had a much more electronic sound. With this, I picked up a guitar again, and I started to add some acoustic guitar, some electric guitar and be a bit more free-form, or organic, with the recordings. I guess it’s a little bit more expansive in its sound than Metanoia was. Maybe that’s the difference.

U: Going into live performance, how would you describe the relationship between yourself and your audience?

C: I feel like it’s very close. It’s very intimate. Maybe it’s the music, maybe it’s me as a person, but I like total honesty in people and I want to see the truth in people when they come to the concerts. I don’t feel like there has to be any barriers or walls between us. I mean, people like to dress up, people like to kind of escape reality for the day, just like I do, and that’s part of the ritual. That’s part of the dance that we have with each other.

U: It’s cathartic.

C: It is totally cathartic, and I love that side of things. You really sort of transcend reality. I think we all know how to connect on that level, so I want them to be moved in a way they can release their inner beast in the same way that I can onstage and that’s very important to me. It is very intimate.

U: I like that word, 'beast’.

C: Yeah, it’s how it feels all the time. It’s in all of us and I think if I can provide a platform for people to release that, then I’m very happy with that.

U: Seeing as how you’ve lived in Berlin and London before and now you’re living in L.A, how do American audiences contrast to that of European audiences?

C: I think they’re [American audiences] a little more, not naively enthusiastic–I think that’s the wrong way to say it–but just generally, it’s in their genes to be more enthusiastic about things. I feel that there’s this sort of energy, this 'go get them’ kind of positivity, which, for a European, is very attractive, particularly if you live somewhere like Berlin and it’s very dry humor, almost humorless.

U: Stern in a way.

C: Stern, yeah. Very direct, very cold and that can be quite sexy, but over time, you become a little bit worn down by–

U: The seriousness of it all.

C: Yeah, yeah. I’ve always loved coming to America. I mean, I’ve had some great times and bad times and I used to actually hate L.A, for instance, which is ironic because I’m living there now. (laughs) I think, because when you tour, you dip into it very lightly. You see the plastic, empty, soulless nature of it. You only skim the surface and the more I went back there the more I saw that there was a much more deeper side to it that now I’ve tapped into and I really love.

U: It’s like you need to get drenched into a culture in order to understand it.

C: Yeah, you need to be there for a long time and to really get to know people, to know how things work. You know, the industry is full of bullshit as well; it’s everywhere. At least L.A people are honest about the fact that–

U: They’re pretentious.

C: Yeah, exactly. So I like that part of it and touring in America is quite refreshing as a European. It’s a lot of fun here. And I’m not saying I don’t have that in Europe, but it’s very different. America’s huge, but there’s a common mentality and you go from state to state, which, in Europe, is like country to country. You get the same kind of buzz. In Europe, you go from one country to another and like, you go to Amsterdam and people go like that (claps monotonously), and you go to Russia and people are going insane. So, it’s emotionally more of a roller coaster than it is in America.

U: It’s a bit more stable here.

C: Yeah.

U: Now, you’ve said that your audience preference is more intimate, but how do you feel about festivals? Do you think the preference in audience, whether big or small, has anything to do with the impact of the show?

C: No, for me it has nothing to do with it. That’s why I still tour, because it doesn’t really matter about size. In fact, size can be horrific for someone of my sensitive nature. I don’t like–actually I hate festivals, to be honest. I always did, I always will.

U: Why is that?

C: I think it’s because the speed of things–the turnaround is always quick, so you don’t have much time to get onstage. The atmosphere is often one of slightly aloof competition, in terms of musicians backstage, because there’s lots of different bands at various levels, all kind of looking at each other. It’s not like, we don’t all sit backstage and, you know, 'hey guys, how are you doing’–it’s not like that. It’s quite cold. I don’t like that side of things, not because musicians are bad, but sometimes they can’t break down that barrier to connect. I’m better than I used to be, but I still have difficulties with that. I don’t like the idea of getting out there and having to win people over. I do like my crowd. It’s a safer thing for me and I do love that they understand, that they know the history and what it’s about. Sometimes festivals can be amazing, because you gain a lot of followers and you tap into something you could never tap into. That’s great, I understand the business of it, but it still doesn’t make it any nicer for me. I don’t like it. It’s a quite cold experience.

U: Yeah, I mean people might not be there specifically to see you but maybe another act.

C: Of course, yeah. They might be curious, which is great, you know. You come, some like you, some don’t like you, whatever. I think it’s because you can’t read them, and I love to read. I guess I often see or I expect the worst in people which is bad, you know. It’s a part of my nature that I don’t like, but I have done that all the time and I think that they’re thinking negative things unless they show me that they’re not showing me negative things. That’s just a part of my insecurity. All artists are insecure anyway.

U: To conclude the interview, I wanted to know what your assessment of IAMX is, seeing it transform from how it began to how it is now. What do you see in the future of the project?

C: IAMX is a complicated project, because it doesn’t feel like a project. It feels like my life, which isn’t necessarily healthy and it hasn’t been healthy in the past, because it’s become quite difficult for me to connect and have a life outside of this thing. I got better at that recently. I got better after I had a breakdown basically. (laughs) It took a crisis to get me to a situation where I thought, 'okay, I need to slow down, separate myself from this “job” and have a life as well.’ And that was good. I did that for a while and now I’ve come back to liking what I do even more, which is great, so that’s a really positive thing. It’s still quite overpowering emotionally, because it is very private and personal–the stuff that I’m talking about most of the time. You know, sometimes I’d like a break from that. I don’t want to be thinking about me all the time; I’d like to be thinking about something else. Playing guitar in somebody else’s band or something like that. It might be quite cool. But in the end, it is my form, my way of connecting with humanity and being accepted and loved and making myself feel good about myself–all of those things. I would be lying if I said I didn’t love it, so that means I do love it. I still love it and I think I always will. I will probably always do it. You’ll see me wheeled onstage at some point. (laughs) Yeah, I’ll still be doing it when I’m 80 years old or something, because, I mean–it’s a way of life. It’s nice. It’s not just a job.

U: Trying to visualize you in a wheelchair. That would be a sight to see.

C: (laughs) That would be a sight to see. Maybe we can integrate the wheelchair into the setup somehow.

U: Yeah, make it a bit industrial or something.

C: Yeah, yeah, industrial wheelchair. Lots of lights flashing on it. (laughs)


I was just thinking… It wasn’t a chemical imbalance, and it wasn’t drugs and alcohol. I think—It was much more that I had lived an incredibly American life. This idea that if I could just achieve X and Y and Z, that everything would be okay. There’s a thing in the book about how when somebody leaps from a burning skyscraper, it’s not that they’re not afraid of falling anymore. It’s that the alternative is so awful. And so then you’re invited to consider what could be so awful… that leaping to your death would seem like an escape from it. I don’t know if you have any experience with this kind of thing. But it’s worse than any kind of physical injury. It may be in the old days what was known as a spiritual crisis—feeling as though every axiom in your life turned out to be false… and there was actually nothing. And that you were nothing. And that it’s all a delusion and you’re so much better than everybody… ‘cause you can see how this is just a delusion, and you’re so much worse because you can’t fucking function. It’s really horrible.

Harry Styles Smut

I am so nervous to post this because this would be the first time for me to share my incredibly dirty fantasies on tumblr, but I hope you guys like it and enjoy it. Feedback would be great, and if you’d like to request I wouldn’t mind :)

“Would you hush already? I don’t want anyone to wake up to find me sucking my boyfriend off on a tour bus.” I pulled away, slightly panting.

“Well that would be a sight to see, he smirked and ran his hands through my hair for what had to be the hundredth time, but it quickly turned into a tight grip when I gave him a light squeeze to shut him up. “Shit. Sorry, baby.”

Keep reading

Did my invitations disappear?
Why’d I put my heart on every cursive letter?
Tell me why the hell no one is here
Tell me what to do to make it all feel better

Maybe it’s a cruel joke on me
Whatever, whatever
Just means there’s way more cake for me
Forever, forever

It’s my party and I’ll cry if I want to
Cry if I want to (cry, cry, cry)
I’ll cry until the candles burn down this place
I’ll cry until my pity party’s in flames

Maybe if I knew all of them well
I wouldn’t have been trapped inside this hell that holds me
Maybe if I casted out a spell
Or told them decorations were in pastel ribbons

Maybe it’s a cruel joke on me
Whatever, whatever
Just means there’s way more cake for me
Forever, forever

It’s my party and I’ll cry if I want to
Cry if I want to (cry, cry, cry)
I’ll cry until the candles burn down this place
I’ll cry until my pity party’s in flames

I’m laughing, I’m crying
It feels like I’m dying
I’m laughing, I’m crying
It feels like I’m dying
I’m laughing, I’m crying
It feels like I’m dying
I’m dying, I’m dying
It’s my party and I’ll cry if I want to
It’s my party and I’ll cry if I want to

It’s my party and I’ll cry if I want to
Cry if I want to (cry, cry, cry)
I’ll cry until the candles burn down this place
I’ll cry until my pity party’s in flames

It’s my party, it's—it’s my party
It’s my party, it's—it’s my party
It’s my party and I’ll cry if I want to
Cry if I want to (cry, cry, cry, cry, cry)

Beatles Press Conference (Los Angeles, August 29, 1965)
  • Beatles Press Conference (Los Angeles, August 29, 1965)

The Beatles’ “Help!” press conference at Capitol Records Tower. (Full press conference: [X])

Q: “George, have you and the Beatles ever been to South America or Russia for a tour?“


Q: "Why not?“

JOHN: "The Russians don’t like us.”

GEORGE: "And we don’t particularly want to go to Russia.“

PAUL: "They burn us there.”

GEORGE: "And South America– I don’t think they’ve ever heard of us down there.“

PAUL: "Yes they have, George. We nearly went this time ‘cuz Brian [Epstein] wanted to see Mexico.”

JOHN: "We tour the places our manager wants to see. He takes his camera. So, we’ll probably be going there pretty soon, eh Brian?“


Q: "What’s your program for the next few months, say, the next three or four months - like concerts or…”

GEORGE: "It depends on what Mr. Epstein wants to see.“


RINGO: "We’ve got a month off as soon as we get back, and it’ll most probably just be TV and records and…”

PAUL: "TV and bullrings, and things like that. He likes that sort of stuff.“


SO here is our Out Of The Woods inspired costumes! (Topped off with glow sticks for the show). twistedd-hapiness and I have worked hard.. or should I say played hard! Making these were so much fun! And after multiple glue gun burns, sewing stitches, and many scrap pieces of paper, they are finally complete! I’ve seen Taylor on every tour and I’m especially excited for this one because she has gone far and beyond the expectations of what a concert should be. We cannot wait to sing, scream, and cry with an arena full of beautiful people who share the the same admiration towards Taylor. Also 1989 is my favourite album yet and I’m so excited to see her rocking it out on stage on August 1st in VANCOUVER! We are lucky enough to be sitting in section C6, row 10, seats 13&14. If you see us please come and say hi! We would love to make new friends. See you at BC Place! taylorswift1989costumes

okay but imagine you and Luke cuddling on your couch. well Luke is more just lying on top of you but your arms are around him, your right hand is playing with his hair while your left hand is soothingly rubbing up and down his back. You’re both perfectly content just being silent and in each others company, relaxing and winding down after your last two adventurous days together. You and Luke have spent them going to the beach, back at your house while your parents are at work - taking advantage of your time alone (and definitely more than once), baking chocolate chip cookies together (but burning them because you get distracted by a heavy make out session), getting into a water fight, etc. You’re just having the time of your lives spending quality time together, being reckless and fun, even if it is only for two days because he had time off tour and he wanted to spend that time with you. but now your time with each other is up because he has to catch a flight and be in another town to do another show by tomorrow night :( he’s really reluctant to get off of you and out of the comfortable position he’s in even though he knows he has to because there’s no other place in the world he’d rather be than safely wrapped up in your arms and wHY AM I DOING THIS TO MYSELF I WANT A LUKE HEMMINGS



I’m Liz, (the girl on the left) and my friend is Brianna (girl on the right). After weeks of brainstorming, shopping, sewing, and burning RED (pun intended) fingertips from direct contact with the glue gun (oops), we’re completely ready to live out our WILDEST DREAMS :D with you on FRIDAY AUGUST 21ST. I’ve been counting down the days to see the tour for what seems like forever now, and I’m so happy to get the chance to sing these words with you, full of tears and happiness. Catch me jumping, dancing, and crying hysterically in Section 205 Row 2 Seats 1&2

Love, Liz :D 

300 years from now
  • child: what is that over there?
  • tour guide: that is a depiction of a great event
  • tour guide: that happened many years ago
  • tour guide: see that picture of a burning building?
  • child:
  • tour guide: see those erupting volcanoes?
  • tour guide: see those images of people with a manic, crazed looked in their eyes?
  • child:
  • tour guide: that was the day the panic! fandom discovered a rumor of spencer smith's return
  • child: people died because of that?
  • tour guide:
  • tour guide:
  • tour guide: yes