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He is literally gay. He is a gay angel and he’s gay. Textually.

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they should invent dry humping that happens to me

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[9]

I was writing tags on the previous post and they got too big SO LET’S GO BACK TO THIS BRIEFLY. 

I think it’s fun that Syaoran is the one that asks if Clow Reed tried to resurrect Yuuko deliberately, knowing it was wrong. Since Syaoran is the one who was trying to save Sakura from the same fate from the beginning of the manga. 

It’s not quite on the same level but it’s a very interesting link in framing - a bit of a connection between Syaoran and Clow Reed, his ancestor. Both of them trying to save their special person from the brink of death, and what those wishes led to.

But also! The layer to it that’s like… Clow Reed didn’t mean to alter the universe, he just had a thought he couldn’t control. And that resonates with this Syaoran specifically since he ALSO had thoughts he couldn’t control - the clone programming was always pushing him towards the feathers beyond his ability to control it, to the point that it continued alone in his body even after his soul disappeared. Syaoran and Clow Reed BOTH had something uncontrollable within them that reacted to their emotions of grief and loss and caused great suffering in the universe - Clow Reed accidentally breaks the world, and Syaoran’s clone programming goes on killing sprees to retrieve the feathers. 

It’s a unique link between the two that is MIRRORED by Lava Lamp but comes out differently for him. Clow Reed and Syaoran didn’t INTEND for those consequences. Lava Lamp ends up in the same situation as both of them, hit with a sudden grief of someone they care about on the brink of death and tries desperately to save her - except he actually does consciously make the choice to trade the negative consequences to turn back time. Even if, you know, under duress.

Though in saying that, Lava Lamp has a fun parallel to each of them on his own as well. On one side side of the triangle Lava Lamp and Clow Reed’s wish (one intentional, one not) both resulted in someone being frozen in time. On the other side he has a different parallel to Syaoran’s wish at the START of Tsubasa, to save Sakura but pay a terrible price, where they both Chose that choice out of grief in the moment (though Clow did not).  

So it’s like a funky little Venn diagram of the horrible haunting cause and effect between intentional and unintentional choices, all focussed around these people in the same family.

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Music lovers of the mid-nineteenth century were young, middle class, white men and women, often newly arrived in American cities, who, for the first time in history, focused more on hearing public concerts than on making music themselves at home. For many Americans in antebellum cities, the chance to hear professionally performed music simply for the price of a ticket was astonishing, wiping away the necessity of having to learn an instrument, find sheet music, and practice. Indulging in its convenience was the mark of someone fully participating in the sophisticated culture of the city. But music lovers imbued their participation in this enterprise with unexpected enthusiasm. They did not just attend concerts; they depleted their savings to do so every night; they described their feelings about what they heard in diaries, and they waited, longingly, for their favorite performers to return so that listeners could hear those performers again and again.

Take Walt Whitman, who, as one of the earliest music lovers, developed a fascination with concerts while a journalist in New York City in the mid-1840s: on the “free list” for concerts, he was able to hear most of the major virtuoso performers who passed through the city in the late 1840s and early 1850s and would frequently rhapsodize about his favorite opera singers. Although Whitman never had any formal musical training and never learned to play an instrument, music affected him with such force that he described his listening experiences in poems, journal entries, and reminiscences throughout his entire life.

[...] As the concert business grew in the 1850s, spectacle became one means of competition between promoters, especially in the form of the “monster” concert format that, at its extreme, put literally thousands of performers onstage at the same time and necessitated the building of huge, temporary performance halls, the size of several contemporary football fields to accommodate such ambitions. The novelty of these performances for most people was the overwhelming physical experience—a kind of sonic rush of instruments, crowds, and applause.

For music lovers, though, sensation was not a novelty but rather a desired ideal for all performance experiences, whether in a temporary coliseum or a “lecture room” at a dime museum. Music lovers were attuned to the power and quality of performed sound at a visceral, almost intuitive level. Voices had to “strike” or “move” them to be important. In response to opera, especially, music lovers often expressed an overwhelming visceral ecstasy, with music “filling their souls” to the point of losing composure, something that was excitingly dangerous and quite cathartic within the behavioral strictures of middle-class Victorian culture.

—Daniel Cavicchi, “Fandom Before 'Fan': Shaping the History of Enthusiastic Audiences,” Reception: Texts, Readers, Audiences, History, Vol. 6 (2014)

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how is this not a painting

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When grandpa wants to take a holiday photo with matching sweaters ❄️

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Huge fan of this in 70s minion fics 🤩

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A great day this has turned out to be. I’m suicidal, me mate tries to kill me, me gun gets nicked, and we’re still in fuckin’ Bruges.

 In Bruges (2008) dir. Martin McDonagh

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the clock app always picks the numbers for you but in calculator the numbers can be anything you want

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ABBOTT ELEMENTARY 4.08 – Winter Break

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AGLAYAAAAA

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YOUR FATHER || A PATHOLOGIC FAN COMIC

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Very firm believer that daniil is completely terrified of aglaya in every interaction w her

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Walkable cities are so charming , its nice to be able to meet everyone

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Nina