#Bundling and Covering

[mahashaktinarayani]

Manufacturer And Supplier Of Tarpaulins And HDPE Polymers.

Mahashakti Narayani Polytex is a reputable and trusted tarpaulin manufacturer based in Kolkata, West Bengal. With their commitment to quality and customer satisfaction, they have become a leading supplier of tarpaulins in the region.

The company offers a wide range of tarpaulins made from high-quality materials that are suitable for various applications such as covering goods, vehicles, and building structures. They provide tarpaulins in different sizes, colors, and thicknesses, depending on the specific needs of their customers.

Mahashakti Narayani Polytex also ensures that their products are eco-friendly and made using sustainable manufacturing practices. They use state-of-the-art technology to ensure the durability and strength of their products, making them suitable for use in even the harshest weather conditions.

What sets Mahashakti Narayani Polytex apart from other tarpaulin manufacturers is their commitment to customer satisfaction. They have a team of dedicated professionals who provide personalized service to their clients and help them choose the right tarpaulin for their specific needs.

In addition to tarpaulins, the company also offers other products such as car covers, tents, and PVC flooring. They are always innovating and improving their products to stay ahead of the competition and provide the best possible solutions to their customers.

Overall, Mahashakti Narayani Polytex is a reliable and respected tarpaulin manufacturer and supplier in Kolkata that has earned the trust and loyalty of their customers over the years. They are committed to providing high-quality products, exceptional service, and sustainable solutions for a better tomorrow.

[catsharky]

After this Astarion got brought home and put in a hot bath to thaw like a pack of chicken breasts you forgot to take out of the freezer in advance.

Merry Christmas and/or Happy Holidays to all who celebrate, and a good regular winter to everyone who doesn't!

I've got something coming for Rolan as well, and also for Garrus for all the patient lovely people who still follow me for ME stuff (I love you and thank you for sticking around even if BG3 isn't your thing)!

[alphacomicsvol2]

Amazing Spider-Man (2015) #26 Cover Art (Wal-Mart Bundle Variant by Dan Mora)

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[sajanrai]

I stuck 4 of my short comics together into a digestible PDF for the Comics bundle for Gaza's Children. This + my 42 page comic Second Spine are included in the bundle along with 119 other comics for a tenner (usd)

[foolbehavior]

Sunny mornings

[daemon-in-my-head]

Okay, lemme ramble about my lovely little gremlin for a short while (this is basically a chronological list). Fair warning though canon is a challenge and I intend to win with my '40 years post epilogue, gort never died trash fire of a durgetash bit'.

Suppose I should start simple. His name is Fionnlagh, his nickname Fine, his old alias (yk the one from Gort) is 'Elli/Ellifain'. Atp he goes by Fine. All of these names have meanings cuz I'm insane.

Hes ~200 years old.

Was originally created as a failsafe by Bhaal, in case the original Bhaalspawn fuck up. When yoinking a soul, Bhaal however, did not anticipate this one could fuck up as well.

Speaking of, you remember the throwaway line from Scel in Act 1 regarding a certain bet that is never eluded to? Yeah so I decided Corellon and Bhaal made a bet pertaining a particular stolen elven soul (they are finite after all). The winner is yet to be decided.

Regarding how the gremlin fucked up; got locked away in the Shadow Fell aka Shars domain for a hot century there. Pros; no Bhaal or Scel. Cons; it's the shadowfell.

He's a shadow sorcerer but not by creation. Rather he just acquired that while being exposed to the shadow curse for so long. Titans don't hold up well against curses of higher deities.

He knows the Flymms. He had encounters with one way back before Gortash was even a possibility. He's also not aware Gortash is one of those Flymms.

Upon eventually making his way out of a place that is death and decay in physical form he immediately dipped to Calimshan. Tis where the fucks first met, without knowing obv.

Cue a few decades of cult indoctrination, projecting his dead adopted sister onto Orin and the usual durgetash shenanigans. Except this Durge has a very twisted relationship with Bhaal and worship.

The reason for said relationship is that he remembers. He actually had a nice childhood and adopted family. Until he came of age, which, for elves, happens rather late. He's fully aware of how messed up it is what Bhaal did to him, but he is also his creator.

Shit with Gort is about as messy as you'd assume. He's the first person in over a century who sees him as an individual, a monstrous individual but something greater than just Bhaals creation nonetheless. People stuck in solitude and forced to kill everything they ever adored will quickly ignore all red flags to devote themselves anyway.

Gorts view on him is... Something. It's not soft or lovely, it's something between gaining a rare specimen to study and having someone who understands whatever little remains of your humanity constantly waging a war.

Oh right I should mention the miserable gremlin has a martyr complex. Losing countless people may result in you willingly destroying yourself over harming just another person you don't outright despise. He's exceptionally protective to the point it's nearly possessive.

Massive nerd too. Has ever since loved studying the arcane, medicines and poisons. You gotta know what can heal in order to kill and vice versa. Also comes in handy if you can read draconic script thanks to your Netherese creator.

Have your situationship pick up on your unique skills and absolutely exploit them for the Absolute Plot but go along willingly cuz of aformentioned issues.

Cue some bg3 shenanigans, Bhaalspawn loosing their memories, defying Bhaal but still having this slight flaw of a complex and deciding to spare the obviously horrible person but the person who knows you nonetheless.

Find out that person found you after being brutally tortured and experimented on by a mad necromancer and leaving you for dead.

On top of that find out the only reason you clung to the remains of your awful life and begged a god to spare you just a little longer was for the person that left you for dead.

Decide to leave the city after saving it and wander aimlessly for a few years, thinking a monstrosity such as yourself should've never existed in the first place and that a dull weapon without anyone to wield it is better left to rot.

Get discovered by the Drow you saved and who truly understood you when you couldn't even make sense of yourself and decide to join her cause, if only to repay her.

Develop some sort of closeness with said Drow as you continue to fight in the civil war she instigated for a decade or two. New career branch unlocked; warmonger.

Forget that you're a monstrosity created by a god with weird kinks and accidentally continue a legacy of bloodshed and guilt by means of having a happy little accident with the Drow you've come to like.

Continue to have a mental breakdown over what you've just done and condemned them to while the marks left by wielding a curse, becoming closer to a mortal by defying your godly creator and decades of fighting start to show in your failing body.

Lose the drow. Cut away the thing she adored and lose one eye. Swallow your agony because you still have a singular, precious thing left to protect.

Return to the city and roots you barely remember hell-bent on exploiting them to keep your treasure safe and happy and finding ways to keep the curse gnawing away at you at bay for just long enough to see it through.

Meet the man who accomplished a great deal of his ambitions and grew somewhat restless over the years again. The only man who remembers how you were. The one who loathes you for abandoning him and what you had.

Oh also his adopted family was part of an elven house. A fallen house. A house of traitors who fucked around with Mythals. He does not remember. He goes back to using that name.

And from this point onwards, a lot of shit happens, and all of it is his fault. And he knows. Oh God does he know.

[stellaluna33]

So, I just had an Experience... I was getting gas, and the card reader at the pump wasn't working, so I went inside to talk to the employee, who was a young man. When he saw me, he said something that I couldn't quite understand, and when I asked him to repeat it, it sounded like he was saying, "Charge?" which I took to mean that he was asking me if I'd be paying with a card or not, so I said yes... And then he said, "Oh, good! You remind me of a teacher of mine! I went to a convent school back where I'm from, so I know all about that stuff!"

And, guys, I still don't know for sure what he said or what I accidentally agreed with, but it kinda sounds like he thought I was a nun? Which, I have to say, is a new one for me. 😂😭

[linipik]

Hi Lini! My apologies if I am missing something obvious, but where might I find the physical copies of your zine to purchase?? I would love to support your art <3

Hi!!! Im so happy you want to support me <3 aaand you are just in time!

I will be opening preorders for physical zines and comics on Friday for people located in the USA ����

the idea is to send them out at the end of January since I'm travelling to the us to visit a friend.

having a first run for my comics is a dream come true, and, wanna know something? they are looking even more cool! I revamped some of the cover art and some still have secret art I've haven't posted here yet :3c

[karmaiso]

assassination classroom opening/ending song album covers (+special dvd covers from season 1 & season 2), from the official website (higher quality images taken from animate online shop, accessible through the official website by red button below the images of each individual page reading 購入はこちら)

[its-kapi-wara]

So, last night I found this AI cover of The Collector singing "A Million Gruesome Ways to Die" (Billie Bust Up), and now I can't stop listening to it. It sound so good in his voice, what the heck? 😭

[thecloudstan]

I know it hasn't been that long since Rebirth came out, buuuuuuut... I miss Rufus... T_T

I know, I understand. Rebirth gave us a lot and yet never enough!! I want so much more…I want to know what he does when he’s alone, what his quarters look like, what kind of view he has from his bedroom, what he likes to drink, what he looks like when he’s fast asleep…

[fuckyeahkagepro]

Ayano no Koufuku Riron - cover + PV by NIJISANJI

[ratatatastic]

cats won a cup and thats means now south florida gets free hockey broadcasted locally WE ARE A HOCKEYTOWN

[kazunarei]

You've seen first ten pull now get ready for~

First single pull!!! (((φ(◎ロ◎;)φ)))(((φ(◎ロ◎;)φ)))(((φ(◎ロ◎;)φ)))

Now you must be looking at this like

'Wait Kazzie you were talking about Eiden rooms, how did you just now get him?!'

I pulled him in Bliss first. ˋ( ° ▽、° ) This is my main.

Of course since I pulled him first try off this banner that means when Demon King Eiden rerun comes up those 190 red gems are going into the void with nothing in return. _(:з)∠)_

Sadness . . .

[cicidraws]

i got a lil bit of camping stuff for christmas (tent, sleeping bag, light), but will be gathering more things i need over time. idk if the bed my dad got me too will fit in there, but its supposed to fit like 4 ppl and i saw reviews that made it look like it would fit. hopefully whenever i get to go camping ill have those things ready u0u