#frank playing piano?

[abrandnewshadow]

frank playing crazy frog also for your soul

from his instagram 04/27/2018

[koifsssh]

oh! he's a hopeless romantic i don't know what to tell you!

he is so! bah! he will play you love songs on the piano regardless if you know of them, and sing such! oh! i cant with him!

he daydreams, he writes poems, oh he draws little hearts over his "i"s instead of dots...

[oh-bother-stickers]

[runefactorynonsense]

Melotober - Day 18 - Vintage

The music was simply made for older instruments!

[jamesrodayrodriguezpresents]

This week, Maggie and Tim welcome the creator of Psych, Steve Franks to the show for a special 2 part Q and A episode of Psych: The Musical. The trio answer fan questions such as how long did the musical take to film, did the cast have to take singing lessons and so much more!

[bilbowy]

you were my purpose.

[loving-jack-kelly]

musicals that are fully and truly about normal people making normal mistakes living normal lives that for some reason resonate so hard that I can't stop thinking about them:

R&H Allegro (but specifically the reimagining that my college did that was so good I seriously considered taking a bootleg of it to watch over and over again)

Merrily We Roll Along

[benicebefunny]

Chapter 6 of Load of Whites, Hand-Wrung is up!

I named the chapter after this song, because Ted and Nathan have the bittersweet, reflective conversation on their creative partnership that they should've gotten in canon. And that's all very Merrily We Roll Along.

[sydbarrettism]

im trying to assign pf to a member of the gang from always sunny and so far it's dennis - roger.. dunno about the others though

[beomie3]

night lounge - cbg

☆ summary: the nights spent at your favorite night lounge are everything you could ever need. until one night, you stumble upon a man that makes you rethink.

☆ wc: roughly 4k

☆ content: slow burn smut, beomgyu is a gentleman in a jazz band, light bondage (he uses his tie to fasten your wrists), light drinking, cursing, unprotected, lots of kissing :p, fluffy ending, he’s dominant in this <3

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your favorite late-night lounge lies hidden in the underground of a ritzy hotel amidst the city; candlelit and cozy, black silk sofas and a bar equipped with all the drinks for a perfect night.

it'd been your nighttime getaway ever since you discovered it accidentally one night. you haven't found a place quite as unique as it.

you just can't get over the smooth jazz band that plays in it's designated corner every saturday night at sundown when you arrive. the blend is perfect to the ear; smooth saxophone, soft drums, pretty piano, and sometimes a bassist who would join in at midnight and play well into 3 a.m. which is usually when you decide you're satisfied with your night and head home. which to be frank, it's hard to decide when to leave when it's your comfort place. it simply couldn't get better.

or so you thought.

you sat at the usual velvet barstool under the star-shaped chandelier, taking in the ambiance of the dreamy lounge as always. the subtle murmur of guests and clinks of glasses filling the room, dim with dainty light fixtures and flicker of candles in small glass jars at every table.

dried flowers, fairy lights, and classical paintings adorned the walls in such a beautiful way that made you feel nostalgic. like a museum in paris had been turned into a swanky hangout.

if you could describe the place in one word it would be; classy. no, elegant. no.. dreamy. there were just so many attributes to describe your favorite place, you couldn't begin to put your finger on one.

the peace you felt here while sipping red wine or a cocktail while listening to the smooth blend of instruments from the live ensemble was unmatched to any other place ever, like your own little neverland that you escaped to at nightfall.

the bartender you knew well had just placed a tall glass of chardonnay in front of you, setting tonight's mood as you relax under the liquid's musky yet enjoyable flavor.

cozying into the velvet seat, you shifted your attention back to the band, also paying mind to the people subtly beginning to fill the lounge as the night commenced; observing different groups of friends or couples who entered in intricate outfits, most faces familiar to you. admittedly, people watching was a pastime you fairly enjoyed.

but suddenly there appeared the face of a man you had yet to see, noticing his tall figure immediately as he came down the steps with a certain presence that radiated nothing but confidence and poise.

maybe it was the all-black suit he wore or the way his feathered ebony hair parted over his eyes in such a way that made you stare, following his every step into the warm glow of the lounge.

you wondered if he'd come here all along, or if he was simply a figment of your imagination after only two sips of your glass.

he's here for the same reason as you, it seems, as he briskly makes his way over to the bar.

noticing his approach you try your best to disregard him, acting as if you hadn't just watched his entire procession into the lounge.

"anyone sitting here, miss?" a sudden deep and breathy voice calls out from beside you, a dull pang at your stomach when you turn towards the man and realize how much more handsome he is up close. the way the dim light encapsulates his face, noticing the subtle gloss over his skin.

"you." you keep your wits about you, noticing the way the corner of his lip tugs upward when he nods toward you. swiftly taking the seat.

you turn and face the jazz ensemble again, tongue in cheek as you can feel his warmth beside you, trying your best to seem unfazed by his presence. 

although your eyes are on the band, your ears are keen to his thick voice as he orders; a gin martini on the rocks and a side of lime, please. oh and put the jazz band on my tab while you're at it.

you nearly whip your head around at the sound of his request to put the jazz band on his tab. regardless, there were only four members but still...you were in shock and mostly intrigued. it isn't an act of kindness you'd usually hear at the bar.

the waiter gets to work on his drink and your eyes drift to him like a magnet drawn to metal; his mystery, you just wanted to freeze time and observe him.

once your eyes were on him you just couldn't resist the question that lingered on the tip of your tongue.

"do you know the jazz band?" you circle the rim of your glass with a finger, his chocolate eyes immediately boarding into yours along with all of his attention.

"i do. or else there wouldn't be one," his smile slowly grows as yours does, sipping his drink as it arrives. keeping his eyes on you all the while. he's only spoken two sentences to you but you swear there is something about his aura you just can't get enough of.

although he kept his response short and sweet, you put two and two together and concluded that he founded the band or something of the sort. either way, you just couldn't take your eyes off of him.

"well then today is my lucky day," you bring your glass to your lips and he lets out a deep chuckle, setting his glass down with a smirk at you. eyes still glued to his while he briefly looks away to set his glass down, you try taking him all in; the tiny freckle on his cheek, the silver ring in his earlobe, his long eyelashes. he was almost unreal.

"choi beomgyu," he holds a hand out to you, impressed with how much of a gentleman he's been in not even the five minutes you'd spoken to him. sad how low your expectations were after how many royal douchebags you'd come across at this bar.

you state your name in response, taking his warm hand and resisting the urge to smile too big when he slightly bows his head toward you, eyes never leaving yours as he gently shakes your hand.

that wasn't until he brought the back of your hand to his lips like a prince to a princess, that your heart nearly beat out of your chest; simply carried away by his charm. you’d never been greeted this way.

"i take it you enjoy my band," he slowly releases your hand. "rare to see someone just sit. listen. enjoy the music." he slightly reclines, bringing his glass back to his plump lips with those deep brown eyes on you.

"saturday nights are always my favorite." you nod, slightly reclining in your seat too, mimicking his body language.

"i know." his smile slightly grows behind the rim of his glass, wondering how the hell he knows if you'd never met him in your life.

"and how is it that you know that?" you slightly tilt your head, crossing your legs toward him and narrowing your eyes in await for a response.

"velvet chair at the end of the bar under the star-shaped chandelier. it's your seat. how could i not know where the most beautiful woman in this place sits?"

you're good at not showing how flustered you are; legs tightly crossed together, cheek caught in between your teeth, biting back the biggest damn smile.

"saturday nights are my favorite too," he looks over at the band and it isn't until he makes a bass-playing gesture with his fingers that the puzzle pieces click.

he's the bassist that comes on the stage when the lights go dark at midnight with only candles and fairy lights left to illuminate the room as people slow dance. you thought his silhouette might have looked familiar when he came down the stairs, considering that was all you ever knew of him.

he chuckles at your reaction to it finally clicking within you, truly appreciating your deep love for his performances, as no one usually cares much.

you and choi beomgyu continued chatting the night away, and he can see deep in your eyes that you're passionate about what you talk about. he loved finding out that the girl he always keeps his eye on when he's on stage secretly always admired him and his work.

when the bartender comes around with refills, beomgyu only orders water, finding it rather refreshing that a man can control himself and find satisfaction in only one drink as you usually do.

at midnight when the lights dim, beomgyu leads you hand in hand to the front row of the stage, getting to watch his performance front and center. he loves seeing you so close, usually having to deal with watching you from afar when you sat at the bar.

he performs dried flower, your favorite song preformed by the band. you watch his fingers caress the strings, long and dainty, pretty fingers. clad in expensive rings. wrist dangling with dainty charm bracelets. he has a certain class that is hard to find in men, and you feel yourself falling for him every passing second.

hes so passionate when he plays; eyebrows slightly furrowed as he instinctively plucks every note just perfectly. you’re also keen to every woman staring at him when his solo comes, whispering and giggling amongst one another. you grin.

after, he steps down and joins you in the crowd, asking for your hand and the two of you slow dance to the soft jazz, your head in his chest as he carefully steps with you. he smells of soft cashmere, and that’s the last thing you take note of before you’ve fallen completely head over heels.

the lights dim a bit more, his face barely lit by the candles but you can still see the sparkle in his eyes. his gaze is soft, yet intense and your heart stops as his face inches closer.

before you know it, your lips are touching what feels like velvet pillows; his lips. your heart races, blood rushing to your face and he pulls you closer, feeling his chest press against yours.

his sweet kiss lingers on your lips. you must have a sweet tooth, because you’re craving more.

“how about we get out of here?” his eyes are so intense on yours, realizing your fingers had interlaced into his long ago as you slow danced.

your eyes say it all; both of your body language says it all. you can practically feel your body heat radiating through your silk dress. cheeks flushed as he guides you through the crowd and out into the cool night air.

the taxi ride to his place is tense as you sit hip to hip, his fingers tracing your palm and you can’t seem to take your eyes off of one another. the taxi driver is the only thing keeping him from saying some not so appropriate things out loud, so instead he whispers them in your ear and you’re a giggling mess.

his high rise apartment is classy like him; low lighting and wooden accents, a baby grand piano in the corner under a chandelier, record player and a vinyl collection. an array of basses and guitars adorning the living room. it reminds you of the lounge, in fact; classical paintings and candles and dried flowers on the dining room table.

the tension only builds and builds, until it snaps.

he does so much as put a record on and offer you a glass of wine before your lips are on each other’s again. messy makeout, fingers intertwined in hair. his fingers precisely unbuttoning his suit before sliding under your silk dress.

the two of you stumble toward his king bed and you help him loosen his tie but he ushers your hand away, swiftly removing it from himself.

you fall backwards on his bed, feeling the silk sheets fluff up around you, cold against your boiling skin. he stands between your legs, pulling you toward the edge of the bed toward him with hands hooked underneath your thighs.

“hands above your head,” his voice is husky, eyes dark as he towers over you. dark brown hair messy and fluffed over his forehead.

his demand makes you twice as soaked and you swear a puddle has formed between your legs. you do as he says, feeling the cold air waft against the sensitive skin of your under arms and you’re pelted with goosebumps.

“good girl,” his voice is low, eyes dark. his cock twitches in his pants as you had done what he said, leaning down to hold your hands in place. your eyes widen when he uses his black tie to begin tying your hands together above your head.

“is this okay?” he focuses intensely into your eyes as he makes several concise knots, his voice tender and genuine as you bite your lip. it’s more than okay.

“mhmm,” you moan into his lips as he kisses you, pressing his hips against your clothed heat, legs spread, wrapping around his torso.

you didn’t know what to expect from this choi beomgyu guy, but you could tell he was amazing in bed since the moment you met. he’s had you on edge, turned on since the moment he spoke. he really knows how to turn you the fuck on.

you’re completely out of control now, your wrists fastened tightly together by his tie but you love the feeling more than you ever expected.

he starts slow but increasingly gets more feral. starting by kissing your neck softly, he slips your silk dress off and blood rushes straight to his dick.

you’re wearing a lace bra, extremely see through so that he can see that your nipples are hard and poking out him. but what makes him nearly salivate; you’re not wearing any underwear.

well, you were wearing underwear earlier tonight at first arriving to the lounge, but you’d taken them off somewhere along the night.

“check your pocket,” you eyed the front pocket of his suit jacket and when he stuck his hand in it to discover a pair of lacy underwear, his tongue darts to wet his lips. he fought the urge to absolutely fuck the shit out of you right here right now.

“such a sneaky girl, hm?” he cocks his head to the side, the hint of a sly grin on his lips as he slides his suit jacket off, leaving him only his white button up shirt, yet it’s unbuttoned so that you can see his bare chest and torso peeking through. he pushes the sleeves up and runs his fingers through his feathered hair to expose his forehead briefly. he’s so unbelievably sexy.

his hands are a bit rougher on you now, gripping the fat of your hips as he tongue kisses you, so messy and wet and hot. trailing his lips all over your chest, he bites your nipples softly through the lace and it feels so fucking good. he makes a mess of his spit, kissing your body until his reaches your bare pussy, already drenched for him.

“already so fucking wet and i haven’t even done anything,” he groans at the sight of your wetness dribbling out and onto his sheets. he really can’t believe his eyes at how soaked you are, can’t stop thinking of how good you’re going to feel when he fucks you.

his lips are level with your lower ones and he stares up at you through fluffed bangs over his thick brows. you anticipate what his tongue will feel like inside of you, shuddering when his hot breath wafts against you. you’re so sensitive.

he supports your thighs with his hands, setting each of your feet to rest on the tops of his shoulders. you’re spread wide open for him so that he has the best view of your entirety.

he hasn’t even fucking done anything and you moan out, a deep chuckle rumbling in his throat. just the air exuded from his nose when he breathes brushes against your clit and stimulates it.

his tongue finally traces over your bud and you whip your head back onto his memory foam mattress. you can’t do this; no, there’s far too much pleasure. you’d never been this sensitive with anyone in your life. you'd never been this turned on by anything.

when his lips attach to your clit and suck, your hands shoot into his soft hair, grabbing handfuls of it as you whimper loudly; slurping sounds and moans echoing throughout his bedroom. your sounds egg him on; cock twitching violently in his pants with every single one of your sweet sounds.

when he inserts two long fingers into you and curls them up to your g-spot, it’s over for you. it only takes about four strokes of his fingers until you’re spasming, fluttering intensely around his fingers and grinding yourself into his face. his moans vibrate against you. no one had ever made you finish this fast.

“god beomgyu you’re- so fucking good-,” you huff out of breath between words, heavy head thrown back, chest heaving. his ego is stroked yet again.

the recovery from your orgasm is fast as he is quick to kiss you, need prevalent in his veins as you feel fire in him with the way his lips devour yours.

you clench around nothing, squeezing his arms tightly as nervous shudders course through your veins. you need him.

“choi beomgyu,” you whisper against his lips and his hungry eyes board into yours, lips puffy and glossy; he’s looks way too hot right now. you lean up to whisper in his ear.

“fuck me,” your voice is quiet, desperate. hot breath seeping down his neck. he is done for. he's kept his composure this long. but there is always a point where he absolutely loses it.

he can’t wait any longer, swiftly unbuckling his belt and dropping his perfectly ironed black trousers down to his knees along with his boxers.

when his cock springs out, it slaps up against his abdomen with a heavy thud and your eyes widen. he’s got a big fucking dick. your throat bobs as you swallow down a bundle of nerves.

“holy shit,” you say under your breath but he hears you; dark smirk spreading across his lips. he looks down at himself, spreading the ooze of precum around his tip; a darkened pink shade with all of the blood flowing up to it.

since the moment you saw him walk through the door at the lounge tonight, you’ve wanted to fuck him. but the moment he saw you for the first time; oh he’s been wanting to fuck you for months.

"what was that darling?" he leans down to look into your eyes, tender touch against your cheek as he snakes a hand around your thigh and pulls it up so that your knee is up against your chest.

"hm?" his lips are inches away from yours, eyes dark and flicking down to your lips and back up into your eyes repeatedly. he throws your leg over his shoulder.

your heart strums against your ribs as you're anxious to take him, yet you can't wait.

"you can take me, right gorgeous?" he tilts his head and you can't process how beautiful he looks right now; soft, chandelier lights of his bedroom reflect from his big, brown doe-shaped eyes. your mauve lipstick smeared across his lips and chin. hair tousled back, revealing his perfect eyebrows and forehead. the sheen of sweat glimmering from his skin.

"i can take you," a small grin is on your lips as you fiddle with the end of his tie around your wrists, realizing that having your hands tied above your head has made you way more sensitive than normal.

looking down at the space in between the two of you, he rubs the tip of his cock up and down your folds, causing you to shudder. he places small kisses to your knee, as it's resting by his cheek.

you suck air through your teeth when you feel a slight stretch as he guides himself into you, going slow enough to get you adjusted to his tip. you keep your eyes locked as he slides the rest in little by little, moans growing louder as the stretch intensifies. looking down, you realize he's only half-way in and you look up at him, lip caught between his teeth.

the stretch is so intense, but not as intense as his eyes on yours, searching deep into your soul. his hands come up to fiddle with the knot of his tie around your hands, suddenly feeling it loosen and your hands are free. immediately, they fly into his hair, thumbs soft over the sides of his face. he untied them for this exact reason; to feel your intoxicating touch all over him.

suddenly, you feel his hips meet the back of your thigh, and that's when you know he's all the way in. your mouth is agape as he slowly begins moving in an out of you, crashing your lips back to his as the skin of his thighs begins to slap against yours.

his hands are busy on you; one palming your tits as the other hooked under your thigh to keep your leg situated atop his shoulder.

taking him raw feels so wrong but so right; the edge of his tip feels fantastic against your g-spot, thick veins massaging you just right. your arousal leaves a milky white ring around the base of his cock as he slams into you. he collects some, bringing it to your mouth, followed by crashing his lips to yours again so that you can both taste it together.

“you feel so fucking amazing,” he breaks the kiss to speak to you, followed by a moan as he slams as deep as he can into you. you’ve ajusted well at the is point that the pain has turned into pleasure. his soft whimpers in your ear were enough to make you even wetter, easing the process of being stretched out.

he shuts his eyes as you’re sucking him i’m so perfectly, so turned on by the squelch of your pussy every time he enters you. he fights back the urge to cum, but it’s so hard with how beautiful you look right now.

your face is contorted in pleasure, hair sprawled out all over his bed, shimmery sheen on your skin from a mixture of sweat, tits bouncing with every slam of his hips.

���god you’re taking it so well,” he groans against your neck, lifting your other thigh so that both of your legs are swung over his shoulders. he’s impressed by your flexibility as his chest is pressed against yours, realizing just how far he is leaned down against you.

his hips are rhythmic against yours, grinding himself into you, a good tactic to stimulate your clit with this pelvis. it’s like he’s a professional.

his name along with a mixture of curses leave your lips in drawn out moans as your nails dig into his back, the sound of his name nearly drives him insane and he fucks you harder.

you feel the familiar ache in your core with every thrust, and he already knows you’re close because of how much tighter you’ve become around him.

he’s a moaning mess, deep voice like honey in your ear as you suck him in even tighter now. he reaches down to thumb at your clit and you’re right there, right on the edge.

“harder beomgyu, fuck me harder!” you bite down on his shoulder, his hips slamming at a pace so fast that his bed is creaking so loud. your moans probably audible from outside his apartment at this point.

“you gonna cum for me? yeah? cum all over my cock sweetheart c’mon,” his voice is loud yet deep and husky. his eyebrows are furrowed together in pleasure, sweat dripping from his neck and onto your chest.

the slapping of skin is so loud now, and he gives you three precise thrusts before you completely combust.

your sporadic moans are not what tells him you’ve just finished, it’s the absolutely insane convulsions that he feels inside you, fluttering around him at what feels like 200 miles per hour.

it’s enough to push him right over the edge in an ínstense orgasm. he pulls out immediately, busting all over your tummy and angling it to get some on your chest and face. milky white all over you, and there’s a lot too.

he’s so god damn vocal as he cums, his head thrown back so that you can see his addams apple in full glory, bobbing up and down as he moans.

you wipe your chin of his cum and lick your fingers clean, addicted to his salty-sweet taste.

he looks so exhausted as his chest heaves, hair plastered to his forehead with sweat. but he doesn’t lay down on the bed just yet; instead he walks to his bathroom, getting a towel to clean you up first like the gentleman he is.

he wipes his fluids off of you with a warm wash rag, tender eyes on your skin as he softly cleanses you. there is a soft quietness about the room, not awkward, soothing actually.

he helps you under his silk sheets once you’re all cleaned up and he snuggles under with you, propping his head up on his hand as he rubs small circles on your shoulder.

“i look forward to seeing you at every show,” his voice is soft, a tender smile on his lips. you love how calm he is, how respectful, how tranquil. almost like he’s healing something deep within you.

“always,” you smile in return. you talked about anything and everything, in love with the way his eyes were attentive to you, keen to every single thing you had to say.

finding his hand under the sheets, you fiddle with his fingers, imagining all the things the future has in store for the two of you. you just knew this was the start of something special.

you hear the record player in his living room echoing with your favorite song, dried flower.

“can i have this dance?” he squeezes your hand under the sheets, smiling. and although you’re both tired, you each slip on a robe and walk hand in hand to his candle-lit living room.

it feels like you’re meant to do this with him, like you’ve done it together before in a past life.

you thought nights at your favorite lounge were everything you could ever need. but that wasn’t true. because tonight, meeting the love of your life proved you wrong in every single way.

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note: here is a gyu fic!! tysm for continuing to support my works while i've been gone. i'm currently vising japan and i've been here for a few months :) i'm happy to announce i'm working on a tokyo part 3 for those who enjoyed tokyo and the sequel!!! i plan on releasing more fics in the mean time. i hope you enjoyed this one<3

[magnetic-rose]

if you loved episode 3 of tlou you really should listen to the official podcast with troy baker, craig mazin and neil druckmann because there’s SO much! here’s some of my favorite things said on the podcast:

- joel stacking rocks was to show that he missed and mourned tess. in that moment he was saying “i’m sorry, i blew it, i lost you.”

- in the beginning of the episode ellie told joel tess’ death wasn’t her fault but deep down she does feel like it was her fault.

- ellie admires joel because he protected her multiple times and as a child she has a desire for a parental figure to protect her.

- frank realized bill was gay pretty much as soon as he got out of the hole and saw how bill was looking at him. bill’s taking in how handsome frank is and “frank’s brain is incredibly attuned to that.” that’s why frank was smiling.

- frank realized bill was gay fast, but he realized he wanted bill when bill was playing the piano and singing linda ronstadt.

- it took them a while to find long long time by linda ronstadt but they always intended the song for bill to sing to be about a long love that was forever unrequited. “it was very important that the lyrics were someone saying ‘everyone tells me that it’s okay, that love will find me [...],’ no it doesn’t, no it’s not, and the person that i long for from afar - i’m gonna love them basically forever in the most unrequited manner.”

- it was important that frank immediately knew bill’s sexuality because frank SAW bill, because bill had completely buried his sexuality but frank saw through him.

- frank originally was trying to see what he could get out of bill (like a free lunch) but the more time they spent together, the more he went “oh, this is a beautiful person.”

- “there is two ways of loving things. frank wants to love outwards - he is sun, he is light. he wants to make things beautiful around him, he wants to care for bill, he wants to revitalize the streets so it’s not just this mausoleum bill lives in, and he wants to have friends. he wants to share what they have. and bill wants to put an electrified fence around them that is guarded by an additional layer of flame-throwing gas pipes and no one can show up ever because he must protect frank from the world... and as it turns out, both of those loved are required but one of those loves is likely to give you in trouble more than the other.”

- when frank put his finger on the furniture piece and saw how dusty it was, he realized what his purpose could be in bill’s life. bill can protect them, but frank can nurture their home.

- when bill apologizes to frank for growing old fast, it’s because he’s afraid of frank being left alone. “look at this beautiful man and the beautiful things that he does, and what is bill’s contribution? bill doesn’t grow strawberries. bill’s contribution is to keep frank alive. but bill is already afraid that he’s going to fail and that is a fear that joel has because he has that fear through experience [of losing his daughter.]“

- bill and joel understand each other and that they’re purpose is to protect others. they don’t care about their own lives.

- on their last day together, bill decided very early that he was going to die as well.

- the gun that ellie takes belonged to frank.

- that letter bill wrote reminded joel that he failed to protect both sarah and tess. the letter underscores for him that no matter how hard he tries, he can’t protect the people that he cares about. but now he has ellie to protect.

[earlycuntsets]

translation: "my chemical romance interview. "for us, the live stage is the only place where we can be ourselves."

The songs are like a collection of rock anthems from all over the world, past and present, and it sets the hearts of listeners ablaze.

Who is the emo band that rocked the Summer Sonic stage?

My Chemical Romance, from New Jersey, who just released their major debut album "THREE CHEERS FOR SWEET REVENGE" in July, came to Japan for the first time at Summer Sonic 04. MCR's music is called "screamo" because of their friendship with their friends, including THE USED, and their style, and it contains the street/garage sensibility unique to the generation that went through American punk in recent years… but if you listen to it with a calm ear, you can see that although the vocals are "screamo style," the songs have a beautiful structure and tearful melodies that are related to British heavy metal, and they also feature beautiful guitar solos. In other words, MCR is a band that plays heavy metal at the street level… That's why they must have been so welcomed right from the start in Japan, a country that has a strong tradition of heavy metal music (probably) - their first performance in Japan was a big success.

45 minutes after the end of the thunderous "Summer Sonic" stage

We caught up with the two excited guitarists!

I've never been to a show like that before! I'll never forget this experience.

--Now Frank Iero (FI): This isn't real.

How was the live show you just finished?

FI: Seriously! I've never done a show like that before. It was a memorable moment in my life. I'll never forget it!

--You seem very excited. What was so amazing about it?

Ray Toro: No, not "What". WTF! I mean, they were so welcoming! I wasn't expecting that kind of reaction at all. It felt like a hometown show. Oh, what can I say… ahhhh… anyway, it feels great!-- (Laughs)

Was the positive reaction because the new york was great? Especially the first single "I'm Not Okay" it's really exciting… It's a great song, and the song structure is well-crafted, building up from the intro, and the solo is uplifting too. Did you feel any magic when you made it?

FI: Well, let me tell you something. This song is something that you can't really call "written".

Really? Is that so?

FI: That's true. The song itself only has four chords, right? Except for the solo, it's all four. So at first, I thought it would be a boring song. But when we got together in the studio and Ray was playing those four chords over and over… Gerald (Way/vocals) started singing. The other members were silent. I closed my eyes and listened carefully. Then I realized it was an incredibly beautiful song. I felt it was worth completing. So I tried to change it up with the chorus. The root remained four.

---The guitar solo in this song creates a harmony with the guitar, creating a grandeur that is reminiscent of Queen. How did this come about?

FI: That solo was all Ray!

RT: Of course we were totally inspired by Queen! We were all saying, "Let's have a big guitar solo. Nobody does that anymore!" So I layered the guitars on it and made it as epic as possible. Also, when we were writing the song originally, we talked about making it as production-heavy as possible in the studio… Another thing I did consciously was to think of all the '80s pop and '70s bands I liked. I thought, "What would they do to make a song that's really epic…?" That's also where the two-second piano in the middle of the song came from. It doesn't really mean anything, but it's a bit like a soundtrack.

In terms of age, he was still very much alive.

FI: To tell you the truth, that second part is from the live album "CHEAP TRICK AT BUDOKAN" (1978) [laughs] I really wanted to include it. To begin with, even though some people have performed it live, I've never heard it performed in a studio album. I tried to include that as well and create the biggest anthem I could think of.

Q: Not just "I'm Not Okay," but all of MCR's songs…The composition is designed to make the listeners excited. They are all uplifting and dramatic. Is this something you do consciously?

FI: I'm totally aware of it.

RT: Yes. You can hear it in the song, but I change parts one after another. For example, We never repeat the same parts twice, and as the song progresses, new elements are added. We want it to feel like it's building from one thing to the next. Every member of the band contributes to that. The drums, the vocals, the melodies…everything helps the song to go higher and higher.

FI: Especially the new album, "It's Not A Fashion Statement, It's a Deathwish" crescendos all the way through. It just gets stronger and stronger. It all comes together in a spectacular finale. The whole band sings together for an anthemic ending. Because I like it! Our styles are completely different, maybe that mismatch is a good thing?

MCR's music tends to be dramatic. Is that due to the influence of the music you've listened to up until now?

RT: I grew up listening to heavy metal, like Ozzy Osbourne. I was obsessed with guitar heroes. I like bands that feature guitar players such as the late Randy Rhoads (g/Ozzy Osbourne) and Joe Satriani, Jimi Hendrix… In other words, Randy is the one who combined heavy metal with classical music, but his guitar playing I think he is the person who has had the biggest influence on my style. It's a bit old-fashioned, but it has a melody. And it's timeless. Melody.

FI: Richie Havens. My first woodstock. He was the opening act for the concert. He took me to an acoustic I just played it with one guitar, like a solo. There wasn't much, just sitting on the stool. He played very melodic and rhythmic guitar. But it's a completely unique style that can't be imitated. He had tiles… Such a great performer. I've never seen him before! I've seen Richie on stage about 10 times now, and I'm blown away every time. He's one of the reasons I don't stop playing guitar. I also love Greg Ginn (guitar/Black Flag) and Thurston Moore (vocals, guitar/Sonic Youth). In other words, I like dirty and emotional guitar more than intellectual style.

——————Hmm. You two have completely different tastes…

FI: Well, we are completely different types of guitarists, but maybe that mismatch is a good thing.

--You mentioned a lot of artists, but listening to your album I can sense a strong influence from heavy metal. But you also listen to a lot of different music from the '70s and '80s, right?

RT: Well, you can't just listen to one type of music, you know? There's so much good music out there. We can't just pretend not to notice it! All of us in the band try to listen to as much as we can and want to absorb as much as we can from all kinds of music.

FI: What we heard was an influence in some way.

FI: I like to use a Marshall JCM900 connected to a SUNN cabinet, and an Epiphone Zak Wylde model Les Paul as the only guitar. I turn up the bass all the way (laughs). Treble is about mid-range. I add gain here and there. But I like to keep it sounding like a real guitar. Not a "buzzing" sound with too much gain, but more of a solid sound.

RT: Yes! And we both try to only use effects when absolutely necessary, and usually plug them straight into the amp. Oh, but we do use wah pedals. Personally, I'd love to see the wah come back!

--I see. So with Frank on the bass and Ray raising the middle, it feels like you've managed to balance the band sound well?

FI&RT: Exactly!

FI: That's how I make it clear that there are two guitars. It's better to have a difference where you can hear each guitar part and it doesn't sound too cluttered.

――――So, let's talk about your playing, not just the guitar sound.

RT: I've been in the middle of it all. But the best thing to do is come to a show and see for yourself! I think there have been times when people thought it was Frank and it was me, and vice versa. We've influenced each other so we have some similarities.

---So you're influenced by each other's playing?

RT: Yeah. At least I got it from Frank.

I learned to play dirty. Not just clean, but more emotional. Instead of being super technical and perfect, I gave myself a little more leeway and tried to avoid feedback and pick-squeezing.

Frank is especially good at pick slides. He likes to make noise out of the guitar, rather than a pretty sound.

He's really good at bringing that out. Making noise, not just playing, is something I'm still learning.

FI: I'm the opposite, I'm learning to play clean, to keep things under control, but still let out emotion when necessary.

RT: A classic example of what you're talking about is "The Jetset Life Is Gonna Kill You." Frank has a really great part here. After the second chorus, it gets really quiet.

"THREE CHEERS FOR SWEET REVENGE" Warner Music Japan [CD] WPCR-11883 Sensual vocal melodies and emotional guitars, as heard on the 1st single.Their popularity is on the rise thanks to the explosive emotion of their vocals. This is the band's second album and their major label debut. Ray's strengths are in his guitar playing, which always lifts the listener up. While talking about the existing screamo sound, such as the "screamo" part, a new sense of flavoring with the essence of gothic and metal shines. And it's the same with everyday experiences! Everything that comes out of it naturally comes out in the work, and the more I shut out certain types of music or certain experiences, the less fertilizer I have. The goal is the stage. Keep playing to the limit. From what I saw on stage a while ago, the live equipment was, you both used similar things. How do you differentiate between the sounds?

RT: I'm more into distortion. I play a lot of riffs and generally like to emphasize the mid-range.

My model was the crunch guitar sound of Metallica's "Master of Puppets" (1986).

FI: On the other hand, I only use distortion to a natural degree.

Can you tell me the specific equipment names?

RT: The amps are Marshall "JCM2000" and "1960".

Cabinet. The guitar was bought by my brother for Christmas 10 years ago.

It's a very easy one to make, but the sound is great!

I also use an Epiphone Les Paul.

036 GuitarBreakers Vol.8

He said it was a good example of how the differences between the two of them are well expressed.

Can you name any?

FI: You Know What They Do To Guys Like Us

In Prison, I guess?

RT: You're right!

FI: You Know What They Do To Guys Like Us

"In Prison" is huge! The first two verses are

It's rhythmic and dirty, and then…

Ray's guitar hero-like, epic solo begins (laughs). And it has a light rhythm. And then there's "To The End" too.

RT: Yes. In some ways, I play more technically than Frank, but "To the End" has a great guitar solo, it's fast, and it's got some rhythmic, dirty parts. But I think you can hear the difference in our playing styles on every song to some extent.

---By the way, on the album, which is left and which is right?

Are you playing the channel?

RT: Well, in the verses, I mostly play on the left.

Ray is on the left. And Frank is on the right in the chorus.

Frank really blossoms in this scene. It's totally different from his previous style.

FI: Mmhmm!

---Finally, could you tell us about your future goals regarding guitar and songwriting?

FI: For now, I'd like to be able to turn the parts I've written for the next album into proper songs.

Also, we have a clear goal as a band.

But I'll keep it a secret until I achieve it (lol).

RT: For me personally, I just want to keep improving.

FI: Me too!

RT: We both love playing guitar.

That's what life is all about, so I want to keep improving both in technique and melody.

FI: For us, it was a live show that lasted less than two hours. I think that the only chance I have is to be myself, to experience a pure and spiritual moment. So my goal is to continue to play all the way to the end. There is a joy that cannot be expressed in words. I don't think you can understand it unless you have experienced it!

My Chemical Playing - A magnificent world created with guitar

The key to My Chemical Romance's songs is the twin guitars. When the two guitars intertwine, sometimes intensely and sometimes elegantly, it gives the listener a great sense of exhilaration.

Ray was crazy about guitar heroes like Randy Rhoads and Joe Satriani, while Frank loves Greg Ginn and Thurston Moore. They come from completely different backgrounds, but as Ray says, "When we get together, we don't know why, but a special atmosphere is born," which is the characteristic of the My Chemical Romance sound. In fact, Alba

If you check out his playing, you can hear many good examples of two-guitar ensemble. One of the best is the backing for "I'm Not Okay (I Promise)." As mentioned in the interview, the bass in this song is a repeat of four chords (D → Bm Em → A), but it is amazing how the performance is not at all simple. Due to space limitations, I will not post an example.

"I'm Not Okay" style guitar solo sheet music.

I'm sorry I can't introduce it, but I definitely want you to check out the ensemble in the A-melody. So, I'll introduce the solo below. This performance was inspired by Queen and was meant to be grand. The harmonies are great, but the chord progression is deliberately E/G#, even though E would have been fine in the flow. This is one of the reasons why it feels so grand.

In the harmonies from bars 1 to 8, you want to be aware of the speed at which you raise the pitch of the choking, and the speed and depth of the vibrato.

The first half of bar 12 means "play five notes in two beats."

2004 volume 8 guitar breakers from theydrewblood.blogspot.com

[scioscribe]

The Great American Memoir

post-canon, Hawkeye & BJ

“I was walking past the bookstore, and I saw it in the window. I had to make the owner open up early so I could touch it and be sure it was real. I had to double-check the copyright page.”

BJ rubbed his eyes. “Hawk, it’s six AM here, and Erin had a sleepover last night. She and her friends decided to teach themselves how to play the piano with, of course, the corollary that practice would make perfect even at two in the morning. I’m tired, you woke me up, you woke Peg up, and I have no idea what you’re talking about. Call back later.”

“I shouldn’t have added to his royalties, but I couldn’t resist. To Serve Was Heaven: A Surgeon’s Story of Life at the Front Lines: A Memoir. Two colons. You know what that means it’s twice as full of.”

“Someone wrote a memoir.”

“Someone! Someone! Frank Burns, Beej, Ferret Face himself.”

Three girls banging away at “Chopsticks” in the small hours of the morning took an abrupt backseat in terms of importance. “Frank wrote a memoir? You’re sure?”

“I’m telling you, I’m holding it right here in my hands.”

“Okay. You were right to wake me up.”

Hawkeye crowed with laughter, and it was the kind of delight that BJ felt younger just listening to. He smiled, and there was a beat of silence where he felt like Hawkeye knew that—sometimes the world just lined up that way, at least for them, and it didn’t matter how many miles were between them.

“You’ll have to read it to me,” BJ said. “It’s bad enough that you put money in Frank’s pocket, I’m not giving him mine.”

“You think you could stop me from reading it to you? You’re destined to my dulcet tones in nightly phone calls until we get through all three hundred sixty-eight pages. Not counting footnotes.”

“Pictures?”

“No, no, nothing but maps.”

“Well, that makes sense.”

“Right. Everyone knows Frank can’t be photographed.”

“Like Dracula,” BJ agreed. “You know, never mind reading it to me. Bring it here. Maybe we could get a couple people together. Can you find someone to look after your practice for a week or two?”

“For this kind of reunion? I’ll bribe every doctor on the Eastern Seaboard. Well, except Charles. I’ll have to bring him with me.”

“You sure he’ll come? For a 4077 book club that didn’t exist until this morning? He never even met Frank.”

“Oh, he’ll come,” Hawkeye said.

“You know what that is, don’t you,” BJ said. “The confidence of an only child, someone who’s always been used to wrapping other people around their little finger.”

“That’s a horrible way to think about it. I don’t have the confidence of an only child, I have the confidence of a man with long eyelashes. I bat them and I get what I want because I’m so adorable.”

“A little ineffective over the phone.”

“Then I’ll see him in person! I’m telling you, he’ll say yes. And if he doesn’t, I’ll bring him in the trunk of my car.”

“You’re not flying?”

“Well, not if I have to kidnap Charles. He wouldn’t fit in my carry-on. Besides, we can’t do this without Margaret, and if I drive, I can pick her up on the way and save her the cost of a plane ticket.”

“And by that point, if they’re looking for whoever took Charles, they won’t be looking for a man and a woman. You’ll get through all the roadblocks. What about Trapper? We should at least get the whole Swamp complement—Frank by proxy—along with Margaret. Can’t really throw together a full reunion at such short notice, but at least with a smaller one I can offer up some spare bedrooms.”

“I’ll talk to Trapper.”

“You’ll bat your eyelashes.” BJ paused. He was running one finger along the telephone cord, in and out of the loops. “It’ll be good to see you.”

“Yeah.” Hawkeye’s voice was a little rougher now. “You too. Give my love to Peg and Erin, but hold a little of it back for yourself, okay?”

“I think I can do that.”

He went back to bed after that, spooning up against Peg’s back. She shifted a little, enough so she wouldn’t be talking into the pillow, and said, “Is everything all right with Hawkeye?”

“Fine. He sends his love. I’m sorry the phone woke you.” He stroked her shoulder. “What would you think about us hosting, say, Hawk and Margaret and Charles and Trapper? On the grounds that Frank wrote a book, so it’s a very special occasion.”

Peg rolled over. BJ stole Hawkeye’s tactic and batted his eyelashes at her.

“Frank Burns wrote a book,” she said.

“A memoir of his wartime experience.”

“Are you in it?”

“We can only hope.”

“My God,” Peg said. “I’ll make up the spare rooms.”

[the-nosy-neighbor]

Bug-a-Bye and Goodnight

As always, I have edits:

This will make more sense at the end.

I came across some theories about this song, and wanted to look at it in depth.

We are reading with the understanding that he may be referring to Eddie.

[A gentle piano and bassoon track begins playing.]

The sun is low, it’s cold and dark,— end of season, but could also be a reference to night and danger after dark

Just wind and snow, I must remark,

The bugs all head to slumberland,—interesting given the use of toyland, also the commercial about remderem/insomnia (some must sleep but Wally is in the opposite state. Too aware?), but could be a reference to death, like “the big sleep”

Some might find it sad, but I understand,—on face value, he will miss his friends, but knows that it is inevitable.

Even if I might not be able to see you,—can’t see Eddie because he is gone/buried

I know it’s for the best, I can’t keep you,—Eddie staying would lead to serious consequences for Eddie

It’s time for all of you to get some rest,—after what we saw Eddie go through, I bet he would be better in a different state

To tuck you all into your arthropod nests,—bug stuff; also Julie's hibernation?

At this point, those last few lines could refer to a sort of death for Eddie. Almost like frank can preserve him in some way by giving him a death in this universe. If we are talking puppet world, which we did see in commercials, most of Eddie’s anxiety happened in that state. So, can Frank give Eddie a suspended or death like state in one of the layers of reality and he is preserved in storybook world or our real world?

With one last check, that nothing is amiss,

I can see you safe into your chrysalis,—this reads that he will put Eddie into a different state of being that he can come back from. The coming back is my interpretation only at this point because I assume frank wouldn’t choose death for him or would for sure be hurt by Eddie’s death. Things would have to be very bad if true death is a better option for Eddie.

Also, it hearkens back to the horror butterfly image. Another also, caterpillar to butterfly, an insinuation of emedging into a new form. I don’t see allusions to Howdy in here, but I suppose it is possible that this could refer to more than one neighbor and Frank is taking them all out.

As you snuggle down into your dirt,—reference to being buried?

I want to assure you that I won’t be hurt.

This clarifies that it is a sleeping type state, not death. Ok, here is we’re Eddie’s Halloween costume comes in. Frankenstein, changed from the Scarecrow in earlier art (presumably from wizard of oz). Interesting thing about scarecrow vs. Frankenstein is that we see scarecrow taken apart during that film and Frankenstein is famously assembled from parts of different people. Interestinger is the fact that they are both afraid of fire. (I love that Young Frankenstein shows up more than the original in a search.)

Frankenstein (and scarecrow) are both put back together, but for Frankenstein it seems more of a new being, not just a reassembling. Frankenstein (aka frankenstein’s monster) is a thinking, speaking individual that was horrified at the situation he was in. Frankenstein in the book murders to punish his creator for the immorality of creating him and the resulting loneliness that the monster feels. As such, the choice is very interesting. If the puppets of welcome home come to be aware or sentient, I wonder how they would feel about Ronald Dorelaine or their situation?

If the movie version is the focus of Eddie’s costume choice, then he would be a potentially thinking and feeling being (he is afraid of fire), but without further evidence we don’t know his thoughts.

Scarecrow is a guy without a brain, with the power of speech, so a kind of opposite. I think they all end up just needing to be confident, which is why some shyster from the Midwest is able to help. This almost seems to be more in tune with Eddie's character--Eddie has a tendency to appear kind of ditsy, is constantly being dismissed by others. In the end, we find out he is actually smart but lacks confidence. I can see that being true for Eddie as well.

If I had to pick out a character for Frank, it would be the Tin Man. Poppy is the Cowardly Lion, Wally is Dorothy. Home is Home. There are more parallels here than I was expecting. Howdy is the Wizard, Julie can be Glenda, and the Wicked Witch...is kind of no one? Sally can be a flying monkey. She works my nerve. Also, the whole spying thing was done by the monkeys in the movie.

But now that I am thinking about it, this comparison makes a lot of sense, in terms of the complex relationships, as well as the levels of reality that you find in Wizard of Oz. A big event leads to a shift in the understanding of reality, and the lead finds themselves in a very colorful world that doesn't much resemble their own, but is very flashy, has songs, beloved characters, and a sense of danger. There are some things when thought about in the context of real life, or the black and white portion of Wizard of Oz, would be truly frightening.

Of course, Wizard of Oz shares a lot of parallels with Alice in Wonderland, which also seems somewhat related. In terms of source material, the Wizard of Oz is considered to be a parable that expresses the thoughts about US economic policy in the 1890's. This is a theory that you can read more about here: https://en.wikipedia.org/wiki/Political_interpretations_of_The_Wonderful_Wizard_of_Oz

It isn't super related, and not everyone believes that this is the case. However, it seems to be a very American type story, no matter what you believe, that touches on the experience of normal people while much larger forces lie and fuck around with everything.

As the holidays begin to approach,

I gently kiss, each and every roach,—kisses for Eddie. We have seen a realistic roach on the secret page with the mishmash of one script where Wally is deciding what to draw

I made sure to keep, my garden cozy,

So you can safely sleep, in fallen posies,—this whole stanza shows a desire to and promise of a quiet death and maybe even a maintained grave. I looked up posies to see where Eddie could potentially be buried. Posies refer to a nosegay, or small bouquet of flowers. It was a Victorian secret code thing, a way to declare love or even reject people based on flower and color. One that sticks with us in the form of red roses signifying love. On the map, there is a cluster of yellow flowers to the side of Frank’s house. Not sure this counts as his garden, since it is on the other side of the house. Julie has a group of flowers behind her house, but once again, not his garden. No fallen flowers that I can ID.

When googling posey, this is what comes up. I felt that there was a flower called a posey, and these do look like the big yellow flowers by Frank’s house. If any flowers fall in updates, I am going to assume someone is buried there.

There is also the ring around the roses rhyme, which could relate, but I don’t really see a correlation.

It’s time to get comfortable in your honeycomb,

take your winter intermission in your garden loam,—dirt, burying again

neatly nestled from the cold in roots and rhi-ya-zomes, — cozy dead

sleeping side by side under stately stones,—2 dead? Headstones is the link I make there--OK, now look at the pic! (I know, it's a reach.)

…And I’ll be inside of my home,—frank is staying to oversee something. It reads like calming the person who will die. This seems to bolster that arguments that I addressed in the post about bugs on the previous website, that Frank is working against, or at least parallel to Wally. With the bugs, the whispering to Eddie, and using his first name, I think it is reasonable to suggest that Frank is working against Wally and/or Home.

Another potential clue is the hidden video with the clothespins where 1 is upside down. I have theorized that it is a reference to Barnaby dying, but it could be Barnaby and Eddie. Only one clothespin is shown upside down though, so Barnaby or Eddie?

Regardless of how I feel you need to go away,

I’ll be the one to tell you, you just can’t stay,—he likes bugs but this is extreme of Frank, if he is talking about actual bugs

Thankfully I lack a sentimental sensibility,—true that, he generally seems calm.

I enjoy my Methodical Mundanity,—why is this capitalized? I looked and looked but I can’t find the origin of this phrase, though it came up a few times in random posts and articles. Clown does have a tendency to capitalize things that seem random. Me below is also capitalized. I listened as well, and I have to wonder why the singing is so bad? I don’t think the voice actors are bad at singing, seems like a deliberate choice to have reedy and unsteady vocals, pitch issues and pacing problems.

Where all that’s left is… Me.

So, this is a bit extreme for a song about hibernating bugs. I think that given our many references to bisecting or otherwise putting people into pieces (Eddie butterfly horror, frank in a pile of body parts, look I made a dog, and slinky Barnaby, now Frankenstein and Scarecrow) that we could be looking at death in a sense that works in one layer of reality. You disassemble a puppet, it is no longer a puppet. So what if Frank = Frankenstein and Eddie is Frankenstein’s monster? Frank can take him apart and put him back together in puppet reality?

If I had to guess, I am sticking with my working theory. Frank, as the smartest guy in the neighborhood, is the resistant force in the neighborhood. Wally/Home is/are the catalyst for the scary stuff. They are central to everything, physically and otherwise.

I have mentioned that in the last update, Sally and Poppy have the appearance of spies or managing Eddie. Given that Poppy doesn’t attend to party, I am anticipating that Eddie was isolated and watched by Sally during this planning period, where Wally and Barnaby walk the neighborhood to find out what Homewarming is. Given that it is said that Wally and Home instigated Homewarming, it is strange that everyone knows what it is except for Wally. It reads more as an attempt to achieve a goal, despite everyone knowing about the holiday. Even Julie is at the party, and she is supposed to be hibernating. Well, they don't say exactly when Julie hibernates (maybe there was something about her doing it after the holiday?) Anyway, Poppy isn't at Homewarming. She could be at home, but the book stating that they are all here seems like an attempt to cover up her absence. What is she doing? Snooping in the Post Office while Sally watches Eddie? Does Eddie want to go home for not feeling well or he has an idea of what is happening while he is gone?

Maybe Frank sees his boyfriend and comrade at arms about to get hit with something bad, so to preserve him and the opposition, he is going to disassemble him (cue Johnny 5) for protection.

In the past, Sonny (the Brazilian bird) was cast as the opposition to Wally, and included in a relationship with Frank. This work in particular comes to mind:

Clown has stated that they removed Sonny from the project due to the story changing from one with a hero, to one without, as that wasn't the story that they wanted to tell. What if, though, instead of Sonny being written out for the hero reason, there was another reason? What if we are seeing Frank taking on being the neighborhood's savior? He is just snarky enough to make it seem less like a hero situation and more because it was impacting his garden.

[puppyboymikeyway]

little mcr things in songs that i would drop to my knees for

THE GUITAR AT THE BEGINNING OF DISENCHANTED

ITS SO SWEET

'GET. UP. COWARD.'

'run run bunny run' in scarecrow and how it gradually gets louder until gerard is yelling

UHM?? MIKEYS LITTLE 'FUCKIN READY' IN VAMPIRE MONEY?? LIKE BBG PLEASE GIVE US MORE??

the start of kiss the ring?? like?? perfection??

the sweet little guitar part in demolition lovers at the start like go ray! play your silly little riff!

the bassline to planetary(go!)(i have never once called this song just 'planetary'. its always been planetary go to me) is super funky and i absolutely love it. and i remember mikey saying how that was the hardest bassline that hes played or stage or smt like that<3

THE SILLY LITTLE COWBOY THEME AT THE START OF HANG EM HIGH?? LIKE?? I LOVE IT BUT WHY??

that silly riff during dead! that sounds like woody the woodpecker

8 bitter years - 9 bitter years - 10 FUCKING YEARS

romance. all of it. fuck you if you dont like romance. i would die for this little thing

'dO YOU HAVE THE KEYS TO THE HOTEL-'

the peppy little drums at the start of cemetery drive

'sosendmyresignationtothebrideandthegroom'

'hair bACK, MOTHERFUCKER'

THE INTRO TO GIVE EM HELL KID WHERE ITS JUST MIKEY PLAYING AND YOU CAN REALLY HEAR THE BASSLINE. SHIVERS, BRO

also the bassline to headfirst for halos?? and the guitar at the start?? like i love this song too much??

at this point just bullets. all of it. the entire album. so underrated tbh. fuck anyone who doesnt like bullets

'YOU SHOULDVE RAISED A BABYGIRL I SHOULDVE BEEN A BETTER SON' absolute trans anthem right here, folks

the piano throughout blood is just so happy for no reason like hun, this is not the song for this-

the little 'ooooooooo's in all the angels

the howling in house of wolves??? like it fits so perfectly, guys(ive been informed its not howling??? at the beginning?? am i going crazy??)

'so shut your eyyyyess kiss me goodbyeeee and SLEEEEEEEEEEEPP' 10/10

i will never not love the guitar at the start of na na na and it sucks that the only version you can hear it alone and more isolated is the version off of mdnsy but thank god we at least have that version. i love the lil riff at the start<3

the kids from yesterday. all of it. the electro-themed start and then the sNARE- PHMYGOD GUYS. PLEASE DO NOT OVERLOOK THIS SONG

'from the earth to the morgue morgue morgue MOOOOOOOORRRRRRRGUE WELL TONIIIIGHT WILL IT EVER COOOME?'

ray and franks backing vocals during planetary!! the little wooahs! i love them!<3

the drums at the beginning of burn bright??

the way gerard sings television in boy division like 'teLAviSION'

'well it better be BLACK and it better be TIGHT and it better be JUST. MY. SIZE. - well it better be WHITE and it better be CUT and it better be JUST. MY. SIZE.'

WE DONT NEED ANOTHER SONG ABOUT CALIFORNIA. ALL OF IT. I LOVE THAT SONG AND NO ONE TALKS ABOUT IT.

'STOP AND STARE AT THE ACCIDENTS AND STARS THAT BORE YOU'

THATS MY FAVORITE MCR LYRIC GUYS

'louder than gods revolver and TWICE AS SHINY'

okay wait this list was longer than i intended but reblog with your favorite little snippets of mcr songs!!(i keep updating this i need to stop)(i updated it again help)(yet again another update for grammar)

[assortedvillainvault]

Idk if you having writing requests open or anything but is there a chance you could write headcanons for Captain Hook and Y/N who is royalty (Prince/princess/king/queen/monarch/etc)? tia!!

You can always see if requests are open in my blog description! And, y’know, the few times they haven’t been I’ve just turned off asks to be frank, so you’re golden don’t worry.

Captain Hook x Royal!Reader

I’m seeing this as a political runaway situation.

You have no interest in adhering to the strangling confines of your birth role – but a kidnapping gone wrong wasn’t exactly your preferred exit plan.

Captain James Hook blasts his way aboard your vessel with smoke and cannon, and while the cries of your officers make you wince, you know the only reason he was able to get within 1000 yards of your vessel is because the council had surreptitiously rendered your support ships as ‘needed elsewhere’.

Hook likely wasn't a paid assassin in the traditional sense, but he was a convenient excuse for your enemies to place a puppet on the throne faster than one could register you were missing.

You gather your courage and march towards the pirate, head held high amongst the blades of his men. You try not to look at the bodies of your crew as you step in their blood.

“Captain James Hook, I take it?”

He bows and sweeps his ridiculously large hat off with a smirk that you tried very hard not to be at least a little taken by. “Your Royal Highness~” You whip your hand away as he moves to kiss it, and you catch his eye twitch a little before he smooths his face back out. He gestures back to his ship. “Care to join us?”

Though phrased nicely, it wasn’t a suggestion.

Your hostage situation turns out to be the kind of blessing you only mildly regret. True, you can’t leave the ship. But the open sea? The chance to finally use your arms and legs for more than bland ballroom dances? The fact no-one will slap your hand down if you flip Mr. Starkey the bird?

Bliss.

Hook always uses your title, playing up his gentleman tendencies even as you roll your eyes and grow more comfortable aboard ship. He’ll take even the slightest chance to have you on his arm, and makes sure that you have ways to keep clean and eat better than the rest of the crew.

You’re almost unrecognisable. Hair loose, clothes simple, hands rough from work as you learn the ropes aboard ship just for something to do. But even as far from grace as you’ve fallen, you know the price on your head must be in the thousands, and even if your old kingdom doesn’t want you, there are plenty of others who would pay.

“Captain.”

“Hmm?” Hook idly plays his good hand over the piano keys. You’re in his cabin, the night outside dark.

You draw a deep breath in. And out. “When are you going to ransom me?” Your voice only shook a little, and you allow yourself a little bit of pride for that.

Silence. Hook spins to face you, eyes soft. “Darling...” He begins. He rises, hook glinting, and comes to cup your cheek.

“...I abandoned any thought of your ransom the moment you came aboard, love."