#maître gims

[pianocat939]

(Yes yes, Celina posts after 40000 fucking years)

Anyway,

Explain to me why Est-ce que tu m’aimes is suddenly trending???

Like I’m not the type of person to be like, “Oh I knew about it first, I’m cooler”

But more like-

YOU GUYS DIDNT KNOW THIS BANGER EXISTED???

Bruh I was singing that song since I was like 8. Even though my knowledge of French is minimal, shit was still a banger.

I remember blabbering the song in the car with my dad.

[t0rschlusspan1k]

J'étais prêt à graver ton image à l'encre noire sous mes paupières Afin de te voir, même dans un sommeil éternel Même dans un sommeil éternel Même dans un sommeil éternel J'étais censé t'aimer mais j'ai vu l'averse J'ai cligné des yeux, tu n'étais plus la même Est-ce que je t'aime? J'sais pas si je t'aime Est-ce que tu m'aimes? J'sais pas si je t'aime (...) Tu me trouvais ennuyeux si je t'aimais à ta manière Si je t'aimais à ta manière Si je t'aimais à ta manière

[rapha-reads]

Ma nouvelle théorie du complot préférée : les anciens égyptiens avaient l’électricité. De quel cerveau illuminé vient-elle ? Rien de moins que notre Graaaaaand Maître à tous, j'ai nommé Gims !

Du génie, putain. Du pur génie. Une citation directe de notre nouveau grand historien, pour le plaisir, et ensuite un article du Parisien qui est un peu plus sérieux et critique.

"L'Afrique, c'est Wakanda, bordel ! À l'époque de l'empire de Koush, il y avait de l'électricité. [...]  Les pyramides qu'on voit là, au sommet il y a de l'or, l'or c'est le meilleur conducteur pour l'électricité. C'était des foutues antennes, les gens avaient l'électricité […]. La science, que (les Égyptiens) avaient, dépasse l'entendement et les historiens le savent."

Je recommande la lecture de l'article du Parisien, qui dit notamment que la théorie existait déjà avant Gims, et qu'elle est née de sentiments anti-néocolonialistes qui ont leur légitimité quand elles sont réellement ancrées dans l'histoire.

Bref. Je ris comme une baleine toute seule depuis que je suis tombée sur cette histoire. Fallait que je partage.

[soulful-lines]

I forgive you, you know not what you have done Ohh I, I forgive you, now it's time for me to move on Ohh I, I forgive you, you did not see right from wrong Ohh I, and I love you, always in my heart you'll live on You'll live on

Je Te Pardonne (2015), Maître Gims, Sia

[0impulsecontrol]

J'étais censé t'aimer mais j'ai vu l'averse

J'ai cligné des yeux tu n'étais plus la même

Est-ce que je t'aime ?

J'sais pas si je t'aime

Est-ce que tu m'aimes ?

J'sais pas si je t'aime

[well-done-superstar]

✨ 🎶 when u get this u have to put 5 songs u actually listen to, publish. then, send this ask to 10 of your favorite followers (non-negotiable, positivity is cool) 🎶 ✨

1. She's kinda hot

2. GUY.exe

3. Est-ce que tu m'aimes

4. Washing machine heart

5. Puttin' on the ritz

[coquelicoq]

Hello! I just saw you post some Maitre Gims, and I know you like Stromae, so I was wondering what are french/french speaking singers that you like the most? You may have answered smtg like that already but i couldn't find it and I am, as always, very curious ^^ -☆

mc solaar!!!!!! and stromae for sure. and i had a whole renan luce phase in college. otherwise i mostly just listen to individual songs and don't tend to know a ton by the same artist, but i've liked some individual songs by christine and the queens, lous and the yakuza, tryo, kana, bénabar, vianney. some other artists but that's a sample. currently only know two french-language songs by mika but i like them. always looking for recs if you have any!

[leonsennedykennedy]

i love when songs can apply to multiple characters. like look how many guys i can think of because of One (1) thing

[djfrancuz]

Maitre Gims - Brise Pilule Bleue #cinema #frenchdub #francesong @Posit...

[iweb-rdc001]

RDC : Isidore Kwandja rassure sur la prestation de l'artiste musicien Ferré Gola et Maître Gims aux IX èmes Jeux de la francophonie, la date reste à communiquer

Par Gilbert Ngonga Isidore Kwandja, Directeur du comité national de l’Organisation des IXèmes Jeux de la francophonie (CNJF), a lors du briefing presse organisé dans la nuit du lundi 31 juillet à mardi 01 Août dans la salle de presse au Palais du peuple à Kinshasa, confirmé avoir eu des échanges fructueux avec l’artiste musicien Ferré Gola, qui d’après lui, est disposé à prester. Isidore Kwandja…

[ammonitetheartist]

The red means ily (or does it :>)

so uh. @jamieenthusiast’s Nuzi Enemies AU is giving me a bit of brain-juice

Lyrics from Est-ce Que tu M’aimes by Maître Gims

[Image ID: A lyric comic depicting catified designs of N, Uzi and Nori from Murder Drones. In the first panel, Uzi tentatively reaches up to N, who looks down on her. The text reads ‘I was supposed to love you,’. In the second panel, Uzi looks on in shock and horror as N kills Nori, stabbing his tail into her. N has part of the X on his visor, while Nori has part of a ‘FATAL ERROR’ display. They’re both faded, as if to covey that Uzi’s watching them through some sort of projection. The text reads ‘But then I saw the storm’.

The third panel shows a bust sketch of Uzi with the text reading ‘I blinked my eyes’, while the fourth shows that same sketch, but smaller and fully black, with disassembly drone claws wrapped around it. The text reads ‘and you weren’t THE SAME’. The fifth panel shows N facing the viewer with an X on his visor and a wide grin, flanked by text reading ‘Do I love you? I don’t think I love you’. In the sixth and final panel, Uzi faces the viewer with an expression of anguish. Her right eye is an AbsoluteSolver symbol, and a larger version of the symbol is behind her. The text around her reads ‘Do you love me? I don’t think I love you’. End ID]

[insecateur]

I'll be standing tall (La Maison-Dieu)

A 10 songs bilingual Sycamore/Lysandre playlist (in honor of Pokémon X&Y's 10th anniversary)

(Unfortunately, I don't use Spotify, so you'll have to make do with this YouTube playlist or look for the songs yourself. But do look under the read more for Lyrics Excerpts and all of that.)

Why a bilingual playlist? Well because I'm a bilingual guy, for a start, and because my experience with Pokémon X&Y in general and this ship in particular has always been bilingual as well (even trilingual, arguably.) I wanted to put together some of my favorite songs in English for them and introduce English-speaking fans to some of my favorite French songs for them, too. A lot of those songs are songs I've quoted, mentioned, or even used as inspiration for art and fic.

(Why is Augustine on the English side and Lysandre on the French side? Because I thought Lysandre would be offended at the idea of being on the English side while Augustine wouldn't care about it as much.)

SIDE A: ENGLISH

Sunburn by Muse

He burns like the sun And I can't look away And he'll burn our horizons Make no mistakes

This is the classic, quintessential PRFR song for me. Its only crime is that it's het, sung from the point of a view of a man singing about a woman. That pesky little detail cannot stop me, however.

Without You I'm Nothing by Placebo (feat David Bowie)

I'm unclean, a libertine And every time you vent your spleen I seem to lose the power of speech You're slipping slowly from my reach You grow me like an evergreen You've never seen the lonely me at all

Do I even need to say anything about this? I listen to this song when I need to make myself Suffer thinking about them. Oh to be unable to bring yourself to say something about your beloved friend's downward spiral...

Hardest of Hearts by Florence + the Machine

Darling heart, I loved you from the start But you'll never know what a fool I've been Darling heart, I loved you from the start But that's no excuse for the state I'm in

My friend sent me this song saying it was about them and they were RIGHT. Shout-out to my friend for that. I like how it can be alternating POV, too.

Changes by The Happy Fits

I try to run away but I find myself, again Stuck in the same place Who will I be today? I can't control the world or change it

This one was suggested by @jonphaedrus and I'm really happy I could have its contribution in here as well. This is very meaningful to me.

Celebrate by Metric

Even the darkest hour soon will be over My friend, it will be over

I couldn't not put a Metric song in there! It was tough finding the right one... But I thought putting a more optimistic spin would be nice, too. I actually associate this song with SLaWCS specifically as well, which is a nice touch.

SIDE B: FRENCH

Pâle Septembre by Camille

Mâle si tendre Au début de novembre Devint sourd aux avances de l'amour Mais quel mal me prit De m'éprendre de lui ?

Did you know? This song is the reason why I associate Lysandre with the Tower arcana. Or at least, it's what put the idea into my brain first. This one is also a quintessential PRFR song for me.

7 Vies by Kyo

La vue est magnifique Contemple-la tant que tu peux La lumière alcaline Le bien, l'ennemi du mieux Tant que le temps défile Tout doit se vivre à deux Je pratique le langage des signes Et celui du feu

I think I should be allowed to include some more vibes songs in there, although I'd argue this one fits them well. It's a bit abstract, but it fits.

Tout donner by Maître Gims

Tu es ma maladie Ma guérison quand tu l'décides Mes nuits s'illuminent J'en confonds le jour et la nuit

A desperate, self-destructive pining song... What else could a man want in this world. It's very tasty. I think about those lines way too often.

Aimer à mort by Louane

L'espoir qui joue, le feu, le froid Un souffle au cou, baiser de roi Pour nous reprendre, pour nous défendre Pour se comprendre chaque fois

Another intense but more optimistic one. I want to believe... I want them to believe as well...

Rouge Ardent by Axelle Red

As-tu trouvé, dans les feux, dans les flammes Ton idéal rouge ardent As-tu froid As-tu peur de l'aurore Tu disais "tout s'évapore" Tu as eu tort

It's a song about being in love with a failed idealist. And also the color red is there. What more can I say. (Also, this time it's originally a het song from the POV of a woman singing about a man, which ties it all neatly together, I think.)

Happy 10th anniversary to all my fellow shippers, young and old, new and ancient, whether you were in the trenches with me back in October 2013 on this webbed site or you joined us in 2021 with the Pokémon Masters revival, thank you for loving them always. Here's to loving them more and more in the future, and here's to the Pokémon X&Y remakes as they become clearer and clearer on the horizon. (And maybe we'll get a Legends game, too? Wouldn't that be something...)

[mlleclaudine]

En couverture de Vanity Fair: Noémie Merlant, portrait d'une actrice en feu

by Norine Raja - Vanity Fair France, July 24, 2024

Tragic, comic and now erotic: Noémie Merlant continues to prove that she can play anything, including a radically contemporary version of Emmanuelle.  But how do you reconcile sensuality and feminism in an era that leaves so little room for nuance?  Norine Raja asked her.

Suddenly, the interview’s soundtrack changes drastically.  At the café terrace where we're chatting, the lyrics of Maître Gims give way to an electro remix of the familiar melody of Bella Ciao.

Is it a sign?  The music seems to have anticipated Noémie Merlant's thoughts: «At one point, I felt trapped.  Now, it's like this song: freedom, freedom, freedom!»  she says to the beat of the chorus.  Has she reached the point of total emancipation?  «Not yet, but I’m getting there», she says with a smile.

On this June afternoon, the actress is back home in the Paris suburbs after having attended two festivals in a row – Biarritz and Nantes – to present her second feature film as director, Les Femmes au balcon.  Espresso started, unfussy outfit, bag casually laid on the floor, hair in a ponytail.  She weighs her words, relishes the silences.  Then, the next minute, she rivets you with her electric gaze and makes her point with total conviction.  Just try to pigeonhole her.  She’s got a 14-year career under her belt and as many different roles: a rebellious teenager in Les Héritiers (2014), a naive aristocrat in Le Retour du héros (2018), a trans man in A Good Man (2020).  «She's a perfect blend of precision and abandon», said Céline Sciamma, who directed her in Portrait de la jeune fille en feu (2019).  «She can play a powerful woman, but also hint at vulnerability», adds Audrey Diwan, winner of the Lion d’or for L'Événement (2021), who has just directed her in Emmanuelle – more on that later.

Because she remains an enigmatic figure in the public eye, no persona seems too outsized for her.  Think she’s limited to dramatic roles?  She displays unexpected comedic flair in L'Innocent (2022), in which she plays Louis Garrel's brash best friend: twinkling eyes, a mischievous attitude, raucous laughter.  Her feigned nervous breakdown in a highway restaurant is unforgettable.  The role (finally) earned her the César for Best Supporting Actress in 2023.  Audrey Diwan hasn't forgotten that performance: «Every time she smiles in this film, she turns the world upside down.»

That same year, the filmmaker was working on a remake of Just Jaeckin's Emmanuelle, the famous erotic feature film of the Giscardian era.  At the time, Noémie Merlant had never seen this landmark of 1970s sexual revolution, the first installment in a 15-part saga.  So she met the director without any preconceived ideas or images.  She was inspired by the character.  «She must be exhausted in her search for pleasure», she suggested to Audrey Diwan, who offered her the role before the meeting was over.  She insisted on watching the original film after shooting was done.  Her verdict?  «It's a disaster.  The first part is interesting, with this open relationship.  But then there's a storyline with Emmanuelle and an older man.  She gets raped in front of him...»

The film has aged badly, but the 2024 version is free of any misogyny.  The look and feel have been modernized.  Replacing the postcard Thai décor and its whiff of orientalism is a luxurious Hong Kong setting.  Not a young woman pandering to the desires of others, but an ambitious thirtysomething in the throes of self-discovery.  A complete reinterpretation, in other words.  I hesitate to ask: was she afraid to embrace this character and her sultry aura?  She dismisses the idea out of hand: «That never even occurred to me.  What interests me these days is working with women directors who are seeking to redefine representations of women, their imagination, their sexuality.»

Céline Dion, her idol

Sorority was Noémie Merlant's guiding principle, long before she became aware of or defined the concept of female solidarity.  The daughter of a pair of real estate agents, she grew up in Rezé, a town of 40,000 people near Nantes, in a happy household where television held center stage.  Evenings were spent watching Buffy the Vampire Slayer and crying over Titanic, she admits with a touch of embarrassment.  Like thousands of French people, we'd like to tell her.  She is very close to her mother and older sister, who suffers from a disability.  To avoid adding to her parents' burdens, Noémie learned not to take up too much space.  After years of therapy, she's come to realize: «It's nobody's fault, just the dynamics imposed by society. And then, at the same time, school teaches you not to make waves, society tells women to be well-behaved.»

So she found other means of expression.  She was a soloist with the Nantes Conservatoire choir, and dreamed of following in the footsteps of her idol Céline Dion.  She also practiced ballet and modern jazz for ten years.  Her father was convinced that Noémie was destined for a career in the arts.  One day in the mid-2000s, he saw an advertisement for the Cours Florent and encouraged her to try her luck.  The 17-year-old was scared, but eventually let herself be convinced.  She headed for the capital, where the transition was rather brutal.  «When I arrived, I was thinking: “I don't know anyone, I have no culture... What am I going to do?”»  She compensated for her imposter syndrome with a thirst for knowledge.  Here she lists the directors she needed to catch up with: Bergman, Cassavetes, the great Italian filmmakers like Visconti.  And reading?  «There's nothing to be done about it, I just can’t», she says frankly.

At the same time, she pursued modeling to «earn money, even if you only got paid in clothes», she says pragmatically.  She did photo shoots, fashion shows, and trips without really thinking about it.  She didn't want to «bite the hand that fed her», and would realize only much later the full extent of the toll this experience took on her.  The «Shut up and look pretty», the memory of being sexually assaulted by a photographer, the feeling that her body was no longer her own.  To the point where she weighed only 45 kilos.  «That gave me a massive eating disorder, which I'm still trying to overcome.  I was anorexic-bulimic for almost ten years.  I'm not any more, but I'm still hypervigilant about what I eat, and I'm always careful not to let myself go.»

There was only one thing to do: get out of the fashion world as quickly as possible.  Sometimes, it's all about meeting someone.  In 2013, the actress auditioned for Les Héritiers, a film by Marie-Castille Mention-Schaar inspired by a true story.  It tells the story of how a teacher enrolls her most unruly pupils in a history competition, an experience that will change their worldview.  Noémie Merlant was 24, but looked young enough to play the class rebel, wearing a leather jacket and with headphones on.  On set, the filmmaker was impressed by her talent and intense presence.

Filming with Desplechin

A year later, another text message: «Would you be available to meet?  I'd like to talk to you.»  [Mention-Schaar] offered her the role of an average young girl, radicalized by jihadists, in Le Ciel attendra.  To prepare for the role, Noémie Merlant met with teenage girls in the process of deradicalization, and tried to understand their mindset.  «We found girls from all social backgrounds, cultures and religions.  For many of these teenagers, there was the feeling of being misunderstood by society, but also frequently the beginnings of anxiety about death and shame.  The desire for an ideal, for something unconditional, even in love stories.»  The film was released in a volatile context, less than a year after the attacks on November 13.  But the actress took a cleareyed view of this phenomenon, which she believed revealed youth in search of meaning.

This total commitment paid off: in 2017, she was nominated for a César in the Most Promising Actress category.  In an interview filmed around this time, she appears smiling and fulfilled.  Well aware, too, that the road ahead is fraught with pitfalls: «The hardest thing is to maintain self-confidence, even when you don't believe in yourself, or when you have periods of emptiness.»

What was Noémie Merlant dreaming of at this very moment?  When asked about whom she’d like to collaborate with, she almost mechanically cited Arnaud Desplechin or Abdellatif Kechiche.  She didn't know it yet, but the revolution would be born in a female microcosm.  In 2019, the young woman played a painter hired to create the likeness of an aristocrat (Adèle Haenel) in Portrait de la jeune fille en feu.  Céline Sciamma's fourth feature is an incredibly intimate costume drama: a manor house, a cliff overlooking the sea and just four characters.  At first, the actress was confused by the script: «Conflicts are nonexistent or immediately defused.»  The absence of dominance hierarchies unsettled her: there were no saviors or anyone being saved; there were creators but no muses.  «Just a gentleness and a wonderful equality.  And in spite of everything, there’s an exciting story full of surprises.  That's what makes it so powerful.»  A head-on collision between two great actresses, where their eyes meet, sizing each other up, caressing each other.  Like when Noémie Merlant’s character places a mirror between her lover's thighs, then sketches her self-portrait.

A box-office success across the Atlantic and a critical triumph, the film was in the running for ten awards at the 2020 Césars.  But on the evening of the ceremony, one name brought all the tensions into focus: Roman Polanski.  The director, who is currently facing several rape allegations, had been nominated in several categories for his film J'accuse.  French cinema had never been so fractured.  Adèle Haenel, who revealed that she had been molested as a child by director Christophe Ruggia, was in shock.  For her, honoring Polanski was tantamount to «spitting in the face of all victims».  No one heeded her: the filmmaker won the prize for best director, to the applause of part of the audience.  «Someone shouted: “Well done!” recalls Noémie Merlant.  It was clearly a response to Adèle's speaking out.»  In protest, the cast of Portrait de la jeune fille en feu left the auditorium, after shouting a resounding «Shame!»  In the wake of her commitment, Adèle Haenel announced her retirement from cinema in 2023.  Has Noémie Merlant thought about following her example?  «It wasn't easy to keep going, she acknowledges.  I admire Adèle's courage.  But staying is also a way of continuing the fight.»  The actress has no illusions about the seventh art.  No promotional newspeak, no generalities or shortcuts in her remarks.  Even when she salutes the «extraordinary people» she has worked with, she qualifies that with «but that's not always the case».  You get the sense that she is torn between the desire to talk about her difficult experiences and the fear of endless controversy.  She mentions «casting directors, actors, who promise you things».  How do you recognize them?  «Thanks to my experience as a model, I'm like a fish that spots the hook before the worm.»

Portrait de la jeune fille en feu «changed everything» for her.  She set off in search of more meaningful roles.  She reassessed her place not only in cinema, but also in the world.  She reflected on «patriarchal oppression», confronted the traumas that resurfaced.  «Even my relationship dynamic no longer suited me.»  She left her partner at the time and moved in with Sanda Codreanu, a friend from the Cours Florent.  She hesitates over the precise terms, but speaks of «escape» and «sanctuary».  In this haven, words flow freely and bodies are liberated.  They laugh as much as they talk about the violence they've suffered.  She, who used to move from one relationship to another, embraced a new perspective on relationships.  Why should romantic love count for more than friendships?  Why force yourself to have sex to please the other person?  Noémie Merlant now knows what she wants... or rather what she doesn't want.  These days, she's in a «healthy, unstructured» relationship.  She adds: «We're not afraid to experience things separately.  The important thing is that each of us is fulfilled.»

The Cate Blanchett method

Recovery also involves the body.  Onscreen nudity doesn't bother her.  «There are fewer and fewer actresses who agree to undress, which I understand.  But I don't have any issue with it, so I'm happy to go for it.  I think there are things to explore and advocate for in this freedom.»  She asserts her willingness to explore eroticism and sexuality through the eyes of other directors.  Female desire in all its forms is a common thread running through her filmography: she develops an attraction to an amusement park ride in Jumbo, plays a writer infatuated with a libertine photographer in Curiosa.

For a long time, sex scenes had been reduced to a few lines in a script and improvised on set.  In Jacques Audiard's Les Olympiades, the ballet of bodies is carefully designed.  Playing a thirtysomething woman who becomes fascinated by a camgirl, Noémie Merlant was coached by choreographer Stéphanie Chêne.  She learned to abandon dialogue in favor of her gaze and body language.  For the first time, she thought about her character's movements.  «It allows you to feel safe and to work with respect above all else.  And so you can go further, seeking precision through imagination.»  Farewell to the good little girl.  She avoids tyrannical filmmakers, those who push the actors' limits.  At one point, when a director tried to manipulate her to extract emotions, she almost walked off the set.  «I made him understand that I was making this film above all for pleasure and for creativity, and that I couldn't accomplish anything with that kind of method.  In the end, it turned out well, but I wish I hadn’t had to go through that.»  It was like revenge for all those outbursts she’d had to swallow.

Behind the camera, Noémie Merlant has also chosen irreverence.  In her second feature, Les Femmes au balcon, she imagines a Marseilles-style Rear Window, somewhere between comedy and outright gore.  The pitch: three girlfriends have fun spying on their mysterious neighbor across the street, with whom they develop a relationship that goes beyond exhibitionism.  It was difficult for her to find an actress who would agree to film naked, until she came across the luminous Souheila Yacoub.  One question nagged at her: how to film a body without sexualizing it?  First, by disarming the issue with humor.  «Right from the start, I give the viewer a heads-up: “Here you go, boobs.  Now that you've had a good look at them, let's move on.”»  She also uses the expression «shirtless» for women, a way of denouncing double standards.  There's no idealizing of her heroines' bodies.  She films them in their everyday lives, in positions that are not always flattering, and welcomes a touch of vulgarity.  «It's a form of sincerity as well.»

Taking risks is finally paying off.  In the last couple of years, Noémie Merlant has turned a corner in her career.  Like Marion Cotillard, Adèle Exarchopoulos and Juliette Binoche, she is now sought out by foreign filmmakers.  In 2021, Todd Field sent her the script for Tár.  And for a significant role.  She plays the assistant to a famous orchestra conductor, starring opposite Cate Blanchett – and speaking perfect English.  An intimidating experience?  Idolization is not her style: «It's important to demystify people who are in the limelight.»  Still, she took the time to observe Cate Blanchett in action.  The way she handled a complicated sequence shot or filmed the same scene twenty times without complaining.  Her ability to juggle lessons: piano, German, baton handling.  «There's no mystery.  It's all about the love of the craft, precision and the quest to relinquish yourself to the role.»  She adds, a bit idealistically: «Often the ones who succeed are also good people...  Not always, but I prefer to tell myself that.»

Yet Noémie Merlant has no desire to sacrifice her whole life for her profession.  For a long time, she took one role after another, as if for fear of missing out or being forgotten.  These days, her priorities have changed.  «I want to do Qua-li-ty», she says with a smile and a funny inflection.  Wouldn't this be a good time to enjoy it, too?  Her financial situation now allows her to help her family.  She has adapted her house to accommodate her father, who has been in a wheelchair since having a stroke in 2009.  She has helped her parents find a new home, and paid for outside help to relieve her «very exhausted» mother.  How does her father view her success today?  «He's very, very, very proud.  He tells himself that he was lucky, because it might not have worked out.»  He follows every step of her career, keeping track of every press article.  «He's definitely going to be handing out Vanity Fair to all his friends.»  You can sense her admiration for this close-knit clan, for their ability to face adversity.  A few years ago, she took out her camera to film them in their daily lives, around Christmas time.  She has started editing, but still has some work to do.  Recently, she went back to the rushes, but hasn't managed to finalize the project.  Perhaps it's too intimate.  I propose a hypothesis: what if she had primarily sought to freeze time?  She continues: «There's something interesting about the way they talk, the way they live, with a lot of humor and joy in spite of everything.  I want to share this story, because it can do a lot of people good.»  Could this be the next step toward freedom?

[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist – I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect – there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts – but they do take a lot of work and time.  Thanks for understanding. - C.]

h/t @morningmightcomebyaccident - thank you, Grey!

[rose-margaritas]

Hey guys! I’ve kind of been stuck in art block limbo recently, not because of a lack of ideas but instead of too many ideas. So, I’m making a poll to see what animatic you guys would like to be made first :D (to hopefully escape art block hell…)

[majachee]

When u get this, list 5 songs u like to listen to, publish. Then, send this ask to 10 of your favorite followers/mutuals (positivity is cool) :)

not doing the sending thing vuz im anxious and ohhhmygod

But uh. 5 songs... I can do that!

Lyfjaberg by Wardruna

Herr Mannelig sung by Garmarna

Est-ce Que Tu M'aimes? by Maître Gims

Monkey Tree by Mother Mother

Norupo by Heilung

I like a lot of songs lol but here are the first ones that come to mind

[beyondtheepleasureprinciple]

@ the nation of france stop playing edith piaf during official events and start playing maître gims