#unchained melody 'verse

[joonsytip]

Unchained Melody || Joshua [Teaser]

Pairing: Joshua X Fem!Reader

Genre: Angst, Fluff, Florist!Joshua, Professor!Reader, Multiple Reincarnations au, Soulmate au, Unrequited love au, Historical au, Hanahaki au, Fantasy au

Synopsis: You find Joshua, your soulmate in every lifetime and it takes only a sight of you for him to regain the memories of his past lives until you find him again in the current one but this time he doesn't recognise you at all.

Warnings: multiple reincarnations, heartbreak, major character death in some of the lifetimes, concept of soulmate and red string of fate, multiple vague verses and a whole lot of things through different lifetimes.

Dropping anyday, anytime.

[ SVT Masterlist ] [ SVT Flick - Fic Masterlist ]

Joshua waits. He observes you. But as time passes, the confusion in his eyes morphs into something somewhat you could term as agitation.

"Do you really not recognise me?", you ask with hesitance in case he's joking but the vague look in his eyes now is giving an unmistakable answer.

"I'm sorry but as I said, no. I really don't recollect meeting you before.", he says apologetically, "If you don't mind introducing yourself so that I can...", his voice trails off.

"This has never happened before", you mumble to yourself, "What's happening?"

You freeze when your gaze falls on the bouquet of red carnation, that he had kept on the counter.

The memories of your last life flashes in your mind. How you had coughed those red petals till you faced death because Joshua never reciprocated your feelings.

You get reminded of how once again, in one more lifetime he was your soulmate but you weren't his.

How the red string of fate tied to his pinky never linked him to you.

How your fate was always bound to him but the two of you never ended up together.

And how it was destined for you to find Joshua in every lifetime only to get effaced by another heartbreak.

→ Do not copy, re-post, translate, or share any of my works on other platforms! All stories are copyrighted, joonsytip. ©️

[piratewithvigor]

If I was Weird Al, I would parody myself by dropping an album by "Normal Al Yankovic" and it's a collection of incredibly serious and poignant song sort-of-covers (all still including the accordion) and here's my suggested track ideas:

Hallelujah by Leonard Cohen (there would be one new verse treated with utmost sincerity and same theme, but actually complete nonsense when you really listen to the words)

Let It Be by The Beatles (I was gonna say he changes Mother's name to be his mom's name, but his mom is ALSO named Mary, so that's funny in itself)

Wreck Of The Edmund Fitzgerald by Gordon Lightfoot (about halfway through Al starts crying with emotion over the ship sinking and as the song goes on, he's just sobbing his way through)

Unchained Melody by pretty much everyone (do not tell me an accordion rendition of Unchained Melody with Al putting his full Yankovussy into it would not be hilarious)

[that-ari-blogger]

No Thoughts, Head Empty, Evil (Hell Is Forever)

Hazbin Hotel doesn’t have time for subtlety, so it takes the most direct approach to any plot point. I want to stress that this is the fault of management insisting on an eight-episode runtime and not the writers and directors. Everyone who cared about this series put in a lot of effort and skill and that needs to be commended.

Notably, one rout taken to negate some of the pacing effects brought on by management was the first episode being as overt as possible. Here are two songs, one says what the hero thinks, one says what the villain thinks, they cannot coexist.

And Adam is a really good villain for this type of setup, because he isn’t particularly complicated. He’s a misogynist who has made narcissism his entire personality, and that’s about it. He doesn’t need to be complex, he needs to be bad.

Hell Is Forever then only needs to get across the most important parts of Adam’s character: Hypocrisy, bigotry, and unoriginality.

Let me explain.

CONTENT WARNING: Foul language.

SPOILERS AHEAD (Hazbin Hotel)

In this context, the unoriginality insult is levied at Adam as a person and not as a character. Adam is a really novel take on the biblical character, but also the archetype he is playing. There are some really cool details that I will go into in detail in a moment.

But as a guy, Adam is painfully uncreative. Case and point: his language style is so basic.

I mentioned in my previous post that Charlie is characterised as naïve, but I deliberately didn’t say anything about this as a youthful lack of knowledge. The series as a whole takes great care to not get the two misconstrued, and Charlie is always treated as the adult she is.

Adam, meanwhile, has the vocabulary of a twelve-year-old who just learned the word “fuck.” He has nothing else going on than dirty jokes and immaturity. He’s puerile.

Lexicon is a character tool. Every word has its place, and every situation has about a hundred ways of approaching it through language. If a character everything in the same exact way, it implies that they approach the rest of their life with the same brute force technique. One size fits all in this person’s mind.

Note that this does not apply to real people, a person can curse and swear as much as they like. Symbolism is not a force of nature.

Adam’s unoriginality actually does take an interesting form in his music. It’s rock, and it sounds cool, but it misses the heart of what rock is as a genre, at least to me.

Rock is transgressive. It’s about raw expression and emotion. It’s a genre about being free from constraints and letting loose. Take Wolf In Sheep’s Clothing by Set It Off, and The Hand That Feeds by the Crane Wives, for example.

The former is about betrayal and feels like a journey through the stages of grief at a broken relationship as it ricochets from unfettered anger in the verses to a more manic-depressive pleading in the chorus, until crashing into a form of acceptance that immediately subverts itself as the song returns to its chorus and the perspective character is unable to move on.

It twists fairy tales to show the corruption of what could have been a storybook romance and lays the blame entirely on the protagonist's ex-partner.

Meanwhile, The Hand That Feeds isn’t really a rock song until it abruptly is. It’s a slow, lilting melody about powerlessness in the face of capitalism and the danger of “the great American ruse.” It has a bit of venom to it as it speaks of loss like a survivor showing off their scars. Then it goes quiet for a moment as its protagonist starts talking about the present and future, before releasing that stored energy into a mantra that speaks of being unchained in the face of the horrors she is describing. It’s a statement of hope, a war cry to raise the morale the downtrodden and a threat to those who hold together institutional injustice.

“I may never be a rich man but the rich man will never have me, never have me I may never be a rich man but I can make sure that I am free”.

Compare that to Adam, who sings:

“The rules are black and white There’s no use to tryin’ to fight it. They’re burning for their lives Until we kill ‘em again.”

Are you picking up on the thematic dissonance here? Its appropriation of an aesthetic without any thought going into it. It’s Adam using a genre about freedom to say “no, the system is fine actually,” and that misuse plays into something else as well.

Adam's wings also allow him to manipulate the cinematography. As he flies, the audience takes the side of Charlie looking up at him as he regards us both with distain.

Music is a tool of expression being heard. That’s why Seraphine should be the most dangerous character in League Of Legends but isn’t because Riot is Riot. Music makes an idea palatable and easy to convey.

Adam’s use of the genre takes that tool and irons it out. It makes the meaning less special by mixing it with utter horseshit that effectively waters it down, therefore stripping those he oppresses of a key tool to band together and achieve their freedom.

He doesn’t even do this intentionally, he's not intelligent enough to do that; the meaning is a side effect of his greater motive.

In that way, Adam is like an AI image generator. He scrubs the source material for shallow things that people like and turns them into something that looks half decent but doesn’t actually mean anything. It’s a disregard for those who paved the way for the thing he likes because it doesn’t occur to him that any of them had any actual thoughts.

This carries over into the visuals, which are just token edginess without any of the punch to them that actually make edginess special. The black and white shot is cool visually, but it’s the most literal visualisation of what he is saying, same with the thing of the image of the pot a few seconds later. There were so many ways to get the idea across, but Adam is uncreative and went for the obvious because it was easier.

Here is what Adam thinks better is. It's just heaven. He thinks of himself and his people as inherently superior, so to go with a line about chances, he shows heaven. Its uncreative on his part, but really interesting storytelling being done by the writers.

On the other hand, the lyrics of this song pull double duty by undercutting Adam at every moment possible to display his hypocrisy. The man is a walking satire of himself, and the writers know it.

Why do I think this? You may ask. Context, I answer.

This song is one of those moments from media that I have heard misused a few times by people who agree with the guy who say it, and by a few people who disagree and think that the author shares the character’s views. I would put the “You Can’t Handle The Truth” speech from A Few Good Men in this category, as well as Feed The Machine by Poor Man’s Poison.

Feed The Machine is a song about political corruption and classism. It’s the idea of “what if we said the quiet part out loud” and is aggressively morbid. It is most definitely not a song about gamers not getting what they want. There are a ton of reasons to get upset with Microsoft, don’t get me wrong, but using this song to protest in that context just looks like Dudley complaining about only getting 36 birthday presents.

A Few Good Men is the most egregious example, because holy moly is it misconstrued. The speech declares that the army is necessary and therefore allowed to get away with whatever they want because the truth is too unpleasant. It talks about the sacrifices needed to win.

But you do realise he’s wrong, right? Jack Nickleson is charismatic, sure, but his character, Jessep, is the villain. The sacrifice in question was the assault and death of a recruit, and this is happening in peace time. The man is a prison guardian in Guantanamo Bay after the cold war and before the war on terror. What is he guarding against? He’s justifying manslaughter with the vague concept of an enemy. He’s overtly in the wrong.

This is the Alf Garnett problem. It doesn’t matter how bad you make a satire, there will always be someone who is actually worse and who doesn’t read the writing on the wall.

For the record, I would also put most of what Catra does in She-Ra and the Princesses of Power into this basket, but I have an entire other series exploring that, so check that out if you want to know more.

Adam is, like Jessep, the villain of the story, and his antagonism is based in his hypocrisy. He spends the entirety of the song claiming that the rules of heaven are set in stone, but are they? He declared that the extermination would be sped up because “fuck you, I do what I want,” and the rules are never actually stated.

Most notably, how does anyone actually get into heaven? We still don’t know that and season one has wrapped up and hinted at an answer. It’s all speculation at this point.

I mentioned in my previous post that this series is aimed at the internet and Tumblr specifically, and Adam actually factors into it, because for a satire set in the Judaeo-Christian afterlife, the series is weirdly averse to critiquing its setting.

Instead, the series uses it as a visualisation of the themes and relies on the version presented in the Devine Comedy rather than anything more specific to the source beliefs.

As such, Adam exemplified the idea of retributive justice. The idea that if you are good, you can make bad people suffer, which I personally disagree with as a concept.

Adam takes on a mournful affectation for this line, the dissonance of which makes me laugh so much. It's like "I have to do a murder, or I will be sad, and you wouldn't want me to be sad, would you?" He's such a shmuck.

“For those of us with divine ordainment, extermination is entertainment.”

It is fun to Adam to watch bad people get their just deserts. And putting aside for a moment the inherently dubious morality of “bad” being ambiguously defined, it also doesn’t take into account the complexity of individuals that cannot be generalised.

Perhaps a person made a mistake or genuinely didn’t take into account the consequences. Maybe a person needed to make the decision because they had no other choice, like stealing money to pay for a medical procedure. What if someone wasn’t thinking straight and made a rash decision because they were tired or inebriated.

Or how about this: A person knowingly and willingly did an abhorrent thing, like a murder, and then regretted it and devoted themselves to getting better as a person and atoning for it.

Your mileage may vary on the morality of all of these people, but if I was to ask you individually if each of them deserved death, what would you say?

The show's specific word choice here, "winners", is a representation of Adam's justification. He thinks that he has earned the right to do genocide and that the penalty for losing a game whose rules he is actively making up, is death.

Looping back to the ethics of this, what is defined as bad in this story?

Is stealing enough to get you into hell? How much would you have to steal? If you walked home from school with a pencil you borrowed from a friend and forgot to give back, that’s technically stealing, so are you going to hell?

Similarly, the series implies a Judaeo-Christian moral code, but that changes depending on the denomination and location. In some places, homosexuality is a sin, would that get someone in this universe damned for all time even if their particular church disagreed with that specific doctrine?

This is all compounded by the fact that, it doesn’t matter what you did to get to hell, the extermination aims to kill as many people as it can, one size fits all punishment.

Which leads to my critique of the internet, because say what you will about its benefits, the internet is awful at nuance, and it is awful at morality. Youtube and Twitter incentivise controversy through their algorithms, and while Tumblr doesn’t have that problem as bad, I have seen so many people in the media analysis side of this platform complain about how x character didn’t receive enough punishment for what they did, or y character’s redemption arc can’t work because they were too bad before.

And people act like Adam and Lute online, either shouting down others to drown them out or by speaking quickly to out debate people with arguments that don’t actually make sense when you think about them.

This is why the popular moral grey character these days is just either a fully good character who wears eyeliner or a fully bad character who’s blonde, but it also strays into how we view our own world.

The internet talks about the world with a black and white morality that just doesn’t fit. I live in a country where one politician being unapologetically terrible as a person means that everyone else is suddenly an angel and everything they do is forgiven, which is exhausting.

Yes, there are evil people out there, and there are good people, but the vast majority of humanity is somewhere in the middle.

People get really emotional online, and the desire to take revenge out on fictional characters is fine, they’re fictional. But take care to not let that stray into how you interact with real people. The internet has far too many horror stories of angry people hurting others because “its ok to hurt them, they hurt someone else, and this is payback”.

After I wrote this @comicaurora put out a post that made my point in a really succinct way, so go read that.

The most chilling example of this is that while writing this post, I was worried people would think I was generalising and assume I have accused them of being awful human beings for misconstruing characters. That’s not what I’m trying to do, I’m just saying that morality is complex and the internet as a whole isn’t very good at understanding that, so we should all try to work together and get better at nuanced thinking.

Be kind to people, essentially. Everyone has a story and some even have reasons for what they do.

Before I go, I despise the visual designs of the angels. I think in concept they are cool, but in practice I don’t quite buy them. However, the one thing that really works for me is that the exorcists all have one eye crossed out. An eye for an eye leaves the whole world blind.

Final Thoughts

I want to focus on my thesis for this series. As in, I think the series is fundamentally about hope. Hope for a better future, hope that you can get better, hope against all odds. So it’s important to me that Adam as a villain goes out of his way to tell Charlie that her hope is misplaced and that it won’t go anywhere.

But that’s the thing about hope, if there was a reason to believe, hope wouldn’t be necessary. Hope exists when there is no proof, and it inspires. Adam’s attempts to tell Charlie that she’ doesn’t have a chance fall on deaf ears because she knows what he’s telling her, it’s all been said before.

The difference being, thanks to the extermination, Charlie and the crew as a whole have no choice but to hope. Adam has brought on his own destruction through his callousness. If he had just left hell alone, it would have got better over time, sure, but it wouldn’t have done so in battle.

In other words, oppressors can only bring about their own demise when they make resistance the only viable option.

Next week, I will be looking at Stayed Gone and Alastor’s introduction, but I also have a post planned for this Sunday in which I will go into Lavendertowne’s second batch of redesigns and explore how they tell their story. So, stick around if that interests you.

Previous - Next

[fyreflys]

I’ve been talking non stop about it on Twitter & in my discord servers but it hasn’t spewed over here yet which is honestly shocking BUT I watched the Elvis biopic movie like a week ago & now my brain is obsessed with Elvis Presley. This is one of those examples of “you don’t choose the hyperfixation, the hyperfixation chooses you”. Like I can’t stop thinking about Elvis Presley I’ve been listening to his hit songs on repeat for the past week. Like constantly. I’d be shocked if this guy isn’t in my Spotify wrapped at the end of the year. I’ve even started watching the movies he’s in. I just watched King Creole. I’m watching Flaming Star tomorrow. I have a SCHEDULE. GOD HELP ME

But also can we talk about how different his life & career success would have looked like without Colonel Parker- OK ILL STOP ILL STOP

Jk I won’t this is just gonna be my designated Elvis Brainrott Post so I don’t flood my page with Elvis nonsense. I’ll just keep editing & adding to this post instead 🙃

My Elvis playlist: (major [I’m biased on some] hits in order of when they were released - it runs perfectly at an hour long which is too satisfying so now I can’t add or remove songs I’m stuck at this 23 song set up)

That’s All Right \\ Baby, Let’s Play House \\ Blue Suede Shoes \\ Heartbreak Hotel \\ Hound Dog \\ Don’t Be Cruel \\ Love Me Tender \\ All Shook Up \\ Jailhouse Rock \\ Trouble \\ Fever \\ It’s Now or Never \\ I’m Coming Home \\ Can’t Help Falling in Love \\ (You’re The) Devil in Disguise \\ Viva Las Vegas \\ A Little Less Conversation \\ If I Can Dream \\ In the Ghetto \\ Suspicious Minds \\ Always On My Mind \\ Burning Love \\ Unchained Melody

Also a list of my favorite lines/verses in these songs (bc some of the lyrics are so funny &/or very good):

“Drink my liquor from an old-fruit jar” (Blue Suede Shoes)

“I'm itchin' like a man on a fuzzy tree // My friends say I'm actin' wild as a bug”, “Her lips are like a Volcano that’s hot” (All Shook Up)

“Spider Murphy played the tenor saxophone // Little Joe was blowin' on the slide trombone // The drummer boy from Illinois went crash, boom, bang // The whole rhythm section was a purple gang” , “The warden said, ‘Hey, buddy, don't you be no square //If you can't find a partner, use a wooden chair’” (Jailhouse Rock)

“But if you're gonna start a rumble, don't you try it all alone” (Trouble)

“Thou givest fever when we kisseth // fever with thy flaming youth” , “Cats were born to give chicks fever // Be it Fahrenheit or centigrade” (Fever)

“”(Viva Las Vegas)

TBC

[capt-traitor]

Quick question Cap! I'm tryin' to find music to listen to while I cook something here. You got any suggestions?

(Also, would you happen to know Commander Wolffe's fave dish? Or Captain Rex's? Or, at least, anything you think they'd like?)

Does listening to Fireball read off intercepted intel reports count as music? Sometimes I sing my own verses. 🎶 Those TK troopers are baaaaaaaaaaaaaaad at their job because of meeeeeee 🎶

If you're looking for an actual song, I'm a bit of a romantic. I've been caught humming Unchained Melody while stirring a pot on simmer and I'm not ashamed to say it.

As far as favorite dishes, Rex loves pasta. He's particularly fond of a good spaghetti Bolognese. Wolffe loves fruit pie. He will eat pie for any meal of the day including snacks. He says the fruit in the pie is basically a sweet vegetable and vegetables are good for you so it's healthy. Can't argue that logic!

[moncherilily]

𝐵𝑒𝑓𝑜𝑟𝑒 𝑡𝘩𝑒 𝑝𝑎𝑔𝑒𝑠 𝑢𝑛𝑓𝑜𝑙𝑑.

I may not be a poet, but my heart pens its verses with every thought of 𝘆͟𝗼͟𝘂. Here lies the outpouring of my soul— in scribbled lines, scattered words, or simple, untamed musings.

Every path my writing takes leads back to you, my dearest muse, 𝐿͟𝑖͟𝑙͟𝑦͟ 𝐿͟𝑎͟-𝑅͟𝑢͟𝑒, the rhythm in my breath, the melody behind my silences.

This is my humble offering— a patchwork of emotions, woven gently with your name.

I hold the quiet hope that this token of love will not weigh on you. Instead, may it lighten your day, bring a smile to your lips, whisper sweet lullabies to your heart. And within these tender words, may you find me waiting.

Wholeheartedly yours, 𝐵.

[superfan44]

The 100 Favorite Movies Challege

As a huge movie buff, I thought I'd try something fun on here. I have decided to launch a new internet challenge: "The 100 Favorite Movies Challenge". The rules are pretty simple and straight forward. You create a list of 100 of your personal favorite movies in alphabetical order, post the list on your home page, then nominate other people/users of your choosing to do the challenge.

There is no limit to what movies can be included on your list. Films within any medium (live action or animated), genre, and decade are more than welcome. Whether it's longtime favorites you were introduced to when you were younger, favorites that you've picked up over the years, or recent discoveries or releases that quickly became your favorites, anything and everything is on the table here.

I'll start off by sharing my list. To be clear, I have way more than 100 favorite movies, but to have the number be anything past that may be a bit much for some people. Please don't judge me if it seems like there might be a few noteworthy titles missing on here. I mainly put this list together just for fun. Alright, here we go!

9 (2009)

Airplane! (1980)

American Graffiti (1973)

Atlantis: The Lost Empire (2001)

The Avengers (2012)

Avengers: Endgame (2019)

Baby Driver (2017)

Batman Begins (2005)

Beetlejuice (1988)

Beverly Hills Cop (1984)

Big Hero 6 (2014)

Black Dynamite (2009)

The Blues Brothers (1980)

Broadway Melody of 1940 (1940)

Captain America: The First Avenger (2011)

Castle in the Sky (1986)

Chicago (2002)

Cowboy Bebop: The Movie (Knockin' on Heaven's Door) (2001)

Deadpool (2016)

Death Proof (2007)

Desperado (1994)

Die Hard (1988)

Django Unchained (2012)

Double Indemnity (1944)

Dragon Inn (1967)

Fantasia 2000 (2000)

Fantastic Mr. Fox (2009)

Flash Gordon (1980)

Ghostbusters (1984)

The Godfather (1972)

Goodfellas (1990)

The Good, the Bad and the Ugly (1966)

The Grand Budapest Hotel (2014)

Guardians of the Galaxy (2014)

History of the World, Part 1 (1980)

Hot Fuzz (2007)

How to Train Your Dragon 2 (2014)

The Incredibles (2004)

Independence Day (1996)

Indiana Jones and the Last Crusade (1989)

Inglourious Basterds (2009)

The Italian Job (2003)

Jaws (1975)

John Wick: Chapter 3 - Parabellum (2019)

Jurassic Park (1993)

Logan (2017)

The Lord of the Rings: The Two Towers (2002)

Lupin the 3rd: The Castle of Cagliostro (1980)

Mad Max: Fury Road (2015)

Meatballs (1979)

Men in Black (1997)

Moana (2016)

Monsters vs. Aliens (2009)

Mr. and Mrs. Smith (2005)

The Muppet Christmas Carol (1992)

National Lampoon's Animal House (1978)

Network (1976)

The Nightmare Before Christmas (1993)

North by Northwest (1959)

Notorious (1946)

Once Upon a Time in Hollywood (2019)

The Outlaw Josey Wales (1976)

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Porco Rosso (1992)

Princess Mononoke (1997)

Pulp Fiction (1994)

Raiders of the Lost Ark (1981)

Ready Player One (2018)

Rear Window (1954)

Rio Bravo (1959)

Robin Hood (1973)

The Rocketeer (1991)

Romeo and Juliet (1968)

Scream (1996)

Seven Samurai (1954)

Shaun of the Dead (2004)

Sherlock Holmes (2009)

Skyfall (2012)

Smokey and the Bandit (1977)

Spaceballs (1987)

Spider-Man: Into the Spider-Verse (2018)

Spirited Away (2001)

Star Wars: A New Hope (1977)

Star Wars: The Empire Strikes Back (1980)

Star Wars: Return of the Jedi (1983)

The Suicide Squad (2021)

Surf's Up (2007)

Talladega Nights: The Ballad of Ricky Bobby (2006)

The Thin Red Line (1998)

Tombstone (1993)

Top Gun: Maverick (2022)

Treasure Planet (2002)

Tremors (1990)

Tron: Legacy (2010)

Walk Hard: The Dewey Cox Story (2007)

The Wind Rises (2013)

Wonder Woman (2017)

Yojimbo (1961)

Young Frankenstein (1974)

Zombieland (2009)

Now, before I wrap things up, I would like to nominate @skygent, @is0gild , @firecraker-j, @mrcowboytoyou, and @piglets-not-so-big-adventure to do this challenge. Hopefully we can get the ball rolling so more and more people can join in. I look forward to seeing what kind of lists you guys will put together. Good luck!

[jules-has-notes]

It Ain't Me — VoicePlay music video

The VoicePlay guys are fans of the Book of Mormon. So when an opportunity arose to collaborate with a singer who was about to join the national tour, they were pretty excited. They chose a brand new song, and created an arrangement that shifts the tone from the melancholy regret of the original to unapologetic liberation.

Details:

title: It Ain't Me (feat. John Pinto)

original performers: Kygo & Selena Gomez

written by: Kyrre "Kygo" Gørvell-Dahll, Brian Lee, Ali Tamposi, Selena Gomez, & Andrew Watt

arranged by: Layne Stein & Hannah Juliano

release date: 12 April 2017

My favorite bits:

that beautiful three-part harmony from John, Earl, and Eli with their coordinated breathy offsets

the resonant woodblock-y pops in Layne's percussion line

Geoff's little descending triplet at the end of the first verse

dropping out everything but John's melody and Geoff's bass line to create a feeling of emptiness

the driving rhythm of the choruses

the harmonized tone jump on ♫ "slee-EE-eep" ♫ in the second chorus

Geoff's long notes and slides contrasting against Layne's stacatto percussion in the breakdown section

the ♫ "no no no" ♫ bell chord and the descending run that follows

building the layers from the bottom up

John's soaring, nimble riffs

You don't need extra drums, silly!

ending on pure octaves

all the rehearsal footage and behind the scenes shenanigans

Trivia:

Bringing in John and his lovely countertenor gave the group a trial run at moving Eli into the vacant baritone spot and making a higher voice their permanent fifth member, which was an option they were considering.

This video was filmed at a new location for VoicePlay, Starke Lake Studios in Ocoee. They returned there seven years later for their cover of "The Way You Make Me Feel" with Deejay Young.

The YouTube description includes a parody verse: "I had a dream / you were eating something sweet / won't you please share that with me / 'cause I like ice cream. / Lieutenant Dan! Ice Cream!!!"

While John was in town, he made sure to stop by Disney World and take a dip in the Atlantic.

The guys met up again a few months later when the Book of Mormon tour spent three weeks in Salt Lake City, UT, and a week of shows took VoicePlay to nearby Park City.

After two years on the Book of Mormon tour, John joined the Broadway cast in 2019, where he has remained thus far.

John has returned to sing with VoicePlay twice to date, for the "Just Sing" mega-collaboration in 2020, and a gorgeous rendition of "Unchained Melody" the following year.

VoicePlay had included "Hello!" from The Book of Mormon in their "Aca Top 10 – Broadway" countdown, which they also performed in live shows, starting with the 2015 Sing-Off tour.

[rivyuus]

The Smashing Pumpkins - Bury Me (Song Review)

The Smashing Pumpkins, heralded for their blending of alternative rock, post-grunge, and dream pop, released their debut album Gish in 1991. Among the album's standout tracks is "Bury Me," a song that encapsulates the raw emotion and ethereal soundscapes that define the band's early work. In this review, we will examine the lyrical content, musical composition, thematic elements, and overall impact of "Bury Me," revealing how it resonates with listeners both in its personal exploration and broader existential inquiries.

Lyrical Analysis

At its core, "Bury Me" is a meditation on love, identity, and the complexities of familial relationships. The introduction immediately sets a contemplative tone, with the line "Bury me in love" serving as both an invitation and a surrender to the depths of emotional experience. The duality presented in the phrases "Bury me in love" and "Bury me in blood" suggests a juxtaposition of affection and the darker, more visceral aspects of human connection. This duality is a recurring theme throughout the song, encapsulating the intricate balance of joy and pain inherent in love.

The lyrics in Verse 1 introduce a deeply personal reflection on the speaker's relationship with their sister. The use of phrases like "Chain, unchain" implies a sense of both attachment and desire for freedom. This duality is further emphasized with the line "I'm a jack of all trades," suggesting versatility and adaptability, yet also a hint of existential angst in trying to contextualize one's existence. The call for the listener to "bury me" becomes a plea for understanding and acceptance of these layered identities.

The repetition of "hide, hide" in Verse 2 introduces a feeling of isolation and concealment. The speaker grapples with the notion of identity and the fear that arises when faced with the truths one cannot hide. The desire for connection is evident in the plea “If you see her, tell me why,” revealing an internal struggle to reconcile the self with external perceptions and the longing for visibility.

As the song progresses to its final verses, the poignant repetition of wanting to see “her” born inside enacts a desperate yearning for clarity and authenticity. This encapsulation of desire to reveal the hidden aspects of self is deeply relatable and speaks to a universal human experience. The cyclical nature of the lyrics enhances the emotional weight, as the chorus returns to the resignation of “bury me” — suggesting a tragic acceptance of those buried truths and suppressed identities.

Musical Composition

Musically, "Bury Me" combines a soaring and haunting melodic structure with dynamic shifts, characteristic of The Smashing Pumpkins' signature sound. The song opens with an ethereal quality, underpinned by a soft instrumental arrangement that allows Billy Corgan's distinct vocal style to shine through. Corgan’s vocals traverse a landscape of tender melodies juxtaposed with moments of raw power, echoing the emotional turbulence depicted in the lyrics.

The instrumentation complements the lyrical themes with an ebb and flow that mirrors the internal conflict described. The guitar work throughout the track is particularly noteworthy. Strummed chords build a foundation of melodic depth, while interspersed lead lines create a sense of melancholy that aligns seamlessly with the lyrical narrative. Additionally, the use of dynamics in the song heightens the emotional impact; softer passages yield to more intense instrumentation, creating an atmosphere that reflects the tension between concealment and revelation.

Thematic Exploration

Thematically, "Bury Me" grapples with concepts of love, identity, and the complexity of human relationships. Its introspective nature invites listeners to delve into their own experiences of love, loss, and enlightenment. The line "Bury me if it hurts" suggests a willingness to embrace pain in pursuit of deeper connections, which sets the tone for the entire song. It raises poignant questions about the sacrifices we are willing to make for our relationships and the emotional burdens we carry.

The recurring motifs of birth and rebirth intertwined with the notion of burial imply a cycle of life, whereby the fullness of existence encompasses both the joys and tribulations. This duality resonates particularly strongly within the context of familial bonds; the speaker’s relationship with their sister suggests an exploration of love that is as intricate as it is profound. The desire for understanding and connection is palpable, mirroring the deeper struggles many people experience within their own families.

Conclusion

"Bury Me" is a profound exploration of the human condition, encapsulated within The Smashing Pumpkins' unique sound. Its lyrical depth, combined with a masterfully layered musical composition, establishes it as a standout track on Gish. Through introspective themes of love, identity, and the desire for authenticity, the song speaks to listeners on multiple levels, inviting them to reflect on their own experiences while immersed in the haunting beauty of the music.

Ultimately, "Bury Me" is a compelling and resonant piece that showcases the band's early artistry and sets the foundation for their future explorations of the human experience. As it seamlessly intertwines emotion and sound, it continues to captivate audiences, inviting them to confront their buried truths in the labyrinth of love and identity.

[pusha-t2024]

What Are the Best Romantic Karaoke Songs for Women?

Karaoke is not just about high-energy anthems and fun group performances—it can also be a moment to showcase emotion and tenderness through romantic ballads. Whether you're singing to your significant other, expressing love, or channeling the emotions of a heartfelt love song, romantic karaoke songs offer a beautiful way to connect with the audience and convey deep feelings. For women, romantic songs provide an opportunity to showcase vocal strength, control, and emotional expression.

From classic love ballads to modern love songs, the right romantic karaoke song can create a magical atmosphere and captivate listeners. In this article, we’ll explore the best romantic karaoke songs for women, why these Best Karaoke Songs For Women work so well, and tips for delivering an unforgettable performance.

1. Why Romantic Karaoke Songs Work So Well

Romantic songs create a special atmosphere in karaoke, bringing out deep emotions and helping the performer connect with the audience on a more personal level. Here’s why romantic karaoke songs work so well:

Emotional Expression: Romantic songs allow you to channel emotions such as love, longing, or heartbreak, giving your performance a genuine emotional depth that resonates with listeners.

Vocal Showcases: Many romantic songs are ballads that give you the opportunity to show off your vocal range and control. Whether you're singing softly or belting out powerful notes, romantic songs let you express your voice fully.

Connection with the Audience: Singing a romantic song allows you to create a connection with the audience, as many people relate to themes of love and relationships. These emotional connections make your performance more engaging.

Timeless Appeal: Love songs never go out of style. Whether it's a classic romantic ballad or a modern love song, romantic tracks are timeless and widely appreciated by audiences of all ages.

Top 10 Best Romantic Karaoke Songs for Women

Here are some of the best romantic karaoke songs for women, offering a mix of emotional ballads and heartfelt love songs that are perfect for connecting with your audience.

1. "I Will Always Love You" by Whitney Houston

Whitney Houston’s rendition of "I Will Always Love You," originally written by Dolly Parton, is one of the most iconic romantic ballads of all time. Released in 1992, this song is perfect for women who want to showcase their vocal strength and emotional depth. The song’s soft, intimate verses gradually build into a powerful, soaring chorus, allowing you to captivate the audience with your vocal control and emotion.

2. "At Last" by Etta James

Etta James’ "At Last," released in 1960, is a timeless romantic ballad that’s perfect for karaoke. The song’s soulful melody and heartfelt lyrics about finding true love make it an ideal choice for women who want to deliver a classic, romantic performance. The slow tempo and rich, emotional delivery allow you to showcase both your vocal ability and connection with the song.

3. "Make You Feel My Love" by Adele

Adele’s "Make You Feel My Love," released in 2008, is a beautiful romantic ballad that’s perfect for karaoke. The song’s tender lyrics and soft melody allow you to connect emotionally with the audience, while the slow, simple melody gives you room to focus on vocal control and expression. It’s a great choice for women who want to deliver a heartfelt, intimate performance.

4. "Unchained Melody" by The Righteous Brothers

"Unchained Melody," released in 1965 by The Righteous Brothers, is one of the most romantic and emotionally charged songs ever written. While it’s often associated with male singers, the song’s heartfelt lyrics and powerful melody make it a great choice for women as well. The song’s gradual build into a powerful, emotional chorus allows you to showcase your vocal strength and deliver a performance full of passion and emotion.

5. "Endless Love" by Diana Ross and Lionel Richie

"Endless Love," released in 1981, is a classic romantic duet that can also be performed solo. The song’s sweet lyrics about eternal love and devotion make it perfect for women who want to deliver a touching performance. The song’s soft, melodic verses and powerful chorus give you the opportunity to express both tenderness and vocal strength.

6. "Because You Loved Me" by Celine Dion

Celine Dion’s "Because You Loved Me," released in 1996, is a romantic ballad that celebrates love and gratitude. The song’s powerful lyrics and sweeping melody make it perfect for women who want to showcase their vocal ability and deliver an emotional performance. The gradual build into the soaring chorus allows you to express both vulnerability and strength, making it a great choice for a romantic karaoke moment.

7. "My Heart Will Go On" by Celine Dion

Another Celine Dion classic, "My Heart Will Go On," released in 1997, is the theme song for the movie Titanic and one of the most iconic love songs of all time. The song’s emotional depth and powerful melody make it perfect for women who want to deliver a dramatic, heartfelt performance. The song’s soft verses and soaring chorus allow you to showcase your vocal range and connect emotionally with the audience.

8. "Perfect" by Ed Sheeran

Ed Sheeran’s "Perfect," released in 2017, is a modern romantic ballad that’s become a popular karaoke choice for weddings and romantic occasions. The song’s tender lyrics and soft melody make it perfect for women who want to deliver a sweet, heartfelt performance. The song’s simplicity allows you to focus on emotional delivery and connect with the audience in an intimate way.

9. "Vision of Love" by Mariah Carey

Mariah Carey’s "Vision of Love," released in 1990, is a powerful ballad that showcases her incredible vocal range and emotional depth. The song’s heartfelt lyrics and dynamic melody make it perfect for women who want to deliver a dramatic and vocally impressive performance. The song’s combination of soft verses and powerful, belted chorus gives you the opportunity to show off your vocal abilities while delivering a romantic message.

10. "A Thousand Years" by Christina Perri

Christina Perri’s "A Thousand Years," released in 2011, is a modern love ballad that’s become a favorite for romantic karaoke performances. The song’s gentle melody and sweet lyrics about timeless love make it perfect for women who want to deliver a soft, emotional performance. The song’s simple structure allows you to focus on expressing the emotion behind the lyrics, making it a great choice for connecting with the audience.

Why These Songs Work So Well for Karaoke

These romantic karaoke songs are ideal for women because they offer a combination of emotional depth, vocal showcases, and audience engagement. Here’s why they work so well for karaoke:

Emotional Connection

Romantic songs often deal with themes of love, heartbreak, and devotion, which are emotions that resonate deeply with audiences. By performing a romantic song, you can connect with the audience on an emotional level, making your performance more impactful and memorable.

Vocal Showcases

Many romantic ballads are designed to showcase powerful vocals, allowing you to demonstrate your range, control, and emotional expression. Songs like "I Will Always Love You" and "Vision of Love" offer the opportunity to hit high notes and deliver a dramatic, show-stopping performance.

Timeless Appeal

Love songs are universally appreciated, and many of the songs on this list are timeless classics that have stood the test of time. Whether you’re singing a modern ballad like "Perfect" or a classic like "At Last," these songs are guaranteed to resonate with a wide range of listeners.

Tips for Singing Romantic Karaoke Songs

If you’re planning to sing a romantic karaoke song, here are some tips to help you deliver a standout performance:

Connect with the Lyrics

Romantic songs are all about emotion, so make sure to connect with the lyrics and convey the feelings behind the song. Whether it’s a song about love, longing, or heartbreak, expressing the emotion behind the lyrics will make your performance more authentic and engaging.

Focus on Vocal Control

Many romantic ballads feature soft verses followed by powerful, belted choruses. Focus on controlling your breath and delivering smooth, steady vocals throughout the song. This will help you build emotional intensity and deliver a more polished performance.

Engage with the Audience

While romantic songs are often intimate and personal, don’t forget to engage with the audience. Make eye contact, smile, and express the emotions of the song through your body language. This will help you connect with the audience and make your performance more memorable.

Pace Yourself

Many romantic songs build gradually, so take your time and let the song’s emotional arc unfold naturally. Start softly and let the intensity build as the song progresses. This will create a more dynamic and powerful performance.

Conclusion

Romantic karaoke songs for women offer a beautiful way to connect with the audience, showcase your vocal abilities, and express deep emotions through music. Whether you’re singing a timeless ballad like "I Will Always Love You" or a modern love song like "Perfect," these songs are guaranteed to create a magical atmosphere and leave a lasting impression.

The key to a great romantic karaoke performance is choosing a song that resonates with you personally and allows you to express yourself authentically. Whether you’re singing to a loved one or simply channeling the emotions of the song, these romantic tracks will help you deliver a heartfelt, memorable performance that touches the audience’s hearts.

[allthemusic]

Week ending: 2nd June

Three familiar songs, but all ones I do quite like - I suspect this entry will be an exercise in comparing different versions! I'm trying to think if anything similar could even happen today. I can only think of multiple versions of Wellerman trending a while back? And that was an unusual song for multiple reasons, at a particularly weird time anyway, mid-Covid.

Unchained Melody - Jimmy Young (peaked at Number 1)

The first version of this song to grace number 1, but not the last. Weirdly I only found other versions of the song at first - it took a bit of hunting to work out which "Jimmy Young" track was the real one.

Once I found it, I did appreciate it. It starts with some more vigorous strummy guitar than I expected, which makes it feel definitely different to Al Hibbler's version from the get-go. It's got the same thing that version did, too, where the rhythms just aren't quite what I expect. They catch me off guard on various lines, and I feel really stupid, because I've just realised why! It's in 4/4, whereas the later versions I know are largely in 3/4. Honestly, I don't know why I didn't work it out with the last version!

Apart from that, the voice and the guitar do give this one a slightly country vibe, which isn't hurt by the violin that is subtly assisting. And there are also some backing singers straight from a Western soundtrack. They kind of work, especially after Jimmy sings Wait for me and they chip in with a ghostly sort of Unchain me, unchain me.

The whole thing works nicely. Maybe a bit cheerier-sounding than the slower, more soulful version? Either way, sufficiently distinct as its own thing that I can't really complain. And the backing singers are a delight.

Stranger in Paradise - The Four Aces (6)

I'm interested in seeing where this goes, since the Four Aces is a vocal group, and the last two singers were very much from the "Easy listening crooner" tradition of solo men. I suspect the style will need to change.

Well, we start with some flutes and some familiar instruments and I wond if there will be any changes, especially as the iconic "ooooh" bits begin, but then they change the theme! It goes up at the end, and I don't think I like it. I know how the tune here goes, why would you change it?!

And then the modified theme ends and the vibe changes entirely, with a double bass coming in and the whole thing picking up a swung rhythm as the singing begins. I don't know if the pivot works, but it's striking, and it does feel like it fits better with the group singing.

What I do enjoy is the oboe countermelody snaking round in the background. It's pretty, and all the other little instrumental frills are equally lovely, even if they only pop in and out sporadically.

Oh, and we shift into a different, vaguely Latin sounding rhythm on the I see your face section, before slowing it down, and returning to the first rhythm finally for the verse's return. The overall effec is a bit jerky, and it' mostly just alarming when the whole group come back for the worlds biggest ending. This is a Big Old Ending on steroids: Take my haaaaaaaaaaaaaand!

Yeah, I don't think this one works, sorry Aces.

Unchained Melody - Les Baxter (10)

Oh, we're starting with the backing singers singing Unchain me this time, and strings playing the main rhythm. It's a very soft, gentle sound, and still a little bit country, like in Jimmy's version. It also repeats twice - at one point I even began to wonder if this was going to be an instrumental arrangement.

But no, we get what sounds like multiple male voices after a few repeats and a fade-out. I can't tell if this is Les and a friend or if he's really a bandleader or the leader of a vocal group, or something. The men, whoever they are, don't sing very much, though, just one verse and done, with the whole song over in a 2:33 take that honestly feels like less.

Yeah, a bit of googling tells me that Les Baxter was an American swing bandleader who branched out into easy listening and lounge music. And this is just that, it's easy to listen to and pleasant bur a bit nothing-y. I'd put it on in the background in a lounge or whatever, so it's doing its job, I guess. The idea of music that isn't designed for really listening to is interesting to me, since it's really not what I use music for. But I can appreciate it.

I do also like the big, cinematic ending, with the choir and the clanking tubular bells, or some such percussion. It retroactively does make the whole thing feel like the song you'd get at the end of a film, a sort of victorious "I've escaped prison and am going home" track. The pathos of it all is dulled down, leaving this big, soaring ending.

I don't think I loved any of those, but none were worth disliking. I kind of wonder how the alternate universe 1955 version of me would have found them, actually. Maybe I'd have been all aboard for lots of strings and backing singing?

Favourite song of the bunch: Unchained Melody - Jimmy Young

[weaversweek]

"The 'Unchained' melody" - Righteous Brothers

1965 Music: Alex North; lyric: Hy Zaret

Into the top twenty of Let's Do It, my part of a crowdsourced collection of singles from 1954-76. From here, I've thought carefully about the order.

Many films of the era have been completely forgotten, or are remembered only for their music. The 1954 prison flick Unchained lives on only through its theme tune, and the words set to it. Hy Zaret's lyric is written from the point of view of a prisoner, who hasn't seen his paramour in so very long.

Todd Duncan sang the song in the film: he was lying on a bed, plaintively calling as someone else strums their guitar. Nominated for the Best Movie Song at the oscars, and propelled to worldwide attention.

Back in the 1950s, the important thing was the song, not the particular performance. "The 'Unchained' melody" attracted lots of renditions, Harry Belafonte and Jimmy Young had excellent vocal versions, Liberace played all the right notes and lots of others on his piano, Les Baxter had his admirers, Reg Snipton's version is best forgotten.

A standard by 1965, the Righteous Brothers recorded their version in a bit of a hurry - it was going to be the B-side to "Hung on you". Bill Medley played a Wurlitzer piano while Bobby Hatfield sung and emoted. He took the song to new places, the soaring vocal in the final verse is all his work. Hatfield said he could do another take better; Medley replied, "No, you can't."

"The 'Unchained' melody" has become a standard: over 1500 recordings, from performers as talented as Perry Como, as young as Gareth Gates, as old as Elvis Presley, and as fivestar as Robson and Jerome. Modern-day impressario Simon Cowell loves the song, it is just the sort of emotion he can comprehend. But we cannot hold that against Medley and Hatfield's version.

(This song-and-performer combo is also eligible for #UncoolTwo50; the Righteous Brothers re-recorded the song in 1990 after it was used on the soundtrack to the movie Ghost. I won't be nominating it in the 1977-99 poll.)

[imxthexhandler]

✨ love on meeeee

Send in ✨ or “sparkle sparkle”, and I’ll write up something nice about you. ---------------------------------------------------

[OOC]

@adventurepunks: Oh, my love! My darling! Okay, enough quote “Unchained Melody”, lol. I have no idea what the kanji means, I just think my ooc avatar looks adorable in this gif, so I’m using it!

Anyway, wow, where to begin with you? I’ve been writing with you now for... Okay, technically, it’s only been a couple of years, but it feels longer than that. I absolutely love your writing. I stalked you for a long while before I started writing with you, and I now have another major ship because of you-- Talia and Constantine.

You’ve always been insanely patient with me and willing to just go with whatever crazy idea I come up with, and I cannot thank you enough for it. Honestly, you’re half the reason Amelia even has DC verses, period.

Here’s to all the adventures yet to come for our babies. I love you. Keep safe!

[anklesalltheway]

The pain it caused was too much to live with, but not enough to cause to die...

Lonely rivers flow to the sea, to the sea. To the open arms of the sea...

The captain’s daughter  The Widow                                            & The great sailor  The Seawolf

[bottomskywalker-moved-blog]

Now, whenever he kisses him, Han remembers what it was like to kiss him on their wedding day last June. He remembers the tears on both of their cheeks, remembers Luke shaking to pieces in his arms, remembers the feeling of pure elation with a dash of anxiety and a breath of relief. He remembers the smile against his lips, the way Luke laughed into his mouth.

read it here! 

[asparklingdiamond]

“Dance with me.”

After a very long night at the restaurant, Amanda Gray was relieved when the last customers finally paid their tab and left, leaving the staff to clean up. The chef and the busboys were the first to leave, and shortly after, the waitresses departed, though Amanda hung back to refill ketchup bottles and fold napkins, so it was one thing she didn’t have to worry about the next afternoon. It was just her and the owner; the older woman was busy doing paperwork in the back office, leaving the front of the seafood restaurant all to the young waitress. She had her feet propped up as she worked, her phone softly playing music as she sang along, keeping her mind and her hands occupied. One hand, on occasion, would rub her belly; she’d smile to herself when she felt her rapidly growing baby kick and move around inside of her. Even though it was painful at times, she felt relief every kick or elbow she got in the ribs. It was as if they were reminding her that yes, they were still there, and they weren’t going anywhere for a while. After what she’d gone through when she’d told her husband about the baby, she needed the reminder. She wanted her baby kicking and screaming when they were finally ready to come into the world. 

She was lost in the idle work and the music playing, forgetting where she was, and was surprised when she suddenly felt someone approaching her. Her body immediately tensed, expecting to hear Andrew’s sickly sweet voice, telling her he’d found her, followed by a painful tug on her hair, or the feeling of his grip tightening around her wrist. But it never came; she sighed in relief when she realized it was Miles. “You scared me,” she managed to murmur, her voice shaking a little as she looked up at him. As the shock wore off, she began to laugh, holding her hand over her heart. “You’re sneaky. I didn’t even hear you come in.” 

“I’m sorry– I called out to you, but I think you were lost in your own world.” He leaned down, pressing his lips against hers softly for a brief moment, before he pulled away, his fingertips gently brushing her hair behind her ear. Even in the early days of her marriage, her husband had never handled her with such care. The way Miles touched her made her heart ache. She didn’t know what she did to deserve his kindness and gentleness. 

“I think I was. I was just finishing up some work, but I’m ready to go now. Thanks for picking me up. I hate walking home alone this late.” She set aside her finished work, and excused herself to grab her purse and say goodnight to her boss. “Okay, let’s go.” She started to grab her phone to turn off the music still playing, but he stopped her, grabbing her wrist, making her blood run cold for a moment as she thought of Andrew, but as quickly as the thought came, it was gone again. Miles wasn’t anything like him. His hand was soft around her wrist, holding her hand away from her phone, and his bright blue eyes were warm. Something in them made her heart leap up into her throat, and there was a flutter in her belly as he looked at her. Even the baby seemed to react to his touch and his look; they rolled around, pressing up against the inside of her belly, as if reaching out to get closer to him. She inhaled sharply, swallowing hard as she peered up at him. 

“Dance with me.” His voice was like velvet, practically making her toes curl at the sound. Maybe it was because she was incredibly hormonal, but she could listen to him talk for hours. Days, even. 

“Now? Right here?” She managed to reply, sighing as he released her wrist, but captured her hand in his, gently tugging her towards him. 

“Yes, right now.” He took her bag from her shoulder and set it down on the table beside her phone, and took her other hand in his, pulling her gently towards him, and she willingly followed, her heart racing. He moved one hand down to rest on the small of her back, pressing her closer to him, so there was almost no space between them. Even with the baby bump between them. 

Amanda was frozen in place at first, but slowly relaxed as Miles led them into a slow dance, her body melting against his, her head resting on his chest. The current song ended, and for the brief moment of silence, she could hear his heart beating, feel his chest rising and falling against her ear as he breathed. The new song began; Unchained Melody. She heard the low rumble in his chest as he began singing along; her heart leaped again, her breath catching in her throat as she lifted her head, looking up at him as he continued singing to her, his gaze locked on hers.

♪ Oh, my love, my darlingI’ve hungered, for your touchA long, lonely timeTime goes by so slowlyAnd time can do so muchAre you still mine?I need your loveI need your loveGod speed your love to me…. ♪

Sliding her hand from his shoulder to the nape of his neck, she raked her fingers through his hair, gently tugging and playing with his hair as the tips of their noses nuzzled against each other. Even as the song ended and they were left in silence, they continued to move slowly, arms wrapped around each other. Amanda had tried so hard to not feel the way she did for him; she was pregnant with another man’s baby, after all. She was married. She was running from that man, and hadn’t told a soul in this small town. Miles included. She’d tried to keep him at arm’s length, but he’d wormed his way into her heart, and she wanted to spend the rest of her days exactly like this. In his arms. She’d never felt more safe. 

Standing on her tiptoes, she pressed her lips against his again, sighing softly into his mouth as he tightened his hold on her waist, his hand firm on her back as she arched up against him. She kissed him until she began to feel her knees shake, and when she began to pull away, settling back on her feet, he leaned down, capturing her lips again, holding her up so she wouldn’t lose her balance. They only broke away when they heard the sound of someone clearing their throat, both turning to see her boss smirking in amusement. 

Blushing furiously, Amanda stammered an apology, quickly grabbing her belongings and tugging on Miles to follow her, letting out a loud laugh as soon as they were outside. She leaned against him, her chin on his chest as her arms wrapped around his waist. “Well, that was awkward.” 

“Mhm. But so worth it.” He leaned down to give her a sweet kiss that was over much too soon in Amanda’s opinion, but she took what she could get. “Let’s get you home and in the bath. You look like you need it.”

She sighed softly, wondering for the millionth time how she got so lucky for him to want her, and nodded silently. “I do. But only if you join me.” She gave him an innocent smile and leaned up, her lips pressing against his jaw, before taking his hand and tugging him towards his car, suddenly very eager to get home.

@youcancallmepookiebear