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Remember Me
Snapshots from James and Miranda's life on New Providence.
There is nothing, in Keith’s opinion, quite as breathtaking as the moment when Shiro’s soldier-fine self control disintegrates in the face of instinct.
This is my extremely late Very Merry Kylux gift for Aiambia.
Prompt:Snow Storm - Kylo and Hux are trapped somewhere during a snow storm and they have to wait it out together. Bonus Points for NSFW.
Moving back to Japan was her idea. Having Kaijou's ace determine to win her back? Not part of the plan. Naomi's hoping to put the past behind her, but Kise has other plans. He lost her once, he's not going to lose her a second time.
The one where Isak forgets his biology notebook in his locker because of Even, but also forgets to be self-conscious because of his Even.
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Viktor has a not so small praise kink. Yuuri's a bit clueless at first, but once he finds out, he takes advantage of it like there's no tomorrow.Or the praise kink fic that quickly spiralled down into overstim territory
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It's been three weeks since the night Caitlin almost killed Cisco, and she had disappeared without a trace. Cisco is pissed and taking it out on Barry. If that weren't bad enough, he was stressed about Len moving back to Central City, moving in with him, and beginning his first real adult relationship. With Len. To top off everything else, it was Christmas Eve, and if he didn't get killed before 6 pm, he would be celebrating the holidays at Joe's house...with Len. It almost made him wish for another attack by Savitar. Almost.
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He’d been trapped in the past for a week. A whole fucking week and Dean had never hated a monster more than he hated that fucking trickster. It had been a complete accident and he’d never seen it coming. How had a simple hunt gone so fucking wrong?
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Mako's having a rough holiday season, but it starts looking up when he meets a horned creature who calls himself Krampus and makes it his business to wreak havoc one night a year.(The Junk-Krampus AU I've been working on for ages and am finally posting.)
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Ciel Phantomhive accidentally goes on a Tinder date with his professor before term begins at a Midwest college. What could possibly go wrong?(Inspired by Teacher's Pet. I really loved the idea of Ciel accidentally hooking up with a Professor Michaelis. I do not own any of the characters, but all words are mine.)
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He doesn't remember who he is or how he ended up injured in the middle of the A all he knows is his name is Percival, and he owes his life to the shy, redheaded zoologist who saved him. But unfortunately, just because he doesn't remember his past doesn't mean it can't come back to haunt him.This is the story of how Percival got his happily ever after, and then had to fight to keep it.
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Draco, stolen just shortly after his birth and saved from his Death Eater family, is hidden across the sea only to fall victim to a much darker evil: child slavery. An abused Harry Potter meets the same fate, destiny bringing the two together. How will the Wizarding World react when they're found? Will they tear the boys apart or accept their unconventional relationship? Will the world still be saved? Does it deserve to be?
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It is what it sounds like!
Steve Rogers and Bucky Barnes screwing across decades!
All of these will be fairly short and set in the same timeline/universe, but because I have a penchant for 1930s Brooklyn, most of these will be retro-Stucky .
Porn, though!
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Yoongi is into many things he shouldn't. Jimin lets his life be controlled by fear. Both learn. Yet their lesson never comes easy when both are in denial with the only thing they share. Their love...
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Harry Potter's world is flipped upside down when he is unexpectedly visited by a naked fairy on his fourteenth birthday.
Finding out that he is a rare species of incubus known as a Choiceling is the least of Harry's problems when he discovers just how drastically his life is about to change.
How will our young hero deal with an entire year at Hogwarts when he has to have sex at least once a day just to survive?!
Join Harry on an epic tale of love, lust, and innocence, as he battles against much more than just dark wizards and learns just how strong bonds can be.
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Disclaimer: I don’t own Harry Potter or any of its Characters!
~~ AU-No Dark Lord or BWL!!- Harry Potter has always fancied the boy next door. Ever since his family had moved into the manor in Wiltshire, England, he’d climb out his window in the afternoon and watch the blonde race around on his broom. Harry knew it was wrong and their families definitely wouldn’t approve as they didn’t get along. Oh what did it matter? The boy didn’t even know he existed, he didn’t even know the boys name. So… why was the blonde climbing through his window?~~
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The reader is a first time slave and is bought by Dean. Things started out okay, but they soon take a turn for the worse. Just and idea, let me know what you think
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Michael hums, seeming to contemplate his options and Ashton never once stops either of his hands. "We should probably tell Calum that his slut is acting up." Michael decides, tilting his head to the side as Ashton's jaw unhinges and his eyes widen at the possibility.
"No, no please don't tell Calum." Ashton begs breathlessly, the redness on his chest creeping up toward his face as his long fingers drive deeper into himself.
"What would have us do then, little one?" Luke asks, biting his lip as he looks at Ashton's fully exposed body.
Or: Michael and Luke take care of Ashton's needs while Calum is gone.
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Part 1- Capture: Saitama can't keep his hands to himself. Making it out today for patrol at all may as well have been a miracle.Part 2 - Revenge: The Cyborg Prince orchestrates a nefarious plan to enact slow, delicious vengeance on the Villain.
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Complete onlywfinger: WebFinger and command-line finger combined | ExTechOps我的位置 &
& Chuck Mead
Chuck Mead
He’s been known as the co-founder of the three-time Grammy nominated BR549, the honky-tonk heroes that almost single-handedly lit and carried the blowtorch for the mid-‘90s alternative country explosion. He’s been hailed as ‘The Hillbilly Renaissance Man’ for his subsequent successes as a songwriter, performer, producer and musical theater director. Now after more than a decade as one of the most uncompromising and consistent talents in the American roots music movement, Chuck Mead at last emerges with the most anticipated role of his entire career: Solo Artist.
With Journeyman’s Wager, Chuck Mead throws down the gauntlet with an album that defies all sonic expectations while re-defining his position as one of the hardest-working artists in the business. “I respect the term ‘journeyman’,” Mead says, “because that’s I what consider myself. I’ve been living by my wits musically for more than 20 years now, going from job to job and doing them all pretty well. Certainly there’s a hustle to what I do, but there’s always been a gambling aspect to it, too. With this album, it’s finally all me going all-in. It’s a record that challenges listeners in a good way. Best of all, I’ve challenged myself.”
Produced by Grammy-winner Ray Kennedy, the eleven tracks on Journeyman’s Wager embody not only the core of country music, but also the pulse of pop, R&B, hillbilly rock, Gospel and beyond. “Why be confined by barriers or genres?” Chuck asks. “As far as I’m concerned, it’s all American Music. These are the sounds that made up my musical vocabulary. I still believe that American Music is about real things, good stories and unique songs. And I’m willing to bet that most everyone else does, too.”
“It’s hard to believe that it’s taken him this long to make a solo record,” says producer/engineer Ray Kennedy, best known for his work on classic albums by Lucinda Williams and Steve Earle. “What sets Chuck apart from so many artists is that he’s a genuine hard-working, blue-collar performer. I hate the word ‘old-school’ but we didn’t want this album to sound like a lot of modern records where everything is over-tweaked and perfect. We knew we had to make it intimate and real.” Kennedy recorded the entire album analog on two-inch tape, in a studio full of both state-of-the art and vintage equipment that included ‘60s tube microphones, a Vox Continental organ, and a badass band that featured Kenny Vaughn (Marty Stuart), Audley Freed (The Black Crowes), Mark Miller (BR549), Mark Horn (The Derailers), Dave Roe (Johnny Cash), Mike Henderson (The SteelDrivers), Pat Sivers (The Everly Brothers) and Jen Gunderman (The Jayhawks). “Chuck is the same in the studio as he is on stage,” Kennedy explains. “He loves working without a net. There are a lot of multiple voices singing into one microphone and the band playing together in one room. Most of all, it’s an album that really represents his worldview song-wise. It has humor, intelligence, sarcasm, a bit of politics and a lot of spontaneity. Plus he’s singing his ass off. Chuck doesn’ he really is a journeyman in that songwriting and entertaining is his life.”
For Mead, life and music have always been irrevocably intertwined. “I joined my first band at 12 years old,” he explains with a laugh. “Ruint me forever.” Throughout his 20s, he led several groups in and around his hometown of Lawrence, Kansas, including the popular Mid-western cult band The Homestead Grays. By the early ‘90s, Chuck found himself as an itinerant musician on Nashville’s then-seedy Lower Broadway. It was a place in time where a performer armed with only the vision of a sonically relentless hillbilly band with nothing to lose could try anything. Within months, Mead co-founded a quintet that began playing must-see marathon sets in the front window of bar/bootery Robert’s Western World. Seven albums, three Grammy nominations and millions of worldwide fans later, BR549 would become one of the most improbable success stories of the past decade.
“BR549 is on extended hiatus,” Chuck now says. “We were – and remain – a family, and taking a break from each other will make us miss each other more. We survived the highs, the lows and all the hype, and we still had fun making music we love. But it was also time for me to do my own thing.” With the exception of occasional reunions on Prairie Home Companion (at the behest of longtime fan Garrison Keillor) and benefits for favorite charities, Mead’s post-BR career soon became known as much for its continued integrity as for its eclecticism. He founded the touring collective The Hillbilly All-Stars featuring members of The Mavericks, co-produced acclaimed tribute albums to Johnny Cash and Waylon Jennings, guest-lectured on ‘The Sociology of Modern American Culture’ at Vanderbilt University, and became a staff writer at one of Nashville’s top song publishers. In 2007, he was named Musical Director of Million Dollar Quartet, the new hit stage musical based on the night in 1956 that Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley came together for an impromptu jam session. “It’s been incredibly liberating to do all these things I’ve never done before,” Chuck says. “But most of all, I wanted to call my own shots and make a record that mattered.”
Ten of the eleven tracks on Journeyman’s Wager are co-written by Mead, who’d spent the past year working with such idiosyncratic and award-winning songwriters as Tia Sillers, Bobby Huff, Greg Crowe, Patrick Davis, Angeleena Presley, Mark Collie and Jon & Sally Tiven. The album roars out of the gate with the twanging highway stomp of “Out On The Natchez Trail”, and runs head-on into the sinister mystery of “Gun Metal Grey”. The horn-powered “She Got The Ring (I Got The Finger)” is a sly nod to Jerry Reed’s “She Got The Goldmine (I Got The Shaft)”. There’s classic country-pop wisdom in “Albuquerque”, gentle insight in “Up On Edge Hill”, and hard-driving good times in “I Wish It Was Friday”. “A Long Time Ago” is a paean of pedal-steel regret, while “After The Last Witness Is Gone” is a bold testimonial that’s equal parts honky-tonk and roadhouse rocker. “In A Song” may be the album’s genuine showstopper, a gloriously sanctified testament to the Everlasting Church Of Music. The disc’s sole cover is a fiery version – complete with yodeling – of George Harrison’s “Old Brown Shoe”, the obscure Beatles b-side from “The Ballad Of John & Yoko”. The album closes with the assured shuffle-funk of “No Requests”, a song whose chorus is a potent statement of purpose from an artist who is now truly his own man.
“Even when BR549 were being called a throwback act, we never allowed ourselves to be classified,” says Chuck. “The key was to always bring something new to everything we did. Today my slate is cleaner than ever before. This album is all me, doing what comes naturally.” For Chuck Mead, the time has come for one of Americana’s most uncommon artists to finally step out, step up and be heard on his own unique terms. And in a game where sure bets are rarely the real deal, one singer/songwriter/performer is again unafraid to lay it all on the line. “I mean everything I say on this album,” Chuck Mead says. “You can tell it with a wink and a smile, but it’s still the truth. And the truth is that Journeyman’s Wager is the culmination of everything I’ve learned. These are my decisions. This is my music.”
He’s been known as the co-founder of the three-time Grammy nominated BR549, the honky-tonk heroes that almost single-handedly lit and carried the blowtorch for the mid-‘90s alternative country explosion. He’s been hailed as ‘The Hillbilly Renaissance Man’ for his subsequent successes as a songwriter, performer, producer and musical theater director. Now after more than a decade as one of the most uncompromising and consistent talents in the American roots music movement, Chuck Mead at last emerges with the most anticipated role of his entire career: Solo Artist.
With Journeyman’s Wager, Chuck Mead throws down the gauntlet with an album that defies all sonic expectations while re-defining his position as one of the hardest-working artists in the business. “I respect the term ‘journeyman’,” Mead says, “because that’s I what consider myself. I’ve been living by my wits musically for more than 20 years now, going from job to job and doing them all pretty well. Certainly there’s a hustle to what I do, but there’s always been a gambling aspect to it, too. With this album, it’s finally all me going all-in. It’s a record that challenges listeners in a good way. Best of all, I’ve challenged myself.”
Produced by Grammy-winner Ray Kennedy, the eleven tracks on Journeyman’s Wager embody not only the core of country music, but also the pulse of pop, R&B, hillbilly rock, Gospel and beyond. “Why be confined by barriers or genres?” Chuck asks. “As far as I’m concerned, it’s all American Music. These are the sounds that made up my musical vocabulary. I still believe that American Music is about real things, good stories and unique songs. And I’m willing to bet that most everyone else does, too.”
“It’s hard to believe that it’s taken him this long to make a solo record,” says producer/engineer Ray Kennedy, best known for his work on classic albums by Lucinda Williams and Steve Earle. “What sets Chuck apart from so many artists is that he’s a genuine hard-working, blue-collar performer. I hate the word ‘old-school’ but we didn’t want this album to sound like a lot of modern records where everything is over-tweaked and perfect. We knew we had to make it intimate and real.” Kennedy recorded the entire album analog on two-inch tape, in a studio full of both state-of-the art and vintage equipment that included ‘60s tube microphones, a Vox Continental organ, and a badass band that featured Kenny Vaughn (Marty Stuart), Audley Freed (The Black Crowes), Mark Miller (BR549), Mark Horn (The Derailers), Dave Roe (Johnny Cash), Mike Henderson (The SteelDrivers), Pat Sivers (The Everly Brothers) and Jen Gunderman (The Jayhawks). “Chuck is the same in the studio as he is on stage,” Kennedy explains. “He loves working without a net. There are a lot of multiple voices singing into one microphone and the band playing together in one room. Most of all, it’s an album that really represents his worldview song-wise. It has humor, intelligence, sarcasm, a bit of politics and a lot of spontaneity. Plus he’s singing his ass off. Chuck doesn’ he really is a journeyman in that songwriting and entertaining is his life.”
For Mead, life and music have always been irrevocably intertwined. “I joined my first band at 12 years old,” he explains with a laugh. “Ruint me forever.” Throughout his 20s, he led several groups in and around his hometown of Lawrence, Kansas, including the popular Mid-western cult band The Homestead Grays. By the early ‘90s, Chuck found himself as an itinerant musician on Nashville’s then-seedy Lower Broadway. It was a place in time where a performer armed with only the vision of a sonically relentless hillbilly band with nothing to lose could try anything. Within months, Mead co-founded a quintet that began playing must-see marathon sets in the front window of bar/bootery Robert’s Western World. Seven albums, three Grammy nominations and millions of worldwide fans later, BR549 would become one of the most improbable success stories of the past decade.
“BR549 is on extended hiatus,” Chuck now says. “We were – and remain – a family, and taking a break from each other will make us miss each other more. We survived the highs, the lows and all the hype, and we still had fun making music we love. But it was also time for me to do my own thing.” With the exception of occasional reunions on Prairie Home Companion (at the behest of longtime fan Garrison Keillor) and benefits for favorite charities, Mead’s post-BR career soon became known as much for its continued integrity as for its eclecticism. He founded the touring collective The Hillbilly All-Stars featuring members of The Mavericks, co-produced acclaimed tribute albums to Johnny Cash and Waylon Jennings, guest-lectured on ‘The Sociology of Modern American Culture’ at Vanderbilt University, and became a staff writer at one of Nashville’s top song publishers. In 2007, he was named Musical Director of Million Dollar Quartet, the new hit stage musical based on the night in 1956 that Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley came together for an impromptu jam session. “It’s been incredibly liberating to do all these things I’ve never done before,” Chuck says. “But most of all, I wanted to call my own shots and make a record that mattered.”
Ten of the eleven tracks on Journeyman’s Wager are co-written by Mead, who’d spent the past year working with such idiosyncratic and award-winning songwriters as Tia Sillers, Bobby Huff, Greg Crowe, Patrick Davis, Angeleena Presley, Mark Collie and Jon & Sally Tiven. The album roars out of the gate with the twanging highway stomp of “Out On The Natchez Trail”, and runs head-on into the sinister mystery of “Gun Metal Grey”. The horn-powered “She Got The Ring (I Got The Finger)” is a sly nod to Jerry Reed’s “She Got The Goldmine (I Got The Shaft)”. There’s classic country-pop wisdom in “Albuquerque”, gentle insight in “Up On Edge Hill”, and hard-driving good times in “I Wish It Was Friday”. “A Long Time Ago” is a paean of pedal-steel regret, while “After The Last Witness Is Gone” is a bold testimonial that’s equal parts honky-tonk and roadhouse rocker. “In A Song” may be the album’s genuine showstopper, a gloriously sanctified testament to the Everlasting Church Of Music. The disc’s sole cover is a fiery version – complete with yodeling – of George Harrison’s “Old Brown Shoe”, the obscure Beatles b-side from “The Ballad Of John & Yoko”. The album closes with the assured shuffle-funk of “No Requests”, a song whose chorus is a potent statement of purpose from an artist who is now truly his own man.
“Even when BR549 were being called a throwback act, we never allowed ourselves to be classified,” says Chuck. “The key was to always bring something new to everything we did. Today my slate is cleaner than ever before. This album is all me, doing what comes naturally.” For Chuck Mead, the time has come for one of Americana’s most uncommon artists to finally step out, step up and be heard on his own unique terms. And in a game where sure bets are rarely the real deal, one singer/songwriter/performer is again unafraid to lay it all on the line. “I mean everything I say on this album,” Chuck Mead says. “You can tell it with a wink and a smile, but it’s still the truth. And the truth is that Journeyman’s Wager is the culmination of everything I’ve learned. These are my decisions. This is my music.”}