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#this song is about heartbreak
hairmetal666 · 8 months
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Eddie's supposed to be writing. The guys, they all agreed they'd each come to practice armed with two whole new songs they could pick from to add to their set list at the Hideout. And he's got his pen, and he's got his most recent trusty Composition Book, and all his lyrics are fucking bullshit about golden tanned skin and honeyed eyes and tracing constellations in freckles and moles, pathetic lines about being twisted in bed sheets, and the hopeless love he found himself in.
For the fifth time in an hour, he rips out the offending page, crunches it into a tight ball, and throws it across the room.
He can't write about Steve Harrington for the rest of his life; spend his nights aching for the boy who established himself as a fixture in Eddie's life and then just disappeared.
The worst of it--the very worst--is that Eddie knew better. Steve was never his, not in any real way, no matter how many times they fucked. He's Steve Harrington. Straightest guy in Hawkins. Popular. Rich. Whole fucking life laid out for him on a silver platter. And Eddie fell for him. It's the Munson curse, he supposes; always wanting what you can't have.
It started the way these things usually do, "got any weed?" and "come back to my place, Harrington" and "I got this stupid job at the mall, meet me there?" and lying "hey, guys, can't make band practice, gotta help Uncle Wayne" and "Munson, I really want--can I kiss you?"
In every other fantasy Eddie's ever had, it ends there. Steve gets his kiss and they never see each other again. But Steve Harrington--he's full of surprises. It catches Eddie off guard, makes him want, makes him trust. Because it's not just kisses. It's hands and mouths and "anything you want, Eddie. Let me make you feel good."
Maybe it wouldn't have hit so hard--maybe Eddie could've stopped from falling--if Steve hadn't been so good. Bitchy, sure, but genuine and kind. Had this whole gaggle of junior high kids he babysat, like what the fuck. Would hang out with Wayne and shoot the shit about whatever sports nonsense was on tv. Harrington never was as mean, as spoiled, as superficial as Eddie suspected.
Then Starcourt. That's when it all changes. Steve stops coming around then, in the aftermath. It hurts, but Eddie tells himself it's for the best. Now, he knows it would have been.
Two weeks with no contact, and Steve shows up at his door in the middle of the night. Eddie winces at the healing bruises and cuts on his face, can't imagine how much worse they were to start. He steps aside, lets Steve in, plans to say that he can't be whatever they are anymore.
Steve kisses him. It's a hot, needy thing, wild with teeth and tongue, nothing like before. Eddie is helpless to it, helpless to the way Steve grinds against him, already hard. He should slow it down, check-in that Steve is in the right headspace for this, but Steve is moaning low in his throat and Eddie can't think.
They're in Eddie's bed and Steve says, "fuck me, Eddie?" and Eddie says "are you sure" because he can't stop himself. Steve rolls his eyes (beautifuly bitchy), says, "I need to feel you inside me, baby."
How can Eddie say no?
Eddie's never done this before, but it doesn't matter. It's everything--Steve is everything--he could ask for.
The next morning, he expects Steve to be gone. Thinks they'll never see each other again. But he finds Steve in the kitchen, in his boxers and Eddie's Iron Maiden shirt, making eggs and talking to Wayne like it's the most normal thing in the world.
The next month and a half are the best of Eddie's life. He and Steve spend more time together than they do apart. Nights at Eddie's trailer, in Eddie's bed. Days lounging at the Harrington pool and driving around the nothing that surrounds Hawkins. Sometimes they'll stop in the middle of nowhere, climb on top of the van, and just--be. Steve takes his shirt off, and Eddie traces their names in the sun-soaked freckles, thinking maybe he really gets to have this, have Steve.
It ends as quickly as it started. One morning in September, Steve is cupping Eddie's neck, pulling him in for a goodbye kiss, saying, "sorry, baby, gotta get home for my parents. I'll see you later tonight, yeah?"
Except Eddie doesn't. Eddie doesn't see Steve that night, or the night after, or the night after that. He stops coming around and all Eddie is left with is a broken heart and these piss poor excuses for songs.
He rips out the latest page, waxing lyrical about the wonders of August, and time slipping away, and the boy he'll never forget. Crumples it into a ball and bats it into a pile of junk accumulated in the corner of his room.
Eddie needs a break.
He flies into the living room, snatches up his keys from the floor by the coffee table, and flees his house and all those memories of Steve. It's not like he has anywhere specific to go, so he drives around town, with his windows down and his music up.
His tires screech as he rounds the corner to the video store and arcade. He's not planning on stopping, but honestly, maybe a few rounds of Space Invaders is exactly what he needs.
The van hasn't even come to a stop in the parking spot when his eyes fall on Steve Harrington. He's standing in the middle of the parking lot surrounded by a gang of kids (including some of Eddie's new little sheepies) and Robin Buckley. Steve wears a sunny yellow sweatshirt, tight jeans, and his hair is perfectly coifed, falling in an elegant wave. His hands are on his hips, mouth and brows pinched stern. He's gorgeous, perfect.
It's an assault, an attack, Eddie's entire body shakes as the months they spent together crash over him. He has the van in reverse before he consciously thinks to do so, flooring it out of the space hard enough to burn rubber.
The noise, the speed, it draws the entire group's attention to him.
His eyes meet Steve's.
Time stops and so does he, idling in the middle of the parking lot. For a second, one moment in time, Steve's face falls. His mouth loses that grumpy pinch, his eyebrows drop, his beauty transformed by grief, by fucking longing.
Steve takes a step forward, and Eddie hits the gas, van screaming out of the parking lot. He watches the group shrink in his rearview mirror, sure that he imagined the sorrow in Steve's face, anyway.
They're nothing to each other.
Never were.
By popular request: Part Two
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skywalker-swift · 17 days
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btw cause I think some people still need to hear this, but the rose colored glasses coming off and the ‘revision’ to the meanings of her songs about joe was always gonna happen. with travis around or not. so saying she should focus on her new relationship is not the dunk you were thinking it is. like I keep saying it but she wrote him into her world, she included him in the world she wrote music in, and when she needed to, she wrote him out. why would he get to stay when he hasn’t earned that anymore? she would have kept him in, she even would have left the bad stuff in a box, but he didn’t seem like he wanted that part of her life. please can we all just realize that this is just such a normal reaction and end to a relationship and Taylor doesn’t need to ‘take the high road’ or whatever just because she’s in a new relationship. the reckoning of what happened was always going to be closing the chapter of the story she wrote for them. she’s releasing it whether you’re ready to reckon with her or not.
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I can't be expected to be normal after hearing the words:
" 'I've seen enough,' he says, 'I know exactly what I want
And it's this life that we've created
Inundated with the fated thought of you
And if you asked me to, if you asked me, I would lose it all
Like petals in a storm
'Cause, darling, I was born to press my head between your shoulder blades, at night when light is fading
Just to let you know, I'm old, waylaid and feels like I am wading
Into carpet burns and carousels
Christ, you'll be the death of me' "
Like??? How am I supposed to exist after this ripped open my ribs and played them like a xylophone
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beep-beep-robin · 3 days
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You wouldn't last an hour in the asylum where they raised me.
Who's Afraid of Little Old Me - Taylor Swift
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deaftaylorswift · 2 months
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don't mind me, crying over book!brienne and her "I was nothing to you, why help me?" line to catelyn.
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uselessnocturnal · 11 months
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you’re losing me lyrics that are shaking me to the core kinda
“i wouldn’t marry me either, a pathological people pleaser who only wanted you to see her”
“how can you say that you love someone you can’t tell is dying?”
“i’m getting tired even for a phoenix”
“how long could we be a sad song ‘til we were too far gone to bring back to life?”
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adderallfrank · 1 year
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The Kids Aren’t Alright is like the grief song of all time. But also it isn’t. I don’t know how to explain this, like. In the end, I’d do it all again. I think you’re my best friend. Apply that to loss and your world will actually explode. The way you’d relive all that with someone and not change anything, just to have more time with them. The way old photographs hit harder once you’ve been confronted with death, once you know what it feels like. Though, death and grief can also be metaphorical. Maybe you just want old times back. Maybe you just want to treasure what’s already passed a little more. The Kids Aren’t Alright is a life in retrospect, whether it’s yours or someone else’s. Yet there’s so much love, there’s so much hope, it’s smiling and crying, it’s all just love. It’s grief, but it’s not, but it is. It’s the most heartbreaking song of hope I’ve ever heard.
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nesonkin · 8 months
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Why SEGA should let Shadow sing:
A.k.a. Shadow voice actors having a great singing voice masterpost.
Kōji Yusa (JP, 2001-present)
Mizukaze (fave)
Break Your Destiny
Mugen no Ori Kara
ADVENT
Shampoo Dream
Addictive World
Hyouri
DARKNESS NIGHT
Fuyu no Hanabi
BRAND NEW EDEN
Code name is
Sekai wa Sude ni Azamuki ni Ue ni
Bonus: Meow
There's more out there, most likely. This is just some I was able to find on YouTube.
David Humphrey (EN, 2001-2004)
Where is the girl?
Unnamed
Ian Hanlin (EN, Sonic Prime)
The Dark-Eyed Sailor
The End of the Rainbow
This list may grow with time. Hopefully.
In conclusion: let Shadow sing.
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Retcon act your age
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starbuck · 5 months
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and I’d just as soon make you disappear as look at you / but I draw you close to me
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jacarandaaaas · 4 months
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I love watching encanto reactions especially the ones who constantly comment on the performance and characters. Saw a reaction recently where this guy kept mentioning “such a great performance” and he’s right the voice acting is so good in this movie I feel like I don’t praise it enough. Nobody had a bad performance even those townspeople with like 2 lines were super memorable!
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biillys · 1 year
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BILLY WEEK → DAY TWO
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sensitive, abrasive, stab you in the face keep a blade, heaven sakes, had to raise the stakes
better days, follow me like the saddest song
brockhampton; love me for life
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fromtheseventhhell · 2 months
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She could feel the hole inside her every morning when she woke. It wasn't hunger, though sometimes there was that too. It was a hollow place, an emptiness where her heart had been, where her brothers had lived, and her parents. Her head hurt too. Not as bad as it had at first, but still pretty bad. Arya was used to that, though, and at least the lump was going down. But the hole inside her stayed the same. The hole will never feel any better, she told herself when she went to sleep. (Arya XII, ASoS)
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inafever · 9 months
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And I know I've kissed you before / but I didn't do it right / Can I try again, try again, try again?
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Mitski - Pink In The Night
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lacallemojada · 1 year
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But it feels good to be known so well. I can't hide from you like I hide from myself. I remember who I am when I'm with you.
You've never done me wrong, except for that one time that we don't talk about because it doesn't matter anymore.
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allamericansbitch · 2 months
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this is genuinely the funniest thing i've ever read
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