#Mt. Marcy

[midnight-wav]

undefined

// 𝙈𝙄𝘿𝙉𝙄𝙂𝙃𝙏 ⓌⒶⓋ //

  𝐒𝐎𝐍𝐆 :  mt. marcy & rhoda - ...and then my knees came through my chest   𝐆𝐀𝐌𝐄 :Kingdom Hearts 2

[clunk49]

twitter requests

[yorupie]

I kinda think that Anne Boonchuy is a bit Killua

[travelella]

Mt Marcy, Keene, Essex County, New York, USA

Alex Moliski

[anamoon63]

Your TS3 gameplay really does inspire me to give that game another shot. Are there specific mods you use to make sure the game runs smoothly/is stable? What mods/cc are the best to use so the sims look good?

Hi, Marci! 😊

First of all, thank you very much for your ask. Knowing that my sims and/or my gameplay can inspire other simmers to play means a lot to me cause The Sims 3 is my favorite game in the whole Sims series. Plus, I love my sims, so this makes me twice as happy. 🤗💖

That said, it is my duty to warn you that The Sims 3 is not an easy game to maintain, it requires a lot of care and patience, even from the moment of its installation. You ask me what it takes to make it run smoothly and make it stable, well I'm no expert, but what helped me with that is all contained in this Steam post. I believe these tips you can follow even if you don't have your game on Steam. I followed all these steps when I reinstalled my game back in 2017-18, and I have never had a problem like lag or crashes since then.

It's thanks to the amazing person who wrote that post and to talented modders like @lazyduchess and Twallan (Nraas Mods), whose mods I consider indispensable, that I have been able to play The Sims 3 without problems for years now. I may have had a couple of crashes due to some wrong or corrupt cc, but that's on me because I download a lot of stuff. In those cases, it's a matter of locating the bad cc, taking it out, and that's it. The game runs great, even with a ton of mods installed. (I have a 9 GB mods folder, and I've had more than that at times, lol, but I try to keep in less than 10 GB always).

As for what mods and cc's to use to make the sims look good, well, that would depend on your taste, or as they say now, on the aesthetics of your game or your sims.

For what it's worth, I have always used Ephemera's E-WEAK skin as default. I also use some other Ephemera's like E-Skin Natural MIX, Asia and Fresh. I use some by Kurasoberina too.

I think Ephemera's site doesn't exist anymore, but the E-WEAK skins I use can be downloaded on MTS here. Kurasoberina TS3 skins you can find them here along with more of their fabulous content.

I'm sure there are other skins much newer, and super nice too, but these are the ones I use, cause they give my sims the look they are known for. 😊

Also I use Tifa N38 default eyes, as well as Buhudain's You Are Real body and face maps replacements to give some realism to my sims' skins/bodies. Neither Tifa's nor Buhudain's sites exist anymore, unfortunately, but you can still find Buhudain's archives on this SFS page. And those of Tifa in this other one in Mega. (I hope I am not doing wrong by sharing them, otherwise I will remove them).

There's also this stunning version of Buhudain's You are Real by @nectar-cellar named You are Hyperreal. :)

As for the rest, if I start listing all the other content I use such as hair, clothes and makeup I would never finish, I'd gladly share my whole mods folder, but I don't want to piss off the creators, or blow-up other players' computers, lol. I'm WCIF friendly, though, so feel free to ask for any specific content, of any type, CAS or Buy/Build, I got my custom content well documented, so I'll provide you with links to any of them.

For the time being, here is this link to my custom Content List on my Blogger. I have kept this list for many years, and I still use most of that content; it may be a little outdated of course, cause I have a lot of new stuff now, so my intention is to update the page soon when/if I have the time. Also, some of the links may not work anymore, if so just let me know and I'll fix them for you if I'm able.

I hope this answer has helped you. Sorry for taking so long to reply, but I wanted to make this post as detailed as possible. If you have any other questions about The Sims 3, I'll be here whenever you need me. Good luck and happy simming! 😉💗

[oldfarmhouse]

The Marcy Cabin at night under a starry sky at Mt. Van Hoevenberg Bed and Breakfast, Lake Placid NY.

[butteredfrogs]

Introducing Marci !

aspiration: mt komorebi sightseer

traits: clumsy, loves the outdoors, lactose intolerant

After finally saving up enough money, Marci left her little apartment in san myshuno and decided to go out and explore the world. Next stop: Mt Komorebi!

Beginning / next

[dustedmagazine]

Roc Marciano — Marciology (Pimpire Records)

Roc Marciano’s music has been a bumpy ride for the last few years. Not since 2018 when he put out KAOS (fully produced by DJ Muggs) has he created anything even remotely close to his stone cold classic albums. Marcielago, Mt. Marci, even the last year’s The Elephant Man’s Bones left a bitter aftertaste. Not that they have been straight out duds, but they had only a few bangers.

Marciology is no return to form. Or more specifically, Roc Marci is in his best form right now, but he focuses more on writing poetry than songs. He almost solely produced the new CD, with some help from The Alchemist and Animoss, and as he said in his interviews he feels most comfortable on his own production. His beats suit his lyrics but work best only as soundstage for poetry, not as music per se.

Maybe that is why the second half of Marciology especially drags on. It’s not songs but huge chunks of poetry piled up, heavy on wordplay, with rhyming done nicely, almost perfectly. But not many of the tracks work as songs at all. Mediocre verses from guests only makes the material more sluggish.

This “too much poetry” effect is not new for Marciano. His last few CDs had the same downside: you praise his lyrical gift but don’t put on repeat this poetry over beats. Only the first three tracks —“Marciology,” “Goyard God,” and “Gold Crossbow” — have a clear musical feel to them. On “Gold Crossbow,” especially, Marciano makes an effort to make not just a poem over music but a rocking song. He rhymes there: “ain't gon' even hold you \ There's no room on the scrotum, you gotta keep it mobile \ That's a quotable.” And there are plenty of quotable lines all over the album, yet they don’t work if they are buried underneath the not very good songs.

On the cover of this CD under the title Marciology it says “a cult....” There is no denying that Marci created a cult following, giving life to dozens of copycats, mostly bad copies of himself with far less talent. But the irony is Marciology as a sort of tribute to his lasting legacy is too mediocre to create a cult now.

Ray Garraty

[garimpomusic]

Roc Marciano- Mt. Marci 2020

[catherinetcjd]

Marcie

MidCentury Design V34184 Split-Level on a SLOPED lot 3 bedrooms - 2 bathrooms - attached garage - patio - fenced yard - pet ready -

The floor plan comes from Multi-Level & Hillside Homes by Home Planners, 1991.

Read more »

Custom Content Included - Chimney-less Fireplace by Mia86

Lot Size: 40X30 Lot Price (furnished): $69,845

DOWNLOAD @ SFS

or MTS

[thelensofyashunews]

ROC MARCIANO SHARES “LEFLAIR” VIDEO

New York Hip-Hop multi-hyphenate, Roc Marciano has just shared a new music video for “LeFlair” from his recently-released album Marciology. The album was met with instant acclaim from both Pitchfork and Rolling Stone, the latter of which hailed it as a “dose of assonant rhymes over lush beats” in its 4-star review. While mainly self-produced, Roc’s latest outing also boasts production credits from The Alchemist and Animoss and includes features from Larry June, Flee Lord, CRIMEAPPLE, T.F., Knowledge the Pirate, and GREA8GAWD. The Marciology rollout marks the start of a new era for the MC and producer, arriving alongside the recent announcement of a forthcoming multi-date North American and European tour. Roc Marciano is a storied emcee on the heels of a career-minting run of critically-acclaimed solo LPs, from his respective 2018 and 2019 albums Marcielago and Mt. Marci, to his 2020 instrumental project Pimpstrumentals, and The Elephant Man’s Bones in collaboration with The Alchemist. Roc Marciano has also spent the past few years sitting behind the boards, creating the soundscape for notable underground Hip-Hop projects like Stove God Cooks’ debut album Reasonable Drought and Flee Lord’s 2021 LP Delgado.

Marciology serves as Roc Marci’s eleventh studio album, as he steps back into the booth and showcases why COMPLEX says he “continues to run New York’s underground scene” even at this point in his illustrious, decades-long career. With dark instrumentals to complement his cold-blooded bar work, Marciology is proof that the legendary emcee continues to adapt to the times while only improving his imaginative storytelling. Highlighted by Roc Marciano’s signature urgent flow and contemplative raps splashed across a canvas of nostalgic, old-school production, the long-awaited Marciology marks his first solo album in nearly four years – a staunch reminder that the producer and emcee is as hungry as he’s ever been. Widely hailed as a godfather of underground Hip-Hop, Roc Marciano is continuing to shape the sound of the next generation, playing a key role in the resurgence of contemporary Hip-Hop.

[buttercupart]

how Frisk and Alphys bring back the fallen humans post-pacifist

oh yeah Oh yeah it's headcanons time who wants Headcanon's Time

its in my humble post-pacifist opinion that when the barrier breaks and the six human coffins go empty, its because their bodies are magically transported under the flowers in the ruins, so that they're buried with Chara, all seven humans together. it gives more weight to this line;

( Asriel will now watch over their final resting place as his way of apologizing for absorbing their souls in the first place )

shortly thereafter, the souls are gathered back up and put back into their preservation jars while monsterkind navigates the mass moving to the surface; they want to properly do something to honor the long-gone humans who made their freedom possible; maybe to give them a big celebration of life ceremony before releasing their souls on the surface? they're not sure, but they want to honor the fallen children's deaths and sacrifices they made for monsterkind, and they want to do it right.

uh.....however, Frisk has like... a serious guilt complex about not being able to save Chara and Asriel; not being able to give them their happy ending, and this extends to the other humans as well, even though they never met any of them. it eats up at them that they can't make everything right for everyone all the time, because they see that as their purpose in life.

so they eventually reach out to Alphys, who they verrry well know has done some wild unethical stuff regarding determination and souls, and they both know that its possible for something without a soul to still be alive (ie; the whole Flowey debacle, the amalgamates, etc) and that humans can tolerate determination much better than monsters can - and together, Alphys and Frisk travel back to mt. ebott one weeknd under the guise of it being a cool aunt and nibling outing - only they know the truth that they're going back to visit Asriel-as-Flowey and see if there's anything they can do for him.

anyways TL;DR, Flowriel lets it slip that the souls are still in their preservation jars in the castle and that the humans bodies', including that of Chara's, are all buried there underneath the golden flowers in the ruins. Frisk gets the idea to dig up their bodies and use their remains - their bones of ortet, even, to grow new replacement ones.

however, even though they're currently up to way crazier unethical shit than ever before, both Alphys and Frisk understand the implications of just using a singular bone to grow clones out of - they could make multiple copies of the same person, theoretically, and thats just Too uncomfortable - so they opt to just dump the whole skeleton in there for the best results, and if worst comes to worst and the experiment totally fails, then, well, that will be fine and will be their cue to not continue any further, clearly!

the new bodies are grown in whats essentially Marcy from Amphibia's picklejar rejuvenation tank, down in the true lab, with the next step once the new body is ready being to just kindaaaa... shove the soul into their chest and hope it takes to the new body and doesn't pop back out?? determination injections are administered as necessary to assist in the process; think kind of like immunosuppressants in organ transplant cases - and since Frisk is the most determined being with the sole power to save and reset, they are the DT donor to the other humans

ok anyways super tl;dr Frisk and Alphys dig up the fallen childrens remains and are making grimwalkers/test tube babies/replacement bodies for them utilizing their bones, down in the torture labyrinth. this is a secret that they absolutely cannot tell anyone about ever so they plan to elaborately lie about like, love and determination bringing them back to life or whatever (however the souls are conscious, so... they know what really happened)

[wdr2-rlbmut]

The Zozobra (also known as "Old Man Gloom") is a giant marionette effigy constructed of wood, wire, and cotton cloth that is built and burned prior to the annual Fiestas de Santa Fe in Santa Fe, New Mexico, United States. It stands 50 feet high. As its name suggests, it embodies gloom and anxiety; by burning it, people destroy the worries and troubles of the previous year in the flames. Anyone with an excess of gloom is encouraged to write down the nature of their gloom on a slip of paper and leave it in the "gloom box" found in the City of Santa Fe Visitors' Centers in the weeks leading up to the burn. Participants can also add documents on the day of the burning, up until 8 pm MT, at a "gloom tent" in the venue where they can add to the marionette's stuffing. Legal papers, divorce documents, mortgage pay-offs, parking tickets, and even a wedding dress –– all have found their way into Zozobra to go up in smoke. At the festival, glooms from the gloom box are placed at Zozobra's feet to be burned alongside it.

Each year in Santa Fe, New Mexico, over 60,000 people attend the event. The Friday Burning of Zozobra is followed by festive events over the Labor Day weekend, with Desfile de Los Niños, the Children's Pet Parade on Saturday, the Hysterical-historical Parade on Sunday, and a traditional mass at St. Francis Cathedral on Sunday night.

Since receiving all rights to the Zozobra pageant in 1964 from creator Will Shuster, the Kiwanis Club of Santa Fe has built Zozobra and burned the effigy at Fort Marcy Park. The Zozobra that burned on September 7, 2007, was certified by Guinness World Records as the largest marionette in the world, at the time measuring (49 ft 10.82 in) in height.

The Burning of Zozobra at Fort Marcy Park in Santa Fe, New Mexico, was traditionally held in September; however, ticket sales in advance of the event improved in 2014 when it was moved to the Friday immediately before Labor Day.

Directed by Michael Jiroch

Zozobra, the Burning Gloom

[therappundit]

REVIEW:  ‘The Elephant Man’s Bones’ by Roc Marciano & The Alchemist

A few week’s after the initial buzz has died down, exactly how good is the highly anticipated collaboration?

After *years* of reliable hearsay from two of the most iconic figures in underground hip-hop, last month we received a long-awaited gift from Roc Marciano and The Alchemist in the form of The Elephant Man’s Bones, a stacked and polished snarl-fest, perfectly described by Roc’s own manager as “ criminal jazz* ”.  The album arrived to an overwhelmingly positive response, feasted on by the loyal fanbases of both artists, who had been salivating over the project’s impending release since long before the completion of the tape was even confirmed.  But after the initial buzz has died down, for me the question remains:  as a fan, did it meet my (potentially unreasonable) expectations?

2022 is far from an ordinary year for rap music.  At times it feels like the culmination of the “underground renaissance,” which - depending on who you ask - kicked off circa 2015/2016.  Every week eager rap-addicts (myself included) dive head first into a ubiquitous sea of new releases from all different rap styles, from all different corners of the rap universe, leading to an unavoidable feeling that good NEW rap music is no longer a hope, but an expectation.  Being fully aware of that sentiment, I spent the past few weeks checking myself to see how it impacted my early takes on The Elephant Man’s Bones.  

What at first seemed like a not-so-out-of-the-ordinary act of mid-verse braggadocio on “The Eye of Whorus” off of Roc Marci’s last solo album, 2020′s Mt. Marci, (”coke up to my elbows / I still own the Elephant Man’s bones / rare stones make my hands look like Thanos”), was gripping enough to fit the bill as a final title for Roc & Uncle Al’s first full length LP as a duo.  “The Elephant Man,” known in real life as Joseph Merrick, died in 1890 at the age of 27, after enduring what must have been a life of almost unparalleled suffering.  At a very young age, his body began to develop masses of overgrown tissue, eventually leading to enough of a sever deformity that a normal public life was impossible.  Infamously dragged through the sideshow carnival life, and treated like an inhuman freak of nature just to make a living, he finally found a home in London Hospital, spending his remaining years in relative peace, leaving a legacy as an intelligent, gentle soul that epitomized the “never judge a book by it’s cover” adage better than almost anyone else in history...

It’s not clear if any of the above factored into the title of this album.  What is much more likely an influence, is the rich person’s quest to collect the most rare and expensive trinkets over the course of one’s life, and die with the most toys at your disposal.  Some rap artists build a career off of mining such territory, but with the longstanding rumor that Michael Jackson identified with Joseph Merrick and may have even tried to purchase Merrick’s bones, suddenly we have a display of rare exclusivity that stands out from the pack.  I suspect that this notion inspired Roc Marciano in the past, and from his perspective, even pieces of Merrick’s own life may have even inspired Roc, who never claimed to fit in to “mainstream” music expectations (but did he ever want to?).  

It would not be outrageous to call Roc Marciano one of the most influential MC’s of the past decade.  It also wouldn’t be outrageous to consider him one of the most successful independent artists in the history of the genre.  There are plenty of moments on The Elephant Man’s Bones that capture that all too well.  “Deja Vu” makes for an odd choice as the album’s lead single.  It’s far from the concrete-cracking, go-for-the-throat type of joint that people may have expected as the first audio glimpse of this album, but it shows that both artists can dabble in territory that many of their peers cannot.  The beat flows woozy, like it was meant to score the opium den hallucination of a cinematic anti-hero, providing just enough canvas for Roc to cruise in and out with confidence (“this is clairvoyance / I brought the stick for the voyage / the crest on the Gucci knit embroidered / in my forties, I’m still looking boyish”).  

Boldy James, another frequent Alchemist partner in crime, comes through on “Trillion Cut” to bless the album with another one of the best verses on the album, and then Roc sticks the landing with “my pops had tracks in his arms from heroin / this is rap meets Gil Scott-Heron / Black Bugatti Veyron / the leather in the car was eggnog / vest I wore was kevlar / the scarf was a gift from Pablo Escobar / these ain't no regular old bars, this a five star restaurant - Marci...”  Like many of his top shelf peers - JAY-Z, Rae & Ghost, Jadakiss, Nas, Ka - Roc Marciano understands better than most how word choice and attention to detail are some of the key traits that can elevate a rap artist from passable to being considered an elite lyricist.  Ironically, Roc pens some of the album’s strongest bars towards the very end of the album, on songs like “Stigmata”, “Think Big” and on the special-edition-only cut “Macaroni”, stating “I’m an enigma - I’m still dealin with trauma from back when I was a drifter / Used to crash at Kim’s, she was my bottom-bitch, sometimes I miss her / in particular / But thank God I know how to pick em / everything in the Garden ain’t to be bitten”.  

Meanwhile, behind the boards The Alchemist holds court throughout Bones providing cozy backdrops for Roc to flash his craft.  One of the biggest differences between early 00′s Alchemist production and his work today is that he understands that not even the greatest MC’s can coast on darkness for forty minutes.  Here he thoroughly embraces the use of piano keys (harkening back to that “criminal jazz” reference from earlier), ranging from sinister to breezy, never really flaunting his uniqueness as a producer, just assured that the subtle choices he weaves over his loops and chops shine through in the end.  While it doesn’t touch his flex of versatility on his union with Armand Hammer on Haram, or his blunt-force boom-bap that he brings to the table on his joint ventures with Boldy James, there’s no shortage of high points on the production side.  For many fans, “Rubber Hand Grip”, “Quantum Leap”, “Bubble Bath”, and “JJ Flash” represent exactly what they came here expecting, but while I enjoy all of those tracks, it’s the unexpected aesthetic choices he makes on songs like “Daddy Kane” that showcase the ceiling-less potential of a Roc and Al union (I don’t know if any of us expected something as uniquely funky as “Daddy Kane” to come from this album).  At it’s best, Uncle Al’s work on The Elephant Man’s Bones champions his sublime chemistry with a longtime collaborator; at it’s worst, it’s a solid addition to his catalogue, albeit one that might not have a beat selection that matches the lofty expectations for this project.

The title track features some of the album’s more memorable lyrics, but I don’t think it matches Roc Marci’s past moments of clarity.  Again, like many of his peers in the rap game that I mentioned earlier who often write from under a “rose growing out of concrete” pretense, Roc’s flashes of sensitivity and internal reflection loom large due to how suddenly and infrequently he reveals his softer side.  But many of his stand-out quotes from “The Elephant Man’s Bones” sound like they’re mined from ground that he explored in the past, and on sharper songs.  While lines like “the pen got pain in it / I came in the entertainment business with this / can't trust no bitch, she just tryna bang her favorite musician / like I ain't got feelings” are solid bars, coming from an established MC that has casually dropped some of the coldest pimp talk in rap history, it’s hard to feel this sentiment as more than just a "okay I guess I should have one of those more personal records here?” moment.  When compared to past references from Roc reconciling with his heart being all too human (“if you love me, then buy me a V / was never love, why would I be naive / my team we got it out the mud, y’all n*ggas got y'all money clean” on Rosebudd Revenge 2′s stellar “Soul Power”, for example), it feels like Roc mostly has his pen set to stun instead of kill.  Bar vs. bar this is all a relatively minor grievance, but when thoughts of “been there, done that before - but better” arise multiple times across an album, if Roc is guilty of any mistake it’s that he’s at the mercy of his own high bar with the snootier fans (of which I am one, for what it’s worth!).

Like Prodigy before him, The Alchemist’s chemistry with Roc yields some of the best slick mafioso rap since the Wu’s hay day, but I don’t actually believe darkness is what Roc does best. Yes, the gangster bravado has always been a part of his rep, but it’s his ability to take the fodder of harsh street life - guns, drugs, prostitution - and sew it all together seamlessly with splashes of darkness, humor, soul, swagger and some experimentation here and there to keep things fresh, that has always made him a MC’s favorite MC.

Above all else, it’s the experimentation that’s missing here.  Both Roc and Al have enough great work to their credit, so they can more than afford to take some risks.  Roc took some risks with the sound of Mt. Marci (some outside the box production choices which I appreciated, although some of it felt half-baked), but it was on his Rosebudd’s Revenge series when everything came together perfectly for Roc Marci.  At his peak as a writer, he could ride "C.V.S.”’s mysterious, gurgling beat (courtesy of the very dope Don Cee), or zombie-level creep of “The Sauce”, and succeed with songs that were bound to be embraced by some and questioned by others.  It showed not only the confidence in crafting his sound, but in continuing to push his boundaries.  Delivery wise, Roc also came across as much more limber on those aforementioned projects than he has over the past few year.  The challenge for Roc and other rappers that set foot in his lane is that amongst the “quieter” MCs, absences in variety loom larger over time.  He has yet to pleasantly surprise me with his flow choices like he has on the Rosebudd series, but what I think this all just all amounts to is a surprisingly safe, relatively risk-free album in The Elephant Man’s Bones.  

For some time now, I have believed that Roc was becoming more infatuated with producing than emceeing (work with Stove God, Flee Lord, Bronze Nazareth and others in recent years only confirms that direction).  That would only make sense, since he is very much a strong producer in his own right, and it’s in his production that it does seem like he is the most open to stepping out of his comfort zone.  I felt like he sounded bored over parts of Mt. Marci, and while he sounds considerably stronger on Bones, there are still moments where I feel like he’s freestyling and occasionally stumbling into sharp bars rather than meticulously shaping a strong verse.  The running joke over the years is that he has as many sons in this game (an apt reference to the many other underground artists that are making a living today off of similar flow-patterns to Marciano, serving at best as a successful homage, but rarely as ear-grabbing as their father figure)....well, it’s 2022 and plenty of his sons have grown, but he should still be standing out from them.  Dated references to gettin’ by like Talib Kweli, hittin’ em up like Blu Cantrell, Dylan, Dylan, Dylan, and Fonzworth Bentley only serve to make Roc sound like a throwback, which he hasn’t been since 2010, and doesn’t need be, whenever he wants to focus on his pen game.  

At one point hungry fans might have considered The Elephant Man’s Bones an underground devotee’s Detox, but while Detox remains an abstract idea or symbol of “what might have been”, an Roc Marciano album with The Alchemist was always believed to be only a matter of time.  Should this project have happened sooner?  Maybe, but it’s hard to say that equally about both artists.  Since 2011′s Greneberg brought us the first joining of Alchemist and Roc Marciano within a rap project, Roc went on to inspire a generation of indy artists and Al became the definitive “go to” producer, recommended by underground heads across the globe whenever they unite to snarkily question a rapper’s beat selection (at some point post-2010, the “they should do an album produced entirely by _____!” sentiment pivoted from DJ Premier being the assumed blank-filler, to the now famous Alc).  

When compared to their early outputs both have matured so much as artists over the years, but one fact remains in the same:  creatively speaking, neither Roc Marciano or The Alchemist need each other.  In an age where Hip-Hop Twitter does everything it can to fast-track MC’s to The Alchemist early and often, Roc Marciano is actually the last MC that needs Uncle Al to set his beat selection straight.  His own skill set aside, Roc has no shortage of resources to call upon whenever he decides to crank out a project (DJ Muggs, Animoss, Don Cee, Element, Q-Tip - to name a few).  However, I don’t think The Elephant Man’s Bones was ever meant to be like any ol’ Roc project.  If anything, it’s a victory lap, a celebration that these two prolific artists have been workhorses in rap music for decades, with little to no signs of rust.  The heavily hyped Roc Marciano and The Alchemist album was stamped a winner by their fans before it left the gate, and it’s a well-deserved toast to the underground rap renaissance we are currently basking in.

Since “Roc Marcy” first began hanging out with the Flipmode Squad and The Alchemist first began messing with Muggs, Buc Fifty, Dilated Peoples and the late great Prodigy, we have seen their experimentation turn into new lanes for today’s artists to thrive in, continuing to foster creativity and push the boundaries of what is considered the standard for rap fans in 2022 and beyond.  Neither Roc Marciano or The Alchemist have actually reached the King of Pop’s “capable of purchasing the Elephant Man’s bones” level of influence, but they’re the undisputed kings of their own sound, and fans wouldn’t want it any other way.

*https://twitter.com/DubCityRoller/status/1560804097883774977?s=20&t=vk5U33GX8bksjJQMK0GS6g

https://rocmarci.com/

[writers-ex]

hey hey heyyyy marcy anon returns with some news :3

i saw itzy over the weekend at head in the clouds and it was a DREAMMM i was in the vip and ryujin waved at me twice. AND YUNA AND CHAER SAW MT FRIEND AND GAVE HER HEARTSSSS we were literally on cloud nine and they looked so good :3 anyways i hope ur well and ur recent lil fics and drabbles have been fantastic

WHAT AS:LKFKLADKLKDSLNFKLDJLKAF AKJSXFJKDJKFJKSJ YO UH WEHN HOW I SM AOSOIAFSKJkljsafkjkDSJLKAJS

*ehm* anyways...congrats anon <3333 you literally lived my dream TwT i would kill to be your friend that got hearts from chaer my girl and getting waved at by ryujin....T W I C E??!??! lkdjsajlkgdafk damn anon u slaying <333 im crying rn im so happy for you and thanks for your support in the drabbles stay safe and keep sending updates and your thoughts

xo, hannie

[stumbleimg]

Views from the trail up Mt. Marcy, High Peaks Wilderness, New York. [OC] 4000x6000