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v-akarai · 9 months

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References in Servamp

Arabian mythology

Jinn. Ch. 16

Greek mythology

Elpis. Ch. 75

Moirai. Ch. 108

Pandora. Ch. 130

Pygmalion. Ch. 123

Pandora's Box. Ch. 97

Japanese mythology

Gashadokuro. Ch. 129

Kitsune. Ch. 3

Raijin. Ch. 85

Norse mythology

Baldr. Ch. 39

Bifröst. Ch. 88

Brunhild. Ch. 88

Fimbulwinter. Ch. 40

Freya. Ch. 65

Frey. Ch. 131

Gleipnir. Ch. 101

Hati. Ch. 91, 131

Hod. Ch. 39

Hliðskjálf. Ch. 96

Idunn. Ch. 65

Loki. Ch. 15

Mimir. Ch. 29

Mjölnir. Ch. 53

Ragnarök. Ch. 101, 122, 131

Sigurd. Ch. 101

Thor. Ch. 41

Yggdrasil. Ch. 42

Biblical references

Abel. Ch. 8

Adam. Ch. 128

Boaz and Jachin. Ch. 42

Eden. Ch. 21

Eve. Ch. 1

John the Baptist. Ch.122

Lucifer. Ch. 135

Nod. Ch. 29, events

Hinduism

Asura. Ch. 57.5, 89.

Tarot

The Fool - Mahiru. Ch. 50

I. The Magician – Night trio. Ch. 41

II. The High Priestess – Mikuni. Ch. 42

V. The Hierophant - Shuhei. Ch. 77

X. Wheel of Fortune - Junichiro. Ch. 53

XII. The Hanged Man - Tsurugi. Ch. 50

XV. The Devil – Shamrock. Ch. 72

XVI. The Tower - Touma. Ch. 47

XVII. The Star - Iduna. Ch. 73

XVIII. The Moon - Yumikage. Ch. 69

XX. Judgement - Mikuni. Ch. 144

Literary references

"Alice's Adventures in Wonderland" Lewis Carroll. Ch. 3, 4, 7, 19, 98, 122. Misono, Lily, Dodo, Mitsuki, Yamane, Hattori, Mikuni, Bad B and Good B.

"As You Like It" William Shakespeare. Ch. 10, 38.5. Mikuni's spell.

"My Fair Lady" English nursery rhyme. Ch. 10 Mikuni's spell.

"Dracula" Bram Stoker. Ch. 12, 30. Hugh.

"Romeo and Juliet" William Shakespeare. Ch. 23, 34. Hyde, Ophelia.

"Faust" by Johann Wolfgang von Goethe. Ch. 29 Johannes.

"Through the Looking-Glass" Lewis Carroll. Ch. 29, events. Mikuni, Johannes.

"Julius Caesar" William Shakespeare. Ch. 23, 84. Hyde.

"Strange Case of Dr. Jekyll and Mr. Hyde" Robert Stevenson. Ch. 23, 37. Hyde, Licht.

"Macbeth" William Shakespeare. Ch. 24, 31. Kuro, Saint Germain, Mahiru.

"Night on the Galactic Railroad" Kenji Miyazawa. Ch. 26, 142. Higan, Tsubaki.

"The Little Prince" Antoine de Saint-Exupéry. Ch 30, 67. Kuro, Mahiru, Sloth demon, Gear, probably Jeje.

"Hamlet" William Shakespeare. Ch. 33, 34. Hyde, Ophelia.

"The Phantom of the Opera" Gaston Leroux. Ch. 36 Licht and Hyde technique.

"Peter and Wendy" James Barry. Ch. 44, 56, 74. Tsurugi, Touma, Mahiru.

"Ring a Ring o' Roses" nursery rhyme. Ch. 53 Junichiro's spell.

“Peter Pan in Kensington Gardens” James Barry. Ch. 53, 75. Tsurugi, Touma.

"Death in Venice" Thomas Mann. Ch. 55 Gilbert technique.

"Total Eclipse" a play by Christopher Hampton. Ch. 55 Rayscent's technique.

"The Morning of the Last Farewell" Kenji Miyazawa. Ch. 57.5 Tsubaki.

"Spring and Asura" Kenji Miyazawa. Ch. 57.5 Tsubaki.

"The Catcher in the Rye" Jerome Salinger. Ch. 62 Shuhei.

"Four and Twenty Blackbirds" Agatha Christie. Ch. 62 Shuhei's spell.

"Metamorphosis" Franz Kafka. Ch. 62 Shamrock technique.

“The Nighhawk's Star” Kenji Miyazawa. Ch. 62, 76. Shamrock technique.

"Rock-a-bye Baby" an English lullaby. Ch. 70 Touma's spell.

“Schlafe, mein Prinzchen, schlaf ein” lullaby. Ch. 70 Touma's spell.

"Who Killed Cock Robin" an English nursery rhyme. Ch. 70 Yumikage's spell.

"The Wonderful Wizard of Oz" Lyman Frank Baum. Ch. 70, 88. Tsukimitsu brothers’ spells.

"Daddy-Long-Legs" Jean Webster. Ch. 74. Dark Night Trio, Touma.

"King Lear" William Shakespeare. Ch. 86. Hyde.

"The House of the Sleeping Beauties" Yasunari Kawabata. Ch. 86. Iori.

"The Divine Comedy" Dante Alighieri. Ch. 118, 120, 121. Niccolo, Ildio, Gluttony demon.

“A Brute's Love” (人でなしの恋) Edogawa Rampo. Ch. 122 Mikuni, Lily.

"Coppelia" ballet Leo Delibes. Chapter 122 Mikuni, Lily.

"Salome" Oscar Wilde. Ch. 122 Mikuni, Lily.

"Turandot" opera by Giacomo Puccini based on the play by Carlo Gozzi. Ch. 129, 136. Lily.

"The Tempest" William Shakespeare. Ch. 131. Licht and Hyde.

"The Old Man and the Sea" Ernest Hemingway. Ch. 134 Hugh.

"Flowers for Algernon" Daniel Keyes. Ch. 135 Hugh.

"Jane Eyre" Charlotte Brontë. Ch. 136. Hokaze.

"Madama Butterfly" opera by Giacomo Puccini. Ch. 136. Lily.

"Hansel and Gretel" the Brothers Grimm. Ch. 140. Faust and Otogiri.

Music

"Für Elise" by Ludwig van Beethoven. Ch. 34

"Jesu, Joy of Man's Desiring" by Johann Sebastian Bach. Ch. 125

Sonata No. 17 "Tempest" by Ludwig van Beethoven. Ch. 131

Movies

"It's a Wonderful Life" (1946). Ch. 131

"Life is Beautiful" (1997). Ch. 131

I believe this list can be expanded. Somewhere I’ve written only chaps when some reference was mentioned for the first time and omitted all further mentions.

Special thanks to hello-vampire-kitty, joydoesathing and passmeabook, because some works wouldn’t be included in the list without their observations.

#servamp

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world-beauty · 9 months

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Spherical Planetary Nebula Abell 39

Credits: Adam Block, Mt. Lemmon SkyCenter, University of Arizona

#nature #space #astrophotography

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things-arent-what-they-seem66 · 4 months

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I feel the need to clarify the ages in the Criminal AU because I changed somethings.

Adam was 15 when Steve happened. Steve himself was 17. Their relationship went on for 6 months.

Adam was 18 when Abel and Cain was born. Eve is the same age as him (Also this was NOT welcomed well by Eve’s parents)

Abel and Cain were both 13 (sorry if it’s a bit too young) when the murder took place. Which means Adam/Eve was 31. And Cain isn’t in prison for this now, it’s something else.

Adam was 33 when Emily was born, currently he’s 39.

Now to Lucifer.

He was 27 when he got married to Lilith, 29 when Charlie was born. Lilith left them for 2 years when he was 32 and Charlie was 3.

Lilith divorced him when he was 34. He’s currently 39 years old like Adam.

Lilith is currently 40 years old.

Damn sorry if I made them a bit too old.

The ages work out just fine! Makes sense.

Adam needs a fucking hug my god.

#adamsapple #lucifer x adam #hazbin hotel adam #hazbin hotel lucifer #ask #criminal au

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yourstrulynameless · 3 months

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>CREDENTIALS ACCEPTED, WELCOME

Dr. Vincent Shaw

-aka scp-963 || class: safe || level: 4

“Mistakes were made”

> Position: Site Director

> Location: Site-19

> Note: Not again.

> Addendum 963-a

> Transcript of Site announcement speaker audio on ▉︎▉︎/▉︎▉︎/▉︎▉︎.

“In 10 minutes, at exactly 14:39, scp-76 will breach containment. All security guards get into position, this is not a fucking drill! Contact MTF immediately! All personnel untrained in combat get as far away from wings, east, east west and west of floor 14- actually just get off the fucking floor entirely! I repeat, this is not a drill!”

> Addendum 963-b

> Interview transcripts between Dr.Shaw and Dr.Oglin.

Dr.Oglin: How did you get access to the speakers?

Dr.Vincent: Well, I mean, emergency buttons are everywhere.

Dr.Oglin: True, but you need a level 4 keycard to actually use the speakers. Everyone heard your voice, not the prerecorded ones.

Dr.Vincent: Dr.Mandrake dropped hers in the hall. I used that to make sure everything would go smoothly.

Dr.Oglin: You must be aware that using other keycards is prohibited, yes?

Dr.Vincent: Sir, this was a life or death situation, you gotta understand. If I didn’t act, Abel would have gone AWOL and killed at least three wings! Not to mention the amount of damages and breaches of other scps—

Dr.Oglin: So how did you know? You haven’t been seen nowhere near his cell.

Dr.Vincent: Okay. You gotta believe this then.

[He holds up scp-963 by the pendant]

Dr.Vincent: Every time I die, I wake up at the start of the day. I’ve only had it for today so if I don’t know all the gimmicks— This is the farthest I’ve gotten without a loop because you keep killing me. Well, not you specifically, but just any of you! You always want to test it out and prove it which sends me back to morning and I gotta repeat eeeeverything again and I’m tired of it so don’t you fucking dare! Just at least let me pass this day— Also, if you need more proof? Megan is cheating on you, check under your fucking bed she has another guy’s pair of shorts there. Check the cameras while you’re at it! You’ll see I’m nowhere near your living quarters and the only reason I know this is because of a previous loop. Sorry to use your relationship to prove my fucking point but honestly why are you dating in the Foundation anyway, we all know that’s a dumb idea.

> The rest of the interview has been expunged.

> Addendum 963-c

> A collection of test results according to Dr.Vincent. All deaths are either shots to the head dealt by Foundation standard pistols or by lethal injections.

Control Group

Test: Killed once a day for 7 days straight while subject does not deter from standard path.

Result: Subject waking up exactly when he woke up for the first time of that day. He was able to predict exactly how the day goes.

Test: Subject rolls a dice and is then killed. Subject lives through day again and rolls dice once more.

Result: First roll resulted in a 1, second roll resulted in a 6.

Test: Kill subject while asleep at night.

Result: Subject wakes up previous morning.

Test: Kill subject after subject takes mid day nap.

Result: Subject still wakes up in morning.

Test: Kill subject after subject has not slept in over 24 hours.

Result: Subject returns to start of last day experienced at exactly 12:00am.

Test: Patient takes off scp-963.

Result: Day restarts.

Test: Patient wears necklace with another subject at the same time. Subject b is killed and then subject a.

Result: Subject b has no recollection of the day while Subject a goes through standard results.

Test: Subject kills self.

Result: Standard.

> Addendum 963-d

> Following test was not authorised and was done by Dr.Vincent alone.

Test: Destroy scp-963 with a hammer.

Result: Day resets.

Congratulations! For scrolling through allat you get his playlist!

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calledtobethelight · 6 days

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You Can Do Well (Part 1)

“And the Lord said to Cain, ‘Why are you angry? And why do you look sad and depressed and dejected? If you do well, will you not be accepted? And if you do not do well, sin crouches at your door; its desire is for you, but you must master it.’”

Genesis 4.6-7 (AMPC)

You can do well! But maybe, you are not doing well. Maybe, you find yourself consistently angry, sad, and depressed. Maybe, you see others getting blessed by God and it bothers you. Maybe, you firmly believe you are doing all the right things, but something is still off. It’s time for a heart check. It’s time to be honest. Here are 3 indicators that you are not doing well and what it signifies.

1. You lack love for God.

Before Cain even committed murder, his deeds were recognized as evil. 1 John 3.11-12 states, “For this is the message which you [believers] have heard from the beginning [of your relationship with Christ], that we should [unselfishly] love and seek the best for one another; and not be like Cain, who was of the evil one and murdered his brother [Abel]. And why did he murder him? Because Cain’s deeds were evil, and his brother’s were righteous.”

What made Cain so different from Abel? They both offered sacrifices to God. However, Hebrews 11.4 distinguishes that “by faith Abel offered to God a more excellent sacrifice than Cain, through which he obtained witness that he was righteous, God testifying of his gifts.” By faith, Abel gave an offering that God respected and regarded “for without faith it is impossible to please Him” (Hebrews 11.6). Abel’s faith set him apart from Cain, and faith works and expresses itself through love (Galatians 5.6).

1 Corinthians 13.1-3 states, “If I [can] speak with the tongues of men and [even] of angels, but have not love (that reasoning, intentional, spiritual devotion such as is inspired by God’s love for and in us), I am only a noisy gong or a clanging cymbal. And if I have prophetic powers (the gift of interpreting the divine will and purpose), and understand all the secret truths and mysteries and possess all knowledge, and if I have [sufficient] faith so that I can remove mountains, but have not love (God’s love in me) I am nothing (a useless nobody). Even if I dole out all that I have [to the poor in providing] food, and if I surrender my body to be burned or in order that I may glory, but have not love (God’s love in me), I gain nothing.”

God is love and, when you receive Jesus Christ as your Lord and Savior, He abundantly pours out His love into your heart through the Holy Spirit (1 John 4.8, Romans 5.5). Without God’s love in you, your faith means nothing. Without God’s love in you, any external, religious acts you perform unto God ultimately mean nothing. Without God’s love in you, you are nothing.

Matthew 22.37-39 states, “And Jesus replied to him, ‘You shall love the Lord your God with all your heart, and with all your soul, and with all your mind. This is the first and greatest commandment. The second is like it, ‘You shall love your neighbor as yourself [that is, unselfishly seek the best or higher good for others].’” Loving God is the greatest commandment and the most important thing you can do.

When you love God willingly and with all your heart, you can live a life defined by faith because you know and trust Him. When you truly love God, you love others. When you love God, you obey His commandments. When you love God, you can give Him the right sacrifice with the right motive. Abel sacrificed the firstborn lamb, a pleasing sacrifice to the Lord (Genesis 4.4). Jesus willingly laid down His life because He “loved you and gave Himself up for us, an offering and sacrifice to God [slain for you, so that it became] a sweet fragrance” (Ephesians 5.2). You are called to offer your life as a “living sacrifice, holy and well-pleasing to God, which is your rational (logical, intelligent) act of worship” out of sincere love for God (Romans 12.1).

You can only do well when you love God, and then everything you do will be motivated by love for Him.

2. You are proud.

When you are proud, you are unteachable. You refuse to be accountable for your actions. You refuse to admit that you’ve done wrong. When God reproved Cain, Cain should have humbled himself, repented, and received the correction. However, Cain’s heart was hard and callous from pride and he refused the Lord’s chastisement. Proverbs 16.18 states, “Pride goes before destruction, and a haughty spirit before a fall.” When Cain refused to humble himself and submit to the Lord’s correction, his pride allowed sin to master him, which led to his destruction.

James 4.6-7 states, “But He gives more and more grace [through the power of the Holy Spirit to defy sin and live an obedient life that reflects both our faith and our gratitude for our salvation]. Therefore, it says, ‘God is opposed to the proud and haughty, but [continually] gives [the gift of] grace to the humble [who turn away from self-righteousness].’ So submit to [the authority of] God. Resist the devil [stand firm against him] and he will flee from you.” By the grace of God and the empowerment of the Holy Spirit, you can live in obedience to God and in victory over sin. First, you must humble yourself and submit your life wholly to the Lord – loving, trusting, and obeying Him (1 John 5.1-3). Then, through the Holy Spirit, you will have the power to resist the devil, defy sin, and victoriously overcome the world by your faith in Jesus Christ (1 John 5.4-5).

You can only do well when you humble yourself and submit your life to the Lord.

3. You compare yourself with others.

Cain’s negative feelings flared up because he knew his deeds were evil and Abel’s were righteous. His comparison led to envy, envy led to hatred, and hatred led to murder. 1 John 3.15 states, “Everyone who hates (works against) his brother (in Christ) is [at heart] a murderer [by God’s standards]; and you know that no murderer has eternal life abiding in him.” God’s correction was a chance for Cain to self-evaluate and change his ways, yet Cain wanted to lash out in anger and kill his brother.

You can’t compare yourself with others. It can lead to rivalry, dissension, discontentment, envy, and hatred. It can create opportunities to vent negative emotions towards others that you feel inside of yourself. It will never address the underlying issue in your heart or your circumstances.

Galatians 6.4 states, “But let every person carefully scrutinize and examine and test his own conduct and his own work. He can then have the personal satisfaction and joy of doing something commendable [in itself alone] without [resorting to] boastful comparison with his neighbor.” When you humble yourself, self-evaluate your behavior, and align your ways to God’s Word, your correction will bring true satisfaction and joy. It will eliminate the source of your negative feelings. It will eliminate the need to compare yourself with others. It will assure you that you have done well and are in the right standing with God.

You can do well! It is possible! Crooked paths can be made straight, the wayward can gain understanding, your old moral and spiritual condition can pass away and all things about your life can be made new! You can do well - Love the Lord with all your heart, humble and submit yourself wholly to Him, and evaluate your behavior and align it with God’s Word. Then, you will be accepted and succeed.

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generalpierrotdameron · 3 months

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‘Star Wars: The Acolyte’ – Volume 1 (Episodes 1-4) Soundtrack Album Details

The album features the original music from the first four episodes of the show composed by Michael Abels (Get Out, Nope, Us, Bad Education, The Burial, See You Yesterday, Landscape with Invisible Hand, Breaking). The soundtrack will be released digitally tomorrow, June 21.

Here’s the album track list:

1. A Lone Assassin (2:06) 2. The Noodle Shop Fight (4:13) 3. Meet Osha (1:23) 4. Meknek Spacewalk (1:17) 5. Taken Into Custody (3:41) 6. Classroom on Coruscant (1:20) 7. The Prisoners Escape (3:41) 8. Permission to Go to Carlac (1:59) 9. Memories on Carlac (2:47) 10. Finding Osha (3:54) 11. An Acolyte (1:18) 12. The Temple on Olega (3:40) 13. Teacher and Student (2:21) 14. Absolution (3:11) 15. Apothecary Shop (1:29) 16. You Want Revenge (2:16) 17. Combat in the Courtyard (1:54) 18. Disappear Into Dust (1:57) 19. The Sisters Meet Again (2:39) 20. You Found Kelnacca ( (2:21) 21. Khofar Credits (1:21) 22. Brendok (2:18) 23. Mother Aniseya (2:15) 24. Stay Special (3:32) 25. The Ascension Ceremony (3:48) 26. Standoff (2:54) 27. Osha Meets Sol (1:03) 28. Power and Who Is Allowed to Use It (4:19) 29. Choosing to Leave (2:06) 30. The Fire (3:54) 31. Left Behind (1:29) 32. Under the Bunta Tree (1:30) 33. Kelnacca’s Den (2:21) 34. Journeys End and Begin (2:27) 35. Let’s Get Going (1:25) 36. Fearing a Larger Plan (2:20) 37. Forest Trek (2:33) 38. Comprehensive Briefing (0:46) 39. Bazil’s Theme (1:46) 40. A Tracker (1:13) 41. Umbramoth Attack (2:30) 42. Sensing a Loss (2:14) 43. Preparing to Face the Past (1:30) 44. Dark Master Descends (3:00) 45. Very Dark (1:54)

#michael abels #the acolyte #starwarsblr #sw music #ost #soundtrack

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segretecose · 2 years

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Leonard Cohen, Famous Blue Raincoat

The Northman (2022), dir. Robert Eggers

Birgit Anette Olsen, Kin, Clan and Community in Proto-Indo-European Society (pp. 39-180)

Daniele Crespi, Cain Killing Abel (detail, 1620)

Dante Émile, After Abel

The First King (2019), dir. Matteo Rovere

Matthew Nienow, Lupa

Peter Paul Rubens (workshop), Romulus Killing Remus (detail, 17th century)

Racine, The Thebans (transl. Robert Bruce Boswell)

#subject: cain and abel

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quiltofstars · 1 year

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Abell 39 // Matthew Proulx

#astronomy #astrophotography #nebula #emission nebula #planetary nebula #Abell 39 #hercules

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itlivesproject · 2 years

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It Lives Within Survey Results!

Hey everyone! During our two week break, we decided to share the results of the survey! We received 641 responses, and give a big thank you to everyone who participated!

Since this a long post with many images, we'll show the results under the cut.

How often do our players play the new chapters?

64% of our players play the chapter each week, 21% download it most weeks, and 14% are waiting for more chapters to release before continuing.

How may different saves/playthroughs do our players have?

1. The majority of players (44.3%) have between 2-4 saves

2. Second, 20% of players have 8+ saves

3. 18.1% of players have 4-7 saves

4. The least common response was actually only one save, with only 17.6% of players having one save.

MC Customization Choices

(As a reminder, these are the three body types, with Body Type 1, Body Type 2, and Body 3 in the order below 👇)

Love Interest Rankings

IT LIVES WITHIN

Who does your main ILW MC romance?

1. Round of applause for Abel Flint being the most popular LI, clocking in at 28.3% of players and 181 votes!

2. Second place goes to Lincoln McQuoid, at 22.1% and 141 votes.

3. Jocelyn Wu is in third, with 16.6% and 106 votes.

4. Amalia de León is in fourth, with 9.7% and 62 votes.

5. Matthias McQuoid (unofficial LI??) is in fifth, with 6.3% and 43 votes.

For those who said they couldn't decide, we asked them to list who they were having a hard time choosing from. Lincoln was mentioned most often as a point of indecision, being listed 66 times as someone they couldn't decide between, Abel was mentioned second most at 50 times, Matthias was mentioned third most at 38 times, Amalia was mentioned fourth most at 37 times, and Jocelyn was mentioned 34 times.

IT LIVES IN THE WOODS

Who does your main ILITW MC romance?

1. The first place honor for most popular ILITW LI goes to Connor Green, at 23.1% and 147 votes!

2. Noah Marshall takes second place, at 20.9% and 133 votes.

3. Andy Kang is in third, with 11.6% and 74 votes.

4. Ava Cunningham takes fourth, with 9.7% and 62 votes.

5. Stacy Green comes in fifth, with 8.6% and 55 votes.

6. Lucas Thomas is in sixth, with 6.1% and 39 votes.

7. Dan Pierce clocked in at seventh, with 4.2% and 27 votes.

For those who said they couldn't decide which LI to choose, Noah was listed most frequently as a point of indecision, with 90 mentions. Connor was second most, at 50 mentions, Dan was third, at 39 mentions, followed by Andy at 29, Lucas at 16, Ava at 11, and Stacy at 2.

ILW LI Gender Breakdown

Here are the MC gender splits for the ILW LIs + Matthias!

How did It Lives Within meet expectations?

We are so honored by the results to this question. We asked if ILW was better than expected, just as good as expected, if you had no expectations, or if it was worse than expected, and we were blown away the 77.5% of the responders said that it was better than they expected:

We thank all of our players, followers, and fans for your incredible support, love, and participation in this fandom. There are no words to express how grateful we are for you, and it's an honor to create and share this game with you.

Thank you to all who participated, and we hope you enjoy seeing the results of the It Lives Within player survey!

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choicesficwriterscreations · 5 months

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CFWC F/AotW: Apr 28 - May 4, 2024

✒️ = Fanfic | 📱 = Text Fics/Edits | 🎨 = Fanart Ⓜ️ = Mature Content 18+ | 🔥 = Explicit/NSFW 18+ 🏳️‍🌈 = LGBTQIA

BLOODBOUND / NIGHTBOUND

Disembodies (Series) ✒️ | Adrian Raines x F!MC, Nik Ryder x F!MC - @mynotsohealthyobsession Chapter 8

CRIMES OF PASSION

All's Fair in Love & Turtles 📱 | m!Trystan Thorne, Luke Wattanabe - @jerzwriter

Caught ✒️ | m!Trystan Thorne x F!MC - @jerzwriter

Sempervirens ✒️ | m!Trystan Thorne x F!MC - @moominofthevalley

THE ELEMENTALISTS

Portrait of the Week 🎨 | Griffin Langley - @artbyalz

IMMORTAL DESIRES

Starlight Smut Supercut - Go the Fuck to Sleep ✒️Ⓜ️🔥🏳️‍🌈 | m!Cas Harlow x m!Gabe Adalhard x NB!MC - @aria-ashryver

Starlight Smut Supercut - Original Sin ✒️Ⓜ️🔥🏳️‍🌈 | m!Cas Harlow x m!Gabe Adalhard x NB!MC - @aria-ashryver

IT LIVES WITHIN

Untitled Art 🎨 | Abel Flint x F!MC - @oh-so-youre-a-nerd

NIGHTBOUND

Fragile ✒️Ⓜ | Nik Ryder x F!MC - @ladylamrian

Untitled Fic ✒️ | Nik Ryder x F!MC - @infactnoimmasitinthemiddle

OPEN HEART

Beach Maternity Shoot 📱 | Rafael Aveiro x F!MC

Mostly Pleasant Surprises (Series) ✒️ | Tobias Carrick x F!MC - @jerzwriter Chapter 1: Birthday Presence

Moving On (Series) ✒️Ⓜ | Rafael Aveiro x F!MC - @rafasgirl23145 Chapter 38: Dancing With My Eyes Closed Chapter 39: Grieving

Stickler For The Rules ✒️ | Ethan Ramsey x F!MC - @potionsprefect

THE ROYAL ROMANCE F/AotW: Apr 28 - May 4, 2024

#choices fanfic #choices fanfiction #playchoices #choices fic writers creations #cfwc fics of the week #cfwc art of the week #choices fanart #bloodbound #nightbound #crimes of passion #immortal desires #open heart #the elementalists #it lives within

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deadcactuswalking · 5 months

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REVIEWING THE CHARTS: 04/05/2024 (Taylor Swift, Tommy Richman, Kendrick Lamar's "euphoria")

Just a week after her album’s impact, Taylor’s been dethroned by… Sabrina Carpenter! She grabs her first #1 on the UK Singles Chart with the smash hit “Espresso” and welcome back to REVIEWING THE CHARTS!

content warning: language, Yeat praise

Rundown

As always, let’s start with the notable dropouts, which are songs exiting the UK Top 75 - that’s what I cover - after five weeks in the region or a peak in the top 40. Now this week, we bid adieu to: “The Tortured Poets Department” by Taylor Swift (it got three-song-ruled and dropped out from #3, more on that later), “act II: date @ 8” by 4batz featuring a remix by Drake (not his best week, more on that later), “Von dutch” by Charli XCX, “Kitchen Stove” by Pozer, “Whatever” by Kygo and Ava Max, “Murder on the Dancefloor” by Sophie Ellis-Bextor and FINALLY, “Lovin’ on Me” by Jack Harlow.

As for our gains, we see healthy boosts for “Pedro” by Jaxomy, Agatino Romero and the late Raffaella Carrá at #60, “Outside of Love” by Becky Hill at #54, “Evergreen” by Richy Mitch & the Coal Miners at #46, “The Sound of Silence” by Disturbed at #42 (yeesh), “These Words” by Badger and Natasha Bedingfield at #22, “I Don’t Wanna Wait” by David Guetta and OneRepublic at #20 - I guess obvious covers and remixes have a good week - then finally, a song hitting the top 10 I’m personally very happy with: “A Bar Song (Tipsy)” by Shaboozey at #6. #1 incoming? Please?

We also continue to see the rise or, rather, resurgence of Amy Winehouse’s catalogue due to the biopic, with “Valerie” with Mark Ronson at #38, “Back to Black” at #39, and a re-entry for “Tears Dry on Their Own” at #49, which peaked at #16 when Ye’s “Stronger” was #1 in 2007. On that same album, he says he hates Nazis, look how far we’ve come. Anyways, “Tears Dry” contains a sample of “Ain’t No Mountain High Enough”, made famous by Marvin Gaye and Tammi Terrell, which didn’t chart in its original form for the longest time here. It peaked at #6 in 1970 but only in the form of a cover by Diana Ross, whose version charted whilst Freda Payne’s “Band of Gold” was #1 - just shows that we don’t really remember the bigger hits of the time. The Boys Town Gang reached #46 with their cover in 1981, Whitehouse and Jocelyn Brown both charted with covers coincidentally in August of 1998 - they peaked at #60 and #35 respectively - and finally, the original first charted at #80 in 2013, amazingly still its peak, and briefly re-entered earlier this year. “Tears Dry” itself was sampled the last time Amy made the top 40 in 2023, with Skepta’s #28-peaking tribute “Can’t Play Myself”.

As for our top five this week, we start in the dregs with “i like the way you kiss me” by Artemas at #5, “Beautiful Things” by Benedict Cumberbatch at #4, “Too Sweet” by Hozier at #3, then of course Taylor Swift’s “Fortnight” featuring Post Malone at #2 and “Espresso” at #1. It’s an interesting one today, folks, with a lot of unique and frankly, fantastic stuff to cover, so let’s start with… Kygo?

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#75 - “For Life” - Kygo and Zak Abel featuring Nile Rodgers

Produced by Kygo, Nile Rodgers, Ollie Green and Franklin

I’m honestly a bit surprised Kygo is still notching chart hits, especially without a big name attached this time. Sure, Nile Rodgers is a legend, but he’s doing so much dance-pop garbage in his later years that I don’t think many people check specifically for his collaborations, so there’s got to be something in this that’s unique, right? Aaaaaaand it’s a sample. It’s a nostalgia bait sample of a 2000s EDM track because of course it is. French house act Modjo debuted with “Lady - Hear Me Tonight”, which spent two weeks at #1 in 2000 and is an absolute classic I still return to today, even if Modjo were basically a one-hit wonder. “Lady” of course is built on a sample of “Soup for One” by Rodgers’ own band CHIC, which comes from a 1982 soundtrack album, never charted and kind of been eclipsed by “Lady”, largely because the original is honestly pretty bad, uninteresting and surprisingly stiff for an 80s funk track, with some of the weakest and most slap-dash implementation of synths. “Lady” really took the best parts of that song - its undeniable guitar melody, that isn’t even put to great use in the original - and constructed an entirely new, incredible song out of it. So I can’t tell if it’s pathetic and desperate for Rodgers to try and reclaim it, or something that speaks to the power of musical transformation. Oh, what am I kidding? It’s Kygo, it’s just kind of boring. It’s a rote piano house track that goes for the same tropical atmosphere Kygo has been doing for years - a lot of the same festival synths are there, it’s all full of bubbly swooshing that actively sound like pastel colours. The only real hook of the song is taken from Modjo and re-sang by Zak Abel, with slight lyric modifications taken from the “I’m Good (Blue)” department of refusing to allow for fun in your dance songs, and even that just feels desperate. What did Nile Rodgers even do here, man? Sign a legal document saying you can use the hook? It’s not even his Goddamn hook.

#69 - “Solo” - Myles Smith

Produced by Peter Fenn

Myles Smith is a singer-songwriter I hadn’t heard of until today but has been active since at least last year and is making at least some consistent buzz so I was interested to see what his first slow-burning chart hit here has to offer and… are we just, IN, 2012, 2013 now? We had festival house with the last song, the next song is heavily Yeezus-inspired, and this is a full-on Aloe Blacc stomp-rock song. It isn’t bad either - I actually had to get used to hearing his richer voice on this kind of scattered clap-stomp-holler folk track, and whilst this is nothing unique given the solemn pianos, spattering of strings and of course, that jingling indie folk rolick, that doesn’t feel particularly organic on this one, it still is far from bad. The lyrics are somewhat generic but not in an awful way, and the “so low”/”solo” double meaning is somewhat clever or at least, would be if in the context of the song, they actually meant separate things. It’s a bit annoying that it’s the main conceit because both have negative connotations for Mr. Smith here, so it just feels like he’s repeating himself rather than elaborating on his feelings or presenting a dichotomy. I imagine it’ll be a lost on a few people due to botched execution, which bothers me because it was an active attempt at clever songwriting that gets kind of lost in sonic translation. This sounds like I’m picking apart the song’s flaws but it is really just a fine little woodlands jams with a great singer, infectious hook and by the end, a damn fine melodramatic string section. I can see it growing on me, especially due to its gorgeous outro, but for right now, I’m somewhat lukewarm, not going to raise a fuss if it ends up smashing though and in a Noah Kahan world, I suppose it’s quite likely.

#64 - “If We Being Real” - Yeat

Produced by Synthetic, Radiate, Fendii, LRBG, Perdu and Dreamr

So terrible news: I like Yeat now. I’m still not granting him his silly little umaluts, and I won’t go too in-depth here, mostly because there’s another song worthy of in-depth analysis, and every piece Yeat’s put out fits into the jigsaw of the album’s narrative as a whole… it would require a lot more time and space, and frankly words, that I’m willing to give #64. No track feels unnecessary on 2093, the atmosphere is consistent across all 24 tracks, and lyrically, it’s a concept album, which I would have never expected from Yeat and he pulls it off brilliantly both sonically and thematically without straining himself to areas he probably couldn’t reach like trying to be super lyrical or stepping away from rage pads. Given the album’s experimentation and length, I wasn’t surprised by the lukewarm commercial reception, but I did at least expect maybe the songs with Future, Wayne or Drake on the deluxe, to have charted by now, when this hasn’t even happened in the US. So when the penultimate track on an album that’s over an hour in its standard issue becomes his first solo hit in the top 75, I have to assume TikTok virality is involved.

Regardless, I’m glad it’s here because it’s brilliant. Sonically as a separate track, it’s one extended verse over a corrupted industrial beat that cracks in right after a mystical intro full of textured but meandering strings, that get swooshed out of existence by a cinematic, malfunctioning clunker incorporating Yeat’s inhuman ad-libs, manipulated behind vocal recognition, into infectious loops within the beat. This is one of few songs - another’s coming later - where I can understand the sheer amount of producers. Lyrically, the title refers to Yeat or more accurately, his psychopathic billionaire character, attempting to shed some of his CEO veneer and ultimately failing, adopting a lot of the violent, power-hungry rhetoric the rest of the album relies on, making it a pretty ironic and depressing title, especially when considering its place in the rest of the album, coming right before the… actually honest and heartbreaking closer, “1093”. In the backhalf of this album, Yeat’s bragging sounds increasingly monotone and routine, and him rapping in and out of distorted filters or going up and down from his traditional murmur to a choking yell, exemplifies how sick and tired he is of the lyfestyle he curated for himself. This song in particular ends with him barely on beat for a beat that doesn’t even really have a beat, becoming a factorial ambiance more so than anything coherently rhythmic. I have no idea why this song in particular is going viral - it doesn’t have a chorus or even really some of the catchier, more potent lyrics on the album, and its beat barely functions as such for the vast majority of the song - Hell, it’s not even one of the album’s integral moments like the opener, “Bought the Earth”, “ILUV”, “Shade”, “Riot & Set it off”, or really countless others, but I’m not complaining because the sound design, the care placed into thematic and narrative consistency, it’s all still here. This is a 10/10 album, and if this song gets more people to check it out, I really can’t be upset with that.

#58 - “Love Me JeJe” - Tems

Produced by Guilty Beatz and Spax

So what’s “Love Me JeJe” actually mean? Well, in Nigerian Pidgin, it means “gentle” or “tender”, and the use of a more regional term rather than the English actually contributes greatly to why I think this song works: Tems’ buttery voice has always been able to display both coldness and a sensual warmth, often at the same time, but on some of the bubbliest guitars I’ve heard over an Afrobeats rhythm since the genre started charting consistently, she’s fully in that second category. Hell, most of the lyrics are pretty basic here, especially the practically meaningless chorus, but that’s to its benefit because thinking too much about this song defeats its purpose: to be gentle. It’s a frankly adorable expression of love and care at its most optimistic extent possible. Despite the clean, tropical percussion, it still feels cute and homegrown. Hell, the second verse, after a nice back-and-forth choir vocal, even references the Nigerian electricity provider that’s apparently nationally infamous for its power outages, with the lyric comparing the love she feels with her partner to the feeling when electricity comes back on in the village and all her neighbours inform the locals. Combine that with how breezy this is, the easy-flowing bridge into an outro full of murmuring, chatter and reverb-drenched laughing, it just makes for a really cute, likeable song. Not necessarily what I expected out of a lead single from Tems, but a delightful surprise. Now to balance that with pure hatred.

#50 - “euphoria” - Kendrick Lamar

Produced by Cardo, Kyuro, Sounwave, Johnny Juliano, Yung Exclusive and Matthew “MTech” Bernard

There’s part of me that finds it quite funny that Drake gets into serious beef with an incredibly analytical and perfectionist rapper like Kendrick right after putting out his own exposé of himself. For All the Dogs is as much of a dissection of Aubrey Drake Graham, albeit perhaps unintentionally, as Kendrick or really anyone could perform, as long as you’re paying attention. It’s been like that (no pun intended) for a while, but his latest is the most obvious and desperate attempt at clinging to status and image that it places his insecurities fully on display. You could recite lyrics from that album on a jazz beat and call it a diss track, so the fact that Kendrick went back to back with damn near dissections of Drake’s paranoia - especially on the Instagram follow-up track he made that is chilling - as well as a myriad of different issues he has with Drake, simply because… well, he doesn’t fuck with Drake. One could argue that this feud is complex and storied, with so many different beligerents… but the motives behind it are genuinely a lot simpler than most rap feuds, and the diss tracks that are made from it are way more straightforward. They just outline the reasons they dislike each other, almost systematically, it’s genuinely refreshing, or at least a lot more than what’s going on with Quavo and Chris Brown, yeesh.

This track in particular is as calculated as can be, acting as a dissertation on why K-Dot doesn’t really like Drake too much. It’s condescending, damn near academic, with its smooth jazz intro and categorical shoot down of each possible avenue you could hit Drake from. We have sextuple entendres on this thing, a total of three beats, two of which are cheap-sounding but absolutely murderous drill bangers, and Genius annotations that rival War and Peace when combined. I’m not a lyrical expert, and there’s so much in here that I didn’t get until I was pointed towards that direction by Genius annotations, Reddit, X, or, embarrassingly, YouTube Shorts. You don’t need to research or analyse for this to hit hard though, there are plenty of lines that aren’t going over anyone’s heads… until you look into the exact way the bars are constructed and suddenly they have 20 double meanings and hidden easter eggs. This is really sheer venom, filled with so many layers that I wouldn’t be surprised if he genuinely wins a GRAMMY for it - and it would be in character considering Drake doesn’t even nominate his songs anymore. It’s already having an effect too, that 4batz album came out today, and he’s not signed to OVO as rumoured. Ye’s on the record… but not the already existing and heavily-streamed Drake remix. Already, he may be losing some of that prestige.

As far as it is sonically, it’s six minutes of murder, and Kendrick’s delivery is energised, violent, damn near deranged at times, to perfectly balance how, somewhat subtly through his meta commentary about his own bars and albums, the lyrics are basically an essay. It has an introduction, a conclusion, a hypothesis, written examples, he even presents counter-arguments and weaves them into his own analysis. By the time he was going extremely in-depth about his experiences as a father, and just repeating that Drake knows nothing about that, it almost felt like overkill. My personal favourite lines and ideas presented here are the concise slow dagger of the intro verse, the “Demun”/”throwaway” scheme, the voice and character he puts on between “Cutthroat business” and “I’ll explain that phrase” - he’s like a disappointed teaching assistant, obviously the YNW Melly line and its set-up, the incredible Daft Punk line that got a cackle out of me on first listen, then followed up by a mocking interpolation of one of Drake’s most revered songs, the straightforward rant about everything he hates that references an iconic moment of DMX’s trademark honesty (rest in peace), the “record” scheme in verse three, and when he started the fake Canadian accent, I just lost it. Drake’s biggest weakness here is that when he’s funny, I’m laughing at him, but when Kendrick’s funny, I’m laughing with him, and much louder. If he does respond, unless the man tells us that Kendrick’s whole life and career has been a farce, or he brings, like, the actual former President Obama on the track or something, I can’t see how it tops this. This is one of the best diss tracks ever in terms of sheer detail, and might honestly be one of the greatest throwaway rap singles period. It’ll be tough to beat.

#31 - “MILLION DOLLAR BABY” - Tommy Richman

Produced by Max Vossberg, Jonah Roy, Mannyvelli, Sparkheem and Kavi

This is the sudden breakout hit for Virginia rapper-turned-singer Tommy Richman, which actually comes in two versions on Spotify, the original and a more distorted “VHS” version. Also, this is brilliant. Sure, Richman just sounds like Brent Faiyaz, but a trend I haven’t been able to talk about on here necessarily but has been very exciting for me is the return of grittier, groovier synth funk and hyphy beats into underground hip hop and R&B, with this representing the more melodic end of that sound, which is typically restricted to Midwest and Dirty South rappers. The sound design on this one is actually even unique to that sound, starting with a bizarrely British-sounding Memphis rap vocal loop which I think isn’t a sample and is just him doing a bad impression, filtered below an infectious beat that actually took me by surprise. It even has cowbells and the type of punchy jabbing drums that I love from classic southern rap, but instead of the smooth-talking rappers you usually expect over this, we get a Brent Faiyaz impression that didn’t click with me until hearing this song. I never really got his appeal until I hear it over this and I start to realise the very distinct new jack swing element to his vocals, as he pretty seamlessly transitions from soulful double-tracked harmonies to much more rhythmic, half-rap flows. Now this ISN’T Brent Faiyaz… and I still don’t really like Brent Faiyaz, but hearing his wannabes I think helped me gather what was distinct about him, and the literal Richman North of Richmond here pitting his filtered splatter of vocal ideas and riffs over the beat in a very Devil-may-care fashion exemplifies the elements I do like about him, just with an instrumental that I personally like a lot more. Also, the VHS version is labelled as such but is really just like a bass-boosted version of the song that sounds like it was done in 10 seconds in Audacity, though the vocal mixing sounds a bit different too. I would love for someone to explain why that was the version I ended up adding to my playlist, because I couldn’t tell you.

#8 - “I Can Do It with a Broken Heart” - Taylor Swift

Produced by Jack Antonoff and Taylor Swift

I know I wrote my whole Taylor spiel last week, but I’m not bothered about this one at all, and I really did expect it to be a fan favourite, mostly because, as the one track I actually enjoy on the standard version, she’s having fun! The lyrics are actively vapid, which doesn’t feel like the intention when she’s singing over soppy adult contemporary but very much feeds into the almost childish character she plays here over synthpop with an actual pulse. The synths here sound like a theme park she’s taking the boy to, especially with the backing vocals and chatter samples implemented into the ambiance and classic Antonoff wonky synths - though some of this doesn’t even sound like it’s in his ballpark. Like were Marian Hill or Sofi Tukker ghost-producing this? Some of these loop choices and flashy sound effects are frankly ridiculous, in the best way of course because the song is camp and fun. Sure, some of Taylor’s lyrics still come off a bit awkward, mostly because of her choice of slower melodies sometimes clashing with the fast-paced patter of the synthscape, but that’s a nitpick. I do love this song, I think it’s fun, Hell, I think it’s funny which is something Taylor has always kind of failed to translate to me in the past, so that is something. I just don’t think we have the same sense of humour. Does she like Norm Macdonald? I don’t feel like she does. Correct me if I’m wrong, Swifties.

Conclusion

It should be incredibly obvious who gets Best of the Week, it’s Kenny, easily, with “euphoria”, and I’m sorry, Swifties, but Yeat better. “If We Being Real” takes away with the Honourable Mention pretty easily as well, though really, strong competition and strong week all around - Tems was close too. There can’t be a Dishonourable Mention in this climate so, Worst of the Week goes to Kygo and Zak Abel for “For Life” that “features” Nile Rodgers, it genuinely just is a lazy template of a song. As for what’s on the horizon, I’m not sure. Dua’ll have some impact, but outside of that, time may have to tell. For now, thank you for reading, long live Cola Boyy, and I’ll see you next week!

#uk singles chart #song review #pop music #kendrick lamar #drake #taylor swift #kygo #zak abel #nile rodgers #yeat #tommy richman #tems #myles smith

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