#delilah singer

[iliketopgun]

Delilah after hearing this: it ends when people stop having friggin kids

[dovebuffy92]

My Ranking of FATM Songs Co-Written by Florence Welch & Isabella Summers (Also Songs Produced by Isa)

1. Dog Days Are Over

2. Delilah

3. Cosmic Love

4. No Light, No Light

5. All This And Heaven Too

6. How Big, How Blue, How Beautiful

7. Between Two Lungs

8. I’m Not Calling You a Liar

9. Breath of Life

10. Falling

11. Which Witch

12. Are You Hurting the Ones You Love?

13. Ghosts

14. Hardest of Hearts

15. Hospital Beds

16. Remain Nameless

[cozy-the-overlord]

I feel like every couple of months I suddenly remember that “Hey There Delilah” exists and obsessively listen to it for a few days and am overcome with the urge to write an essay about how good it is, then I move on and forget about it again

[the-best-bagel]

mon coeur s'ouvre a ta voix saint säens and halleluja leonard cohen are companion pieces

[thatgayforkcrow]

hey there Delilah I have so much left to say

release a part two (2) coward

[czgif]

Mikolas Josef singing "Delilah" on IG (2023)

[trippercrazy]

Fred Again..

[musicarenagh]

Efi Cruise Sings In Very Soft Tones To "Delilah"

Efi Cruise Sings In Very Soft Tones To “Delilah”

Efi Cruise is back with another beautiful song, this one titled “Delilah,” and it’s ideal for the girl you’ve been trying to woo. In the new song, the artist bares all as he or she sings a heartfelt love narrative to the listener. The vocals are supported by a variety of instruments, including gentle piano, grooving guitars, well-placed rhythm, and thumping bass. His exquisite singing style…

[pinkieloveheartpastel]

Once again, people don’t actually care about black women. Because when it comes down to it, they will do everything in their power to shift the focus onto something else in order to ignore the truth.

“Rap making you uncomfortable doesn’t mean you have to avoid it” are you fucking serious? Black women CAN’T avoid it. We have to deal with misogynoir every single day and then hear about it in the majority of rap music. And then witness black women being beaten and nobody doing a damn thing about it. wtf is this shit. What you see as “just rap music” is the reality of MANY black women.

We are constantly raped, beaten, spat at, called all kinds of slurs, killed, and you want me to NOT be uncomfortable when I hear shitty rap music reinforcing violence against black women? Fuck you and fuck everyone who agrees with you.

—————————

EDIT May 29th, 2024:

• Wasn’t long before some FUCKIN LOSER would reblog this ignoring what I said and instead talking about how all rap music is shit and isn’t art, so let me make this perfectly fucking clear, since nuance isn’t a thing any-fucking-more.

Fuck you too and all the rest of the racist trash you’re with. As a person who writes rap music myself, I criticize rap music because rap music is something I’m very passionate about, besides metal and rock, and I enjoy finding rap artists who aren’t bigoted. I criticize shit because I care and I want to see things change. Not because I think all rap music is trash. Tf??? I also find comfort in listening to rappers who don’t think my entire existence deserves violence, but whatever.

Criticizing a genre is not the same as declaring a whole entire genre trash, and it pisses me off that I always have to clarify shit because y’all just come out of the woodwork salivating at the chance to be racist and ignorant and just all around insufferable.

But if I criticize metal for its history of racism and misogyny (there are, apparently, still so many white supremacists in black/death metal, for example.), oh no, it’s only because of the people in it, not the genre itself. Funny how nuance shows up there but not in rap.

And rap music is, in fact, art. It is poetry like every other genre of music. It’s another way to make music, and every lyric written is a form of poetry. Always has been. To not recognize that is to be blatantly ignorant for the sake of being racist. The point is to not use rap as a way to promote shitty behavior, which bleeds into real life.

If you refuse to read the OTHER FUCKING POSTS (including one I made on my alt blog about how I became alternative) that I had mentioning a few rappers that I actually liked, as well as realize that I said majority rap and not all rap music, and instead decide to take the word nuance and shove it so far up your ass you forget it even exists, then you were already lost and I’m fucking tired. Nowhere did I say all rap music was trash. But I bet you already knew that and just wanted an excuse to be racist and generalize a whole entire genre.

SO AGAIN.

Barkaa (Australian Blak Indigenous Rapper) (I especially love her songs For My Tittas, Blak Matriarchy, and Bow Down)

Cinnamon Babe (Black, Metal and Rap artist) (My favorite songs from her are The Man and Bad Dog)

Raja Kumari (Indian American Rapper) (My favorite songs are NRI, The DON, Goddess, City Slums, etc)

Tkay Maidza (Zimbabwean-Australian Rapper) (Beautiful singer and rapper)

ALT BLACK ERA (Black British Rappers, also teenagers)

Delilah Bon (White British Rapper) (My favorite song from her is WITCH, as well as many other songs like Dead Men Don’t Rape)

[soaring-trash]

I blacked out while making this, i don’t know how i made it but here it is.

I had an idea while listening to the shadows of evil soundtrack of a pi Imogen going on a case requested by Delilah to find “Matilda Bradbury” but when she eventually ends up finding her she goes by Laudna, Matilda was a movie star/singer who faked her death to escape delilah’s grasp. Ludnis is still a shitty guy that gets in Imogen’s way(haven’t decided exactly what his role would be) Imogen still has ties to the moon, etc etc. I’ll flesh it out more as time goes on maybe probably.

Also called it frankenstein because she’s coming back from the dead because of Imogen.

(changed the colours to make it look cohesive)

[iliketopgun]

Meet the OCs! Miscellaneous

Name: Willow Elizabeth Pride

Nickname: Mardi Gras

Age: 26

S/O: Christopher "Chris" LaSalle (happy ending)

Show: NCIS: New Orleans

Family: Dwayne Pride (Father), Linda Pride (Mother), Laurel Pride (Younger Sister)

Fun facts/call backs: she's Laurel's older sister

Played by: Katherine McNamara

Name: Josette Lee Routledge

Nickname: Josie, Jo, JoJo

Age: 15 (season 1)

S/O: JJ Maybank (happy ending)

Family: John Routledge (Father), unnamed mother, John B Routledge (Twin Brother)

Show: Outer Banks

Fun facts/call backs: she's John B's twin sister

Played by: Kaylee Bryant

Name: Delilah Leigh Singer

Nickname: Lilah, Del, Blondie

Age: 26 (Season 1)

S/O: Dean Winchester (happy ending)

Family: Bobby Singer (Father), Karen Singer (Mother, Deceased)

Show: Supernatural

Fun facts/call backs: she's the vessel of Lilith

Played by: Penelope Mitchell

Name: Harlow Penny Gibbs

Nickname: Har, Gibbs 2.0, Tiny Gibbs

Age: 26

S/O: Timothy "Tim" McGee (happy ending)

Family: Shannon Gibbs (Mother, Deceased), Kelly Gibbs (Twin Sister, Deceased), Leroy Jethro Gibbs (Father)

Show: NCIS

Fun facts/call backs: she was Kelly's twin sister

Played by: Scarlett Byrne

Name: Samantha Danielle McCall

Nickname: Sam

Age: 15 (season 1)

S/O: Stiles Stilinski (happy ending)

Family: Scott McCall (Twin Brother), Melissa McCall (Mother), Rafael McCall (Father)

Show: Teen Wolf

Fun facts/call backs: she's a witch

Played by: Danielle Campbell

Name: Anna Elizabeth Kirke

Nickname: Annie

Age: 14 (first movie/book)

S/O: Peter Pevensie (happyish ending)

Family: Professor Kirke (Uncle), Unnamed Mother and Father

Movie: The Chronicles of Narnia

Fun facts/call backs: she's the Professor's niece. She's the High Queen of Narnia and her realm is the sky

Played by: Adelaide Kane

Name: Evelyn Mary McCormack

Nickname: Evie

Age: 16

S/O: Willard Hewitt (happy ending)

Family: Unnamed Mother, Unnamed Father, Ren McCormack (Twin Brother)

Movie: Footloose (2011)

Fun facts/call backs: she's Ren's twin

Played by: Danielle Rose Russell

Name: Harper Lily Stark

Nickname: Harp, Phoenix

Age: 15 (in Captain America: Civil War)

S/O: Peter Parker (Happy ending)

Family: Tony Stark (Adoptive Father), Pepper Potts-Stark (Adoptive Mother), Morgan Potts-Stark (Adoptive Sister), unnamed biological parents

Movie: Captain America: Civil War

Fun facts/call backs: she's adopted and she's a Phoenix

Played by: Abigail Cowen

Name: Lydia Isabelle Gideon

Nickname: Lyds

Age: 23

S/O: Spencer Reid (Happy ending)

Family: Jason Gideon (Father), Unnamed Mother

Show: Criminal Minds

Fun facts/callbacks: she's Gideon's daughter

Played by: Danielle Campbell

Name: Vanessa Emily Keating

Nickname: V, Nessa

Age: 17

S/O: Charlie Dalton (Not a happy ending)

Family: Mr Keating (Father), Unnamed Mother

Movie: The Dead Poets Society

Fun facts/callbacks: she uses Emily as her poetry alias as it's her middle name and the name of a female poet, she likes butterflies

Played by: Jenny Boyd

[rabdoidal]

I HAVE A MENTOPOLIS OC her name is delilah lightful, responsible for bringing delight to elias hodge - its pretty rare that shes called upon to preform her duties these days, so shes working as a lounge singer for the time being

🦚 kofi link in bio if you’re feeling generous 🦚

[elvsz]

ARE YOU NEAR, MR PRESLEY? “

summary : Elvis chose someone else and you did too, it was one late night in his Vegas penthouse when he told you the truth — the love he felt for you was becoming too much, even for him. His constant need of having to be near you, to see you and to make sure you were safe was making him feel insane. You both being busy with shows was also becoming too much, you hardly saw each other. The breakup was hard but you both ended it on amicable terms yet every night he finds his heart asking the same question, are you near? when he sings on stage; Do you watch him the way he watches you?

warnings : ex!yandere!elvis. female!reader. Kidnapping. reader is the lead singer of a 70’s pop group (abba was in mind). possessiveness, protectiveness and threats of violence. reader is calm and collected but also arrogant (lolz). mdni. cheating! kissing. age gap, elvis is 41, reader is 25. priscilla is his ex wife, reader is his ex gf. lisa marie doesn’t exist in this. can be read as austin elvis. BDE!elvis. 70’s elvis. petnames. substance abuse, alcoholism (from main characters). reader is named ‘delilah’ as her stage name / y/n is used.

based on : love me, suspicious minds & too much.

by elvsz / yandere / mdni

It was 1972 when you were told the news by one of elvis’ men.

Elvis and Priscilla were to be married - again.

In many ways, you wasn’t surprised. Elvis hadn’t been a fully faithful man when you were together, back in 1968 when you were merely 21. Though you must admit that when Son called you - his own voice full of sympathy that she could only shake off - to tell you the news, your world stopped for a moment or so.

Elvis was getting older, as were you, but the drugs he took seemed to make him believed he felt young. You weren’t a completely pure woman, your own intake of alcohol when your stage name name - Delilah kicked in on stage wasn’t healthy either. But you knew when to stop.

You only said okay to Son, trying to come across like it didn’t bother you - which it shouldn’t of done. You were with somebody knew, Max Charlton was his name, the 27 year old who fell in love with Delilah but ended up loving you only a few weeks after you and Elvis had the cruel break up.

You don’t respond to Max when he asks you who called, merely shaking your head and getting back into bed next to him. Your heart is heavy and her mind is full of guilt when you wonders to yourself; Elvis, are you near?

You turn onto your side to turn the lamp off on your bedside, letting the darkness indulge her into something better, calmer. Letting Max sit there and wonder what had happened. You still feel Elvis’ hands on your skin, when Max puts his on you..

Elvis didn’t ask who was performing in the International Hotel that day, he already knew who it was. Roses, the band you were in had started rehearsing for the late show that night. Yet he couldn’t hear your voice at all, it was the one thing he always wanted to find no matter where he was.

The voice he had known for what felt like all his life was too far for him to hear, you were too far for him to feel. And it made his heart hurt, almost burn with something cruel and sinister.

Then he hears you, your soft voice calling out to him as you sing Season of The Witch, the song you and your band had decided to create over night. He can feel the passion in your voice root itself in his soul, making his head fuzzy.

Elvis shakes himself out of a haze when Jerry — one, if not his greatest friend — tells him to come over and see them. You and your band who spray out before him, two members by the speakers. Some laying on the floor. Jerry being a big fan, which was funny to many as he was a member of the greatest’s inner circle, he’d always get up and dance to the music you made.

There you were sat there with your hair up like a doll, pretty headband on, ear piece long forgotten about as you sang and danced with your backup singers.

“C’mon! Give me somethin’!” Elvis heard, you were talking to the guitarist, who with the your very sweet, but arrogant pressure ended up making a very good riff for the song.

You knew Elvis was there, the way your other band mates seemed to quiet down into whispers told you it all. But you ignored him and Elvis was sure his heart was cracking.

“Ms. Y/N?” Tom Parker had always been a man you hated, so when your name left his mouth you wanted nothing more than to swing for him. Your turned her head over her shoulder, eyes bitter as they landed on the man.

“What?” You spat out, annoyed at being distracted, she took her music very seriously. The paper’s said even more than Elvis did which truly was something, you can only shake your head as the man tries to tell you something.

You turn to finally look at Elvis like you used to, back when fans would push themself against you and you’d look like a fawn, eager for him to do something. Your own heart threatening to break, but Elvis saves it again — patting Parker on the shoulder, telling him to come and see his plans for his new album.

You can only send him a nod as a thank you when he gets the man far from you. You turn back to your guitarist, but your soul begs for the man who just walked away. Your heart begs for Elvis, like every night before.

Elvis can only lie to his manager’s face, he had no album planned but he didn’t enjoy the way you tensed up under the cruel man’s harsh gaze and his weird words. Elvis nods for Jerry to go and take his manager away, he doesn’t say anything when he leaves.

He can only sit before the mirror, his head in his hand as he feels his heart beating more than usual, the pills on the desk before him are calling his name.

But then he hears your voice, your very, very angry voice.

“Like hell I will!” You spit out at your manager, who follows you to your own dressing room — Elvis requesting for yours to be next to his, he can only sit there and listen as you practically scream at the poor soul — and then he hears you cry.

“You said I could go goddamn home after tonight!” Your voice is breaking and Elvis knows you’re sobbing at this point. He can hear things breaking, you probably stand there throwing things at the man. Elvis’ door is opened, he watches your manager shake his head as he walks out.

Elvis stands up, calmly walking to your dressing room, your own door open. There you sit on the floor, things broken on the floor, smashed into pieces as you hold your head in your hands.

“Baby..” You don’t reply to him, merely sobbing into his hands, he shudders as he sees the broken mirror, he looks at your hands and there they are, bloody.

“Someone get a damn medic!” He calls out to the people hanging in the hallway, he hears footsteps running around. He crouches down to you and he can nearly sob himself when you flinch from him.

You look up at him and he wants to break your manager’s face. Your mascara is down your face, headband broken by the door, blood smeared near your mouth where you put your hands. Hands which are cut by the glass shards.

“He..” you mutter, choking out. You put your hand on Elvis’ arm, your grip week. He comforts you by whispering sweet words.

“He said I could go home an’.. I’m gonna die here Elvis.” His worlds stops, he looks at you confused, angry and dazed.

“What?” His southern drawl comes into play when he’s angry, his gaze darkens.

“I gotta stay here for ‘nother five years.” Your own gaze is hazy and angry. But the tears that won’t stop running down your face is what really anger him.

“Sweetheart, what’re you talking ‘bout?” You wish to answer him, you really do, but then your eyes fall to his engagement ring and you can only get up on shaky legs and a heavy heart.

You walk passed him, the man who sat down next to you who now is quick to follow you. Asking you questions. You don’t say anything when you walk into the bathroom in the hallway, you only lock the door; refusing to look at him.

You stay in there for what feels like forever, and when you finally open the door you don’t see Elvis to be anywhere.

Elvis is so close to your manager - Chris - that he’s sure the younger man can almost feel his red, hot, rage. Elvis is asking him questions because he needs answers and for the fact that he loathes seeing you so upset.

“Listen.. I had a talk with the hotel owner, he wants her to sing for him!” Chris tries to come across friendly, he knows he tries, but Elvis can see his anger building and the gun that rests in his holster is becoming heavier.

“For what!” Elvis shouts, “Another five goddamn years!” His fist finds the wall next to Chris’ head and the man watches Elvis become a monster.

A man turned cruel because of sin, is nothing less than a monster once adored as a king. He can feel the rage that made him leave you - he was tired of watching people beg for a kiss from your pretty lips every night on that godforsaken stage - begin to blossom in his gut again.

His world spins, the drugs and the alcohol kick in, Chris barges past the man who now sways. He runs for the door and he finds it, not before Elvis tells him to get rid of that contract.

Or he’ll blow his brains out.

You sit in a chair in a new dressing room, letting the make up artists put eyeshadow on you. The lipstick on your lips feels thick, your hair now all done up feels wrong and your eyes still gloss over.

It had been a long day. Too long of a day, by now you would’ve cancelled the show and gone home to your cats, but alas you sit there and let them prod at you like you’re no more than a doll.

“Five minutes!” Your manager shouts down the hallway, your open door letting you hear it clearly. You can only hum one of the songs he’s making you play tonight.

The dress you wear is white, and it’s so tight you can feel every stitch as if you did it yourself. One of the makeup artists wipe the tear off your cheek, her smile is sympathetic.

The walk up the hallway is cruel, heeled covered feet aching for something kinder, you read over the set list for the night that sits in your hand.

How can you mend a broken heart, Take me in your arms, Somethin’ stupid— you don’t finish looking at it. Only crumbling it up in your hand as you find the door to the stage.

The red curtain is down, you wish to see Elvis. You wish to feel him but the guilt eats at you alive.

He’s getting married again to somebody who isn’t you, stupid girl. That’s what rings through your head; you nod your head to the band members, the back up singers. They all compliment you.

Your eyes gloss over, you can feel your manager tapping your shoulder as you stand before the mic. He passes you a cup of what you can only imagine is alcohol.

“Welcome back, Delilah.”

The first song you play isn’t any on the list you read before, you start with Son of A Preacher Man, swaying as you let the music take you.

Your breathing is heavy and your words are yet to be slurred, Elvis watches from his own table with Jerry and a few other friends. Priscilla is yet to be seen by any of them.

Your voice is like silk when you bend down to the crowd, letting a twenty something year old man kiss you softly, you smirk as the crowd screams.

“Was a son of a preacher man..” you smile, teeth white and pretty, eyes full of something.

You can only watch Elvis and his reactions, the way you grip the end of your dress; giving the crowd something to blush and whistle for.

They knew you as this, the woman who made people feel dizzy with sin, dizzy with desire as you suddenly shake your hips.

Trouble suddenly comes on, your hips are moving as are your legs. You can feel the aura of the audience change, people stand up, pushing against the stage to touch you.

Hands close to your heels, as you rock your way around. Elvis hated this, hated watching people and their nasty desires try to get to you.

But he loved that glint in your eyes when you got what you wanted, which when Elvis was involved, was all the time.

This went on for two hours, you smiling at the crowd, shaking with them as you wiped the sweat off your forehead. You took your final bow, this was it — the last show at the international. No matter what your manager said, this was it.

The last person you look at is Elvis. Who happens to be the one to find you first when the curtain goes down, he’s by the end of the stage waiting for you like always.

You practically run to him, suddenly your world is hazy, breath heavy. Your world goes dark and the last thing you remember is him and his strong arms wrapped around your body.

“Elvis?” You mutter, the bedsheets you lay on aren’t your own, they’re too soft and a different colour. The covers are draped over your body, you feel like a small child who’s been tucked into bed.

The room is almost pitch black, if it isn’t for the lamp on the desk in the corner. You know he’s there, and the whine you let out is almost pathetic.

He remembered how much you hated the dark - childhood trauma you explained to him - and how much you feared to be alone if left in it.

He walks towards you slowly, a robe is all he wears, your eyes are full of tears and you ache for him. Your soul aches for him.

You crawl to the edge of the bed, you notice the nightshirt you now wear, soft and in your favourite colour, you look up at him.

His hands are soft on your face, cradling it softly as he kisses you ever so gently. You pull away, “you- you said the love you felt for me was too much.”

You repeated the words he said to you that night in ‘68, your heart heavier than anything. You watch as he shakes his head, his voice is deep and husky.

“I lied. I.. I didn’t want to hold you back anymore.” He hints at the age gap between you both, his mouth moves to your cheek, your jawline and your neck as he pushes you back down onto his bed.

You cry out, feeling overwhelmed as you push yourself away from him. “You went back to her, Elvis.” You move off the bed, standing away from him as he watches you in the dim light.

“Baby.” His voice holds so much adoration, he finally has you back where he wants you. Finally has you back to himself, the sob you let out when you see your hands now wrapped with gauze is sad.

He cared for you. He always had. He always will.

You let him pull you into a hug, his arms tight around your waist as you sob into him. You hit your fists against his chest and he lets you, all he wanted was for you to come back to him.

And now you were back together, his engagement ring long forgotten, purposely thrown out, and there was nothing Elvis wouldn’t do to get you back to him.

Such as making your manager sign you into a five year deal at the place he performed.

Like making your manager and his sign a deal that stated if either yours or Elvis’ career ended, the other would have to.

You were his, sweet girl. No woman, man, or person would ever change that. He’d make sure of that.

[edgylesbiangurl]

For Pride months I wanted to make a list of some of my favourite bands in metal who have openly LGBT members

Otep (lesbian)

Skunk Anansie (Skin is a lesbian)

Meet Me @ the Altar (not really metal, more Pop punk but still some Nu and metalcore influences, Ada and Tea are both lesbians)

Infected Rain (Lena Scissorhands is bi, I remember reading something about that)

Kittie (Tara McLeod the current guitarist is a lesbian)

Hand of Juno, a band from my country, the former bass player Alice Lane is currently playing in Infected Rain, she recently left HOJ cause her schedule was getting busier and couldn't manage to play for two bands at the same time (anyway the drummer, Helly seems to be a butch lesbian)

Witch Fever (the drummer Annabelle is a non binary butch lesbian, idk about the rest of the members)

In This Moment (Maria Brink is bi)

Delilah Bon (Lauren Tate) is bi

Dark Moor (former lead singer Elisa C. Martin is a lesbian).

SeeYouSpaceCowboy (Connie Sgarbossa is a trans woman)

Halestorm (Lzzy Hale is unapologetically bi)

[estrellota]

RIP Crystal Palace Surname Von Hoverkraft you would have loved History of Man by Maisie Peters.

(to anyone who hasn’t heard the song, I highly recommend giving it a listen and then coming back and buckling up bc I have some Thoughts)

History of Man is a breakup song and also about, to quote Maisie herself, the generations of women “who never got to tell their own story, who had their narrative taken away from them by a man who did not deserve the pen he stole.” Sound familiar?

DBDA is a show about, among other things, the ways toxic masculinity visits harm on those who exist in proximity to it (aka everyone). Crystal puts it best when she tells Edwin and Charles “Well I guess all three of us lost our lives to boys who went too far”.

In The Case of the Two Dead Dragons, Brad and Hunter don’t just hurt Shelby and Maren, they rewrite their stories, turning themselves into victimized heroes and the girls into villains. They do terrible things to Shelby and Maren and then blame the girls for both deserving said things and for reacting/retaliating to them. This mirrors how David treats Crystal.

Throughout the show, when Crystal is (super understandably) angry about David possessing her and stealing her memories, David often retorts that Crystal asked for it/had it coming, as though being a Mean Girl somehow warrants demonic possession and literal identity theft (spoiler alert: it doesn’t). But Crystal feels and expresses a tremendous amount of guilt for having allowed David in anyways.

Now, on to lyric analysis:

The song begins by establishing that heartbreak (and the people who inflict it, boys who go too far) have existed since the dawn of time. They existed when Jericho (the first city) was founded and when Edwin was sacrificed to Hell and when Charles was pelted by rocks and when Crystal was possessed. The show points out that these stories are mirrors of each other, connecting our beloved detectives through the trauma they’ve endured (yay!).

Regarding Crystal specifically: David burnt the bridge to Crystal’s past, depriving her of what was sacred (herself).

This is the chorus and it is SO Crystal Coded!!!

As a psychic, Crystal has definitely seen things “in the poems and the sands”. Line 2 reminds me of her conversation with the Washer Woman and her desperate attempt to use something from Tragic Mick’s to get David out of her head. She’s trying so hard to rewrite (recall) her past and rewrite (change) her future. But she can’t.

She begs David for her memories back, but all he wants is her power. She’s in this mess in the first place because she genuinely loved David, and he doesn’t care. Why? It’s the history of man. Men like David (abusers) have always existed, it’s human history. But also, it’s the History of Man. Men like David have always held power, so they’ve gotten to shape the narrative, making the story about them and forcing people like Crystal (women) (and also queer ppl and pocs but for the purposes of this song, women) into the margins.

Ok so I see verse 2 as Crystal addressing David directly, dragging him for his complete lack of remorse over betraying/using/hurting her.

Samson and Delilah are biblical characters. Samson was this super strong man, and Delilah was his lover who betrayed him by cutting off his hair, thus weakening him. Delilah is generally painted as a treacherous seductress, but here the singer is commiserating with her. I think David would relate himself to Samson in this story. He genuinely believes he has a right to Crystal’s power and blames her for taking it back, making him weaker. When speaking to Crystal, he says things like “how dare you” and asks whether he “gets to be a god again”. But Crystal was right to make David weaker. He should have never gotten his grubby little hands on her power to begin with.

We’re in the home stretch now — the bridge and final chorus. I’m going to go line by line.

Line 1: This line is such a perfect fit. David stole Crystal’s youth (her time and memories) and promised heaven, trying to convince her that she needed him to save her at several points throughout the story (ex. in the Devlin attic)

Line 2: The Trojan War was a legendary conflict in Greek mythology waged by the Greeks on the city of Troy after Paris of Troy took (stole) Helen from her husband, the king of Sparta. Helen had no say in her kidnapping, and yet she was blamed for the bloody war it sparked. Similarly, Crystal is blamed for her possession and amnesia. David argues repeatedly that she invited him in, that she’s a terrible person, that she belongs to him. But also (and this is no shade to the boys don’t come for me I still love them to death) Edwin especially is super judgmental about it. While the boys quickly accept that Crystal knowing that David was a demon doesn’t make her at fault for what he did to her, I still think that initial perceptual shift is important for narrative and thematic purposes, especially since Crystal’s arc is a metaphor for toxic relationships.

Lines 3-6: Crystal is addressing David again. David is definitely threatened by the power Crystal wields, but for most of the narrative, she’s haunted by him. She hates him, but she can’t get him out of her head. He’s her great obsession.

Finally, I want to focus on the last two lines of the song, “So you'll lose me, the best you'll ever have / It's the history, the history of man”.

Because the conclusion of this story — and this is the most important part — is that Crystal wins. She gets her powers back, she gets her self back, and she buries David. In the end, David loses Crystal, the best he’ll ever have. All three of our detectives — Edwin, Charles, and Crystal — win because they get out, they escape, they break the cycle. In real life, winning probably doesn’t look like burying your demon ex under a tree in your head or throwing a Molotov cocktail at your best mate’s demon, but that’s what fiction is for. To tell us that for all that terrible men have always existed, so too have the people who beat them.

It’s the history of man.

[manygeese]

mega projecting rn, this is

PERCY JACKSON CHARACTERS AS SONGS FROM MY PLAYLIST

aka what I think they would do for karaoke, what’s they like, and what song is them coded

PERCY

What he’d do karaoke to: Beyond the Sea by Bobby Darin. Son of Poseidon thinks water songs are funny.

What song he’d like the most: either Angry Young Man or Allentown, both by Billy Joel. Hard hitting lyrics and instrumentals to match.

What song he has the vibes of: Kodachrome by Paul Simon. Silly, jaunty, but kind of soothing at the same time. Reminds you of your childhood, almost.

ANNABETH

What she’d do karaoke to: Stand by Me by Ben E. King. She’s a romantic lady, what can I say? She’d totally be winking at Percy when she sings the chorus.

What song she’d like the most: Arthur’s Theme (Best That You Can Do) by Christopher Cross. She has classical vibes and this is the closest thing to classical as I have on my playlist. Also, I feel like she’d love jazz and this is jazz-adjacent.

What song she has the vibes of: She’s Always A Woman by Billy Joel. Sentimental, cool, but still oozing with emotion.

JASON

What he’d do karaoke to: Total Eclipse of the Heart by Bonnie Tyler. Boy puts on a performance.

What song he’d like the most: My Way by Frank Sinatra. He feels good about himself and all the stuff he’s been through while listening to it.

What song he has the vibes of: Out of Touch by Daryl Hall & John Oates. Edgy, cool, and a bop.

PIPER

What she’d do karaoke to: Lovefool by The Cardigans. Daughter of Aphrodite thinks love songs are funny. She’s a really good singer though, so she can choose any song and still knock everybody’s socks off.

What song she’d like the most: Yesterday by the Beatles. I think she’d like sad songs (not breakup songs, more like “wallowing in self pity, wondering what happened to us” songs).

What song she has the vibes of: Thank You For the Music by ABBA. Self worth problems, putting all your value in one ability? Piper coded.

LEO

What he’d do karaoke to: Let’s Hear It for the Boy by Deniece Williams or Thank God I’m A Country Boy by John Denver. The first because he’s some sort of LGBT+ and thinks it’s funny, the second because he’s Texan and thinks it’s funny. Also Fernando by ABBA.

What song he’d like the most: Wake Me Up Before You Go-Go by Wham! He identifies with it. Also he loves the dorky Just Dance for it.

What song he has the vibes of: Telephone Line by Electric Light Orchestra. Hopeless romantic vibes right there.

HAZEL

What she’d do karaoke to: Fly Me to the Moon by Frank Sinatra. She’d eat any jazz song up, really, but this one’s got her name written all over it.

What song she’d like the most: Bad, Bad Leroy Brown by Jim Croce. It’s got that school house rock vibe that you know she’d love. And also, bar fights! Yay!

What song she has the vibes of: Put Your Records On by Corinne Bailey Rae. Happy, sends a message, gives off sunny day and Hazel vibes.

FRANK

What he’d do karaoke to: Delilah by Tom Jones. He’s belting this shit in the shower at 3 AM.

What song he’d like the most: Oh, What A Beautiful Morning by Gordon Macrae from the musical Oklahoma. He’s embarrassed to admit it, but this boy loves old Roger’s and Hammerstein musicals (The Music Man, Carousel, etc.) that go on for too long and have unnecessary songs. He thinks they’re pretty.

What song he has the vibes of: Everybody Loves Somebody by Dean Martin. Gentle giant vibes.

NICO

What he’d do karaoke to: So Long, Mom (A Song for World War III) by Tom Lehrer. He’s a sucker for old satirical songs and loves watching his friends react as he sings them.

What song he’d like the most: The Vatican Rag by Tom Lehrer. Again, because he likes satirical songs. He cried laughing the first time he heard it, having grown up in the Catholic Church (of Italy, no less).

What song he has the vibes of: Carry on Wayward Son by Kansas. Stark contrast from the earlier songs but it’s just… so Nico coded. The type of stuff you can head bang but also perform ballet to.

REYNA

What she’d do karaoke to: We Didn’t Start the Fire by Billy Joel. She memorized the whole thing and likes flexing on everybody else about it because they don’t have the guts nor the dedication.

What song she’d like the most: Fame by Irene Cara. She unwinds to this in her room after a long day. She also totally does embarrassing dances to it.

What song she has the vibes of: Leningrad by Billy Joel. A song about war, seemingly endless cycles of violence, but small victories and reconciliation.