#rob dawg

[clownsuu]

Question... Robbie.... In the mob au? 👀

Get girlie popped KDHDHDH

At first I really wanted to make him like- completely unnoticeable and nobody fuggin remembers him despite being a member JDHDHFHHF- but I wanted to make him interact with Dr.Stone so instead he’s a member thats just rarely seen anymore (Wally totally didn’t get rid of him cause he kept being fuggin annoyin)

kinda all brawls no brains like sally- used to chaotically collect debts peeps have with the ol mob (still does but significantly less since now he’s a fetcher for Dr Stone for more harder to get goods the mob needs. The mob technically can go without the help of Dr.Stone, however he is a middle man that knows just about everything needed for successful heists/deals with his knowledge and name alone)

also? This dude doesn’t know what a bed is he sleeps on just about anything (can sleep like a baby face first in a trash can)

[floweypilled]

do any tally hall fans live here

[birdinabowl]

stealing someone’s car keys and not even stealing the car is such a dumbass move

[saturnniidae]

Is this a safe space to admit I fucking hate Hiccup's rtte model.

I don't like how red kind of takes over his color palette (imo it's better as an accent color for him) and also. He's so fucking ugly??? Not in a 'im whining bc I don't think he's attractive enough' way, in a 'my god why tf is he so pasty and his lips are weirdly pink?? His freckles are gone and he's generally unpleasant to look at' way.

[carrionsflower]

i will NEVER understand why customers get so irritated when i ask them for basic information. like … YOU called ME???? does it look like i have a drone on you to know your address? thst i magically hacked your phone to get your number???? they act like i’m asking for their blood type and social security number like shut upppppp 💀

[jokes-on-dee]

I wanna write fat mac fanfiction

[sinceileftyoublog]

SZA Album Review: SOS

(Top Dawg Entertainment/RCA)

BY JORDAN MAINZER

On “Nobody Gets Me”, a song in the middle of SZA’s much anticipated second album SOS, she reveals a failed engagement, a man that left her when she was on the road due to his own insecurities. It’s the type of heartbreak that spawns entire records--and maybe it did, here--but she spends more time in the details, setting the scene than delving into the ins and outs of her relationship. “You were balls-deep, now we beefin’ / Had me butt-naked at the MGM / So wasted, screamin’, ‘Fuck that’ / Blurry now but I meant it then / Hurry now, baby, stick it in / ‘Fore the memories get to kickin’ in,” she sings, her carnal humor as blunt as it is sardonic. In the build up to the release of SOS, during an interview with HOT 97, she remarked she wants it to be understood from the album that, simply, she’s pissed. Pissed at specific men, yes, but also at men in general, at the music industry, at the collective forces that try to bring her down. SOS is a distress signal. It’s no coincidence its opening track begins with that specific Morse code while built around a sample of the Gabriel Hardeman Delegation’s gospel song “Until I Found the Lord (My Soul Couldn’t Rest)”. That is, in looking back at specific moments, SZA’s pleading with herself to overcome.

SZA heals by evaluating past versions of herself and sometimes comparing herself to various revenge-takers throughout culture. “Low” builds on her feature last year on Summer Walker’s “No Love”, reinforcing her sole interest in the physical side of a relationship, her steadfastness mirrored in the song’s dark, forceful trap beat. On “Kill Bill”, she likens herself to the title villain of the Quentin Tarantino films of the same name. “I might kill my ex,” she casually admits, before clarifying, “I still love him, though / Rather be in jail than alone.” (Producer Rob Bisel and Carter Lang’s guitar lines even echo the melody of “Bang Bang (My Baby Shot Me Down)”, a song whose Nancy Sinatra version is famously used in the opening credits of Kill Bill: Volume 1.) SZA identifies with the protagonist of Gone Girl. And to be fair, on “Snooze”, she throws some sympathy the other way, suggesting that when she’s infatuated with someone so much, they could be a murderer and she wouldn’t care--only as long as they were infatuated with her, too. 

Sure, there are moments of bleakness on SOS, like on “Used”, where SZA shares she’s essentially used to feeling used, the amount of death she’s experienced in her personal life and witnessed along with the world making her numb to exploitation. When she sings, “My pussy precedes me,” on “Blind”, it’s a flex, but it’s also delivered with a sigh, as if this is all that there is. But the more she lets her voice soar, the closer she gets to self-acceptance, if not self-actualization. She bends around the skitter of the hi hats and the whirring synths on the subtly thrilling “Notice Me”. Her flow is better than it’s ever been on “Blind”; the pitch-shifted melisma of the title in the chorus sounds like she’s traversing the page as well as the scales, showing what she can be in one fell swoop. Most impressive is how effortlessly SZA fronts rock instrumentals, whether the pop punk bursts of “F2F” or the “Fade Into You”-esque strumming of “Nobody Gets Me”.

When SZA brags, it’s sometimes sandwiched between bouts of insecurity, and both sides of her internal monologue are all the more powerful because of it. “Nobody Gets Me” and the finger-snapped “Special” are buoyed by the “I might steal your girl” confidence of “Conceited” and it’s refrain of “I’m bettin’ on me”. “Far” samples words from Sadhguru, a famous yogi she met, saying, “If nobody wants you, you’re free”, as if SZA is rising to the top alone. What follows, though, is a broadcast dialogue over whether that very mode of thought is even worth it. Ultimately, it’s the words of folks since departed that ring truest. Her late grandmother Norma Rowe introduces “Open Arms” with, “When you do your best...that’s all you can do,” a breakthrough that allows SZA to realize “I’m the only one that’s holdin’ me down”. And then there’s album closer “Forgiveless”, which features samples of “The Stomp” by Ol’ Dirty Bastard and Bjork’s “Hidden Place”, songs by two of the most iconoclastic figures of the 90s and early 2000s with whom SZA likely feels a kinship. “I don’t mind burnin’ bridges,” SZA declares. ODB’s closing words profess love for everyone. SZA has that love to give, but on SOS, she’s unafraid to let you know when you’re impeding her ability to love herself.

[orochimarustanaccount]

they hate to see a bitch from New Jersey afford to live in New Jersey

[29121996]

.

[corpsecxnt]

why does spooky season also have to be my severe sad season lmao

[nullwork]

i don't want pepper spray for defense i want a gun. americacore.

[geffenrecords]

oh what the fuck did they like drag everyone from the breakfast club to the st elmos fire set. why are all you guys here

[713-4th-ward-g]

.

[clownsuu]

Man my brain is so fried dawg I got no thoughts head empty- so take some human mob doodles of Rob (normal mob and Boss) and Lovelie I was able to manage smhhh

Funfact, it’s a very bug thing to wiggle/dance, so it wouldn’t be impossible to see Mob Rob and Lovelie trying to one up eachother on the dance floor smhh

[tsunamiwavesurfing]

nah someone def pressing fast forward when it's the weekend. you mean to tell me in some hours i gotta get back on the grind and to "as per my last email" shenanigans? i'm on the edge dawg

if a sneak start leaning and the heat stop working then my heat start working imma rob me a person

[crusaderguy]

Gamera may be a strategist but Godzilla comes from the streets, he's built different, baptized by hydrogen flames and became an atomic monument to humanity's sins, made of pure black air force energy, he listens to nothing but Hollywood Undead, Eminem, Rob Zombie, and Akira Ifukube, other Kaiju may have the intellect or power but Goji has that dawg in him.