#the real lyric is 'to the ends of the earth would you follow me?'

[grapenehifics]

Not to tell you about *every* time I hear Solsbury Hill on the radio but…

Can you tell us why you picked it as the title for your fic? I feel there’s more to your reasoning than “grab your things I’ve come to take you home” and I’d love to hear your thoughts [it’s also maybe pretty obvious(?) but I’m really, really shit at 1) song lyrics 2) song meanings and 3) applying them to other contexts 🙈]

My friend, there is almost nothing I would rather talk about than the intersection between Peter Gabriel*, Genesis, Solsbury Hill the place, Solsbury Hill the song, and Solsbury Hill the fic.

(*Peter Gabriel, and all the members of Genesis, are real people, and would probably tell this story very differently. But they're not here to correct me [oh god, at least, I hope not], and this is how I heard the story, and I am going to tell it the way I know it. Apologies to all those living or dead.)

Sometime in the late 1960s a group of British schoolboys formed the prog rock band Genesis, and by the early 1970s they were...maybe not world-famous, but huge by prog rock standards, anyway, with a couple of albums and a tour. The Lamb Lies Down on Broadway came out and it was a big enough deal that they got offered an American tour, too.

They were all still pretty young (they'd started basically in high school) and Peter Gabriel, their lead singer and main songwriter, had recently got married and he and his wife had a baby (this will become relevant in a second). So they go on the American tour and maybe about halfway through Peter turns to his bandmates and is like, "so...I'll finish the tour with you, because I promised I would, but when we get back home I'm quitting the band."

The other guys were stunned, obviously, because this was the moment they'd worked for. They'd already gotten through all the shitty garage band years, which is where most people give up, and now they were at the good part! They were on an international tour! The money was good! Their albums were selling! They had more fans than they'd ever thought they'd have! What on earth would possess someone to want to give all that up?

(The part of this story that is less-charitable to Peter Gabriel is that one of the answers he gave was 'more creative freedom' and his band was like...but you already write all our songs? What possible *more* creative freedom do you think you need?)

It wasn't just the band, though. His managers and the record company and everyone all told him that was a terrible, terrible idea, and there were a sizable contingent of Genesis fans who just refused to follow him to his solo career because they were mad at him for walking out on Genesis, wrecking the band, how dare he be so ungrateful...

(Genesis did fine without him, actually. Phil Collins took over on vocals and they had another couple of albums and some hit songs before going kind of weirdly soft-rock in the 80s.)

Also - and this is an important detail - when he left the band, there was no solo career. He didn't have any songs. I don't think he even had an agent. He was kind of on the outs with the industry for pulling that stunt. He spent the first year after he quit - while Genesis was recording a new album without him - just hanging out at home with his wife and baby daughter.

Eventually he did get back in the studio, and one of the songs on his first solo album was Solsbury Hill, largely regarded to be the most autobiographical of his songs (Solsbury Hill is an actual, physical hill in Somerset, near where he grew up). It's pretty blatantly about quitting Genesis, including being unhappy in the band:

So I went from day to day Though my life was in a rut

I was feeling part of the scenery

And liberty, she pirouette When I think that I am free

and trying to get up the courage to leave even knowing it would almost universally be regarded as a really dumb move and would very possibly end his entire music career even though he was still in his twenties:

My friends would think I was a nut Open doors would soon be shut

But eventually doing it anyway:

To keep in silence I resigned

I walked right out of the machinery

I will show another me

Then he writes about how, even though it was scary and he didn't know what the consequences were going to be, he was glad he did it:

Though my life was in a rut 'Til I thought of what I'd say Which connection I should cut

Today I don't need a replacement I'll tell them what the smile on my face meant

And he personifies all this as a person, or more accurately hearing a voice (while climbing Solsbury Hill, hence the title), and the progression of what the voice tells him mirrors the rest of the lyrics. First it's:

"Son, " he said "Grab your things, I've come to take you home."

and

"Hey, " he said "Grab your things, I've come to take you home."

But the final lines are the singer answering back:

"Hey, " I said "You can keep my things, they've come to take me home."

And not to belabor the metaphor, but that's what I see as the equivalent of the first quarter or so of Solsbury Hill the fic, at least the beginning to the Bakersfield hospital chapters. Peter Gabriel and Anakin both got the exact thing they thought they wanted - a record deal, a tour, money, fame, wealth - and then turned out once they had it, they actually didn't really want it all that much anymore, and the reality of it wasn't worth keeping it.

But also mixed in there is some shame, right, because to everyone else it looks like you have it all. Every kid around the world with a guitar and a garage bands wants what you have. Every kid on their school swim team watching the Olympics on TV wants that. And now you've got it, and you're just...going to hand it back? Say it's not good enough? This thing that feeds your family and lets you see the world? How dare you spit on that!

But all they really want - in both stories - is more time with the people they love. And yes, in both cases, there are ways to fix that - Peter Gabriel could have taken his wife and baby with him on tour, Anakin could have not fired Obi-Wan and taken up with Palpatine - but in the middle of that situation and looking down the barrel of year after year of touring and competition and the toll it takes on your body and your mental health - suddenly the smart play starts looking like turning you back on it, tearing the whole thing down, and starting over. Even if it means living without the money and the fame and the recognition and universal goodwill. Who cares. Keep it all. Keep my things; I don't need them; I just need you.

I'm going home.

[iamtheterrorthatflapsinthenight]

Here’s my super long winded analysis on Big Top Burger!!!

This is not to put anyone else’s theories down, just how I felt watching it.

I also feel as though I should mention I don’t know anything about Cats the musical, so if I say something wrong, please let me know!

Songs, and Their Meanings:

Up:

The song “Up” practically tells us all of who Steve is. It references costumes, makeup, etc. Also, it mentions how he’s Old Deut, and now someone else is, like what we see in the episode “Up” as well. In the song the lyrics go “up, up, up, to the Heaviside Layer” The “Heaviside Layer” is a setting referenced throughout the Cats musical, usually interpreted to be a heaven-like place of rebirth for cats selected by Old Deuteronomy. Steve was the one that played Old Deut, so maybe him being banished to Earth is the Heaviside Layer.

Down:

This song relates to Cesare, though is more relating to his job rather than his backstory. The song “Down” states “Yeah, I'm charged to keep our Earthly peace and you do not belong”, which is similar to what Cesare tells Steve in the episode “Down”. It’s also implied in the show and song that Cesare has been hunting Steve for a long time, even starting a rival food truck to get closer to him.

Friends In Low Places:

“Up” was the main theme for season 1, and “Friends In Low Places” is the theme for season 2. “Up” tells Steve’s story, and I believe “Friends In Low Places'' tells Cesare’s. This song is the least delved into so far, due to us not knowing much about Cesare. However, the lyrics in “Up” are pretty literal when it comes to Steve’s backstory, so why would “Friends In Low Places'' be any different? That being said, the following is mainly analyzing the lyrics in relation to Cesare, but it’s still just speculation. Firstly, it starts off with “In old Venezia-” This immediately tells us Cesare is probably Italian. It was already implied with the pronunciation of his name, but Venezia is the Italian name for Venice, Italy. Later in the song, it says “On that hallowed night, when I lost my life, all I remember was the gleam of the knife.” We already know Cesare is a zombie, and this seems to confirm not only that he died, but was murdered. In the song, it’s also stated “I was chosen for a second chance at life. I am the watcher, now I watch for all of time.” This implies after Cesare died, there was an offer given to him, a job of sorts, hence why he was hunting Steve. It was the job bestowed upon him. Later, it also says “Oh, just another one in a long line of no ones. One of many replacements.” This job isn’t unique to Cesare it seems, he is one of many, and possibly those he hunts down are as well. Furthermore, as stated in the song “Down”, he’s charged to keep the “Earthly peace”. However, what that means for whoever Cesare works for may be different to what it means to Steve.

Steve:

Steve is a real clown. Steve has been shown to alter reality sometimes. He phases out and in places, as well as teleport, as well as being shown to change size, both shrinking and growing. Penny, Tim, and Billie aren’t real clowns, so they can’t alter reality like that, but Steve can. This is also enforced at the end of the episode “Greasepaint” when Penny, Tim, and Billie are all getting out of their makeup, but Steve keeps his on, even honking when walking off screen. Steve’s backstory is that he was on another planet where he fumbled his role as Old Deuteronomy in Cats, and was thus banished. In the episode “Up”, Steve auditions as a child 600 million years ago, and fumbles his performance as Old Deuteronomy 375 million years ago, hence why he got banished to Earth. In the same episode , Cesare tells Steve he’s been “sleeping beneath the ground, all dormant” and that he’s been down there for “millions of years.” At the end of the episode, we’re shown that he was shot underground, into the center of the Earth, so Cesare is probably not being hyperbolic here.

Cesare:

According to many implications and details, Cesare is a real zombie, in the same way that Steve is a real clown. Cesare voices multiple times how he’s dead, a zombie, or implies something similar with details. For instance, he yells “Cool, I don’t eat food!” when Frances offers some in the episode “Expo”. He also forces Conrad to stay in costume in the same episode because “If you guys don’t look as weird as me, then I am going to stick out like a horseshoe crab in a freshwater environment.” In the same episode again, Tim remarks how he’s never seen Steve out of costume. These two interactions confirm the two bosses are not in costume at all, that is simply how they look. Cesare also seems to have some sort of magical abilities, as seen in the episode “Down”. He snaps his fingers to reveal his gifts were actually weights to weigh Steve down, and purple electricity crackles in Cesare’s hand. In the same episode, he’s shown to be able to phase directly through the Earth. He also owns a giant hammer to send Steve into the ground, one he probably had to obtain from “Upper Management”, because “I don’t normally need help catching you freakazoids but, you’re one tricky bitch, Steve.” This again re-enforces the point that this is Cesare’s job to catch Steve, but Steve is one of many. After jailing Steve in “Up” however, Cesare says he’s retiring, and that his “thousand years are up.” Perhaps the offer given to him for a “second chance at life” as referenced in “Friends In Low Places” was to work for 1000 years.

Their Long History:

Steve and Cesare have known each other for a very long time. From the first instance we see Cesare in the episode “Zomburger”, it’s implied they’ve met before. Penny and Tim are aware of the rival food truck, most likely because Steve told them. When Steve follows the Zomburger truck on foot, Cesare says “I knew you were going to do this from the moment I got out of bed today. Typical Steve, I’m not surprised.” So not only have they known each other for a long time, it seems they’re whole relationship is based on Cesare hunting Steve. In the episode “Expo” as well, Cesare remarks that the Zomburger employees are “all theater majors” in an annoyed tone. The annoyance could possibly be from being against Steve, and possibly, his theatrical world. In that same episode, Steve visibly panics when one of the people at the convention remarks how Big Top and “that other food truck” are the only ones that do makeup. This implies Steve immediately knows who they’re referring to and he panics over it, knowing Cesare is the boss. In that same episode, Cesare states he’s “ancient”, but gets mad at Conrad for asking just how old he is. So, knowing Steve and Cesare know each other, this causes us to wonder just how long that is. How long ago was Steve banished? How long ago did Cesare die? When Cesare disables Steve’s ability to move in the episode “Down”, he states “I’m the albatross across your clavicle!” This is similar to the saying “albatross across your neck”, which is often used to mean a heavy burden someone carries, especially one that holds significant guilt. Cesare and the constant chase is the burden to Steve, but possibly also the guilt of banishment.

The “Upper Management”, and Cesare’s Job:

In many instances, it’s shown that where Cesare works out of is underground. For example, in the season 2 intro, he’s walking down a dark set of stairs, and in the song “Friends In Low Places”, he states “But I made new friends here underground”. In the episode “Panel”, Conrad states Cesare gets the large sums of money he pays his employees from a hole underground, most likely obtaining it from the so-called “Upper Management”. He also directly states the weights weighing down Steve in “Down” is “a little gift from Upper Management”, while pointing downwards. I’d also like to mention the hole left after Cesare sends Steve down is very similar to the hole Conrod spots in the episode “Expo”, meaning Cesare, or someone that works the same job as Cesare, has sent someone else down, leaving that crater. After Steve is jailed in “Up”, Cesare tells Steve he’s “gonna be staying here with the other freaks.” This again shows Cesare’s job is to bring people to judgment, but who? Others who have been banished? Perhaps those disrupting the “Earthly peace”, as referenced in the song “Down”? In the episode “Up”, when he tells Cesare he hasn’t done anything after being jailed, Cesare tells him he doesn't “make the calls on who’s a menace”, but Steve has “been on our radar for a long time.” This again pushes Steve and Cesare have known each other for a very long time, but also that Upper Management keeps tabs on certain people, and if they cause problems. While Steve hasn’t done anything wrong, he is a strange foreign creature, so it’s no wonder he was put on Upper Management’s radar.

Steve’s Home Planet:

A theory I have about Steve’s planet is that the society there is built on entertainment. They even made a spectacle of his banishment, having a large crowd when he was shot out of a cannon. Steve’s mother refers to a sum of people as “clowns” and people are shown to wear clown makeup as a whole. The “Broadway” mentioned in the episode “Kid” could possibly be the highest level of success in that world, like how most theater actors and playwrights want to be on a Broadway show. He later mentions Broadway in the episode “Up”, which leads me to believe that while Broadway is the dream, it feels like a prison, which is where Steve was when bringing up Broadway for the second time. I don’t think they meant to send him anywhere in particular, just to be launched off the planet. When landing on Earth however, this caused the chain of events that led to Upper Management keeping an eye on him, and Cesare jailing him.

[kellykswift]

But Daddy I love him - analysis and why I think Taylor reveals the real WB in it.

*Disclaimer: This is only my personal opinion.  I respect the Native American culture and my intend is not to offend anyone when linking Taylor to Lakota.

If you wanna skip to the part about WB, scorll to the end ;=)

Something that stood out for me was the shape / design of the lyrics of BUT DADDY I LOVE HIM

The lyrics are placed inside a triangle shape, which could represent the Lakota symbol. (it could also be a sandclock and 2 triangles but lets go with the lakota)

Its the Lakota symbol for Sun-Earth Connection. The inverted triangle on top symbolizes the stars and/or the Sun. The triangle on the bottom symbolizes earth sites. The Lakota strongly believe that there is a powerful connection between the Sun and the Earth.

It’s also believed that there are still earth and star maps, but they’re kept secret and rarely shown to others that don’t belong to the tribe. This is because these maps mark some of the Lakota people’s most sacred sites in the Black Hills.

The question is: Why Lakota, whats the connection? I get that Karlie is the sun but since when does Taylor have connections to Native American tribes? Well I googled Taylor + Lakota found something else from 2018:

Taylor Swift Denim Shorts by Madewell | POPSUGAR Fashion

Taylor wore an Elizabeth and James Lakota-T-Shirt in 2018 in London, before her REP concert.

So we got the FIRST Betty / James connection here. Karlie is Betty. Taylor is James.

This is form 2018. It’s a pride shirt. But we didnt know that Taylor was James back in 2018 .

But lets get back to the lyrics of BDILH. I think the first part is a conversation she is having with TS the brand.

I forget how the West was won

Well If you believe this is a reference to history then the answer is: a combination of exploration, settlement, conquest, and economic development (the discovery of gold for example). In conclusion: the west was won (taken) by white men. So Taylor makes it very clear in the first sentence. This is a song about power and money regarding TS the brand.

Too high a horse for a simple girl to rise above it

The phrase also implies a sense of determination or resilience, as it suggests that despite the challenges or obstacles. Taylor (the person, not the brand) is still striving to overcome them and rise above the situation.

They slammed the door on my whole world

The one thing I wanted

So white men, Sarahs and Hannahs (the heteronormative environment, also known as hetlors) forced Taylor to stay in the closet, because a queer Taylor woulnt make as much money as the straight Taylor Swift brand. Nice. I would be pissed as well.

Now I'm running with my dress unbuttoned

Running with a dress unbuttoned could symbolize feeling exposed or unprepared, as if one's defenses or usual barriers are down. I guess what she tries to say is that she never learned to speak for herself but something has changed (she met Karlie / or wanted to come out) and all of a sudden she needs to find a way.

Screaming "But Daddy I love him!"

I don’t think this has anything to do with her asking her dad for approval. I mean sure, maybe Scott didn’t accept her but I think she tried to point to Ariel – where this quote is from. The theme of love's power to overcome obstacles and the courage required to follow one's heart.

I'm having his baby

This could be a metaphor for : I am coming out

No, I'm not, but you should see your faces

Exactly what she said.

I'm telling him to floor it through the fences

But she wants to take action - maybe an agreement between her and her management?

No, I'm not coming to my senses

This is not a phase

I know he's crazy but he's the one I want

I am not gonna change. I love her.

So the next verse is interesting. I think she is having a flashback to an earlier situation, where she fell in love with a girl (maybe Emily?) and she didnt do anything because she was too young, too much of a good girl or simply scared.

Dutiful daughter, all my plans were laid Tendrils tucked into a woven braid Growing up precocious sometimes means not growing up at all He was chaos, he was revelry Bedroom eyes like a remedy Soon enough the elders had convened Down at the city hall "Stay away from her" The saboteurs protested too much Lord knows the words we never heard Just screeching tires and true love

Now she is back in the present and she is not scared anymore. So if she cant be with this person (Karlie) she will be the one who will take actions:

I'll tell you something right now I'd rather burn my whole life down Than listen to one more second of all this griping and moaning I'll tell you something about my good name It's mine alone to disgrace I don't cater to all these vipers dressed in empath's clothing

Uhh girlie is pissed about how they treated her back than. As she should! Fuck white old men.

There's a lot of people in town that I Bestow upon my fakest smiles Scandal does funny things to pride But brings lovers closer We came back when the heat died down Went to my parents and they came around All the wine moms are still holding out But it's over.

But also fuck her fans who defend her straighness like its the only thing that matters about Taylor. WTF. Anyways, she said it herself. Scandal does funny things to pride and brings lovers closer! Maybe so close, they write songs together and start a family?

Now I'm dancing in my dress in the sun and even my daddy just loves him

So the dress is not unbuttoned anymore, she is living a private live with her love (and the sun is Karlie), and eventually her team (dad) got around.

I'm his lady, and oh my God You should see your faces

Yes I wanna see those hetlor faces when she reveals that they are married with kids :P

Time, doesn't it give some perspective No, you can't come to the wedding I know he's crazy but he's the one I want

So this is basically giving hetlors the boot. They had so many chances accepting her and catching on. Instead they shipped her with men and defended her straightness.

I'll tell you something right now you ain't gotta pray for me

Oh.. and don’t forget to pray away the gay.

OKKK. so now the interesting part about WB.

Me and my wild boy and all of this wild joy

She uses wild twice. Pretty uncommon for her. But Wild boy could be WB. the real Willam Bowery.

He was chaos, he was revelry If all you want is gray for me Then it's just white noise, and it's my choice

This could be about her beards and how her fans only want her with men.

The gray part is the opposite from colors - screaming colors - rainbow colors.

But I guess she doesnt care anymore and she does whats right for her and Karlie (and their family).

anyways, I am usually not doing analysis and maybe this is 100% incorrect but I' ve tried :P

[thislovintime]

"Lady's Baby" (Tork) alternate vocal [More on YouTube.] Photo 1 in this video by Nurit Wilde, photo 2 by Bridgeman Images.

"[At the Troubadour, Peter] sang one of his new songs, ‘Lady’s Baby,’ and was called back for an encore." - Disc and Music Echo, May 18, 1968 (x)

“Peter isn’t sure what he’s going to do now [that he has left The Monkees], but he’s feeling free for the first time in months. Toward the end of the Monkees’ run at Screen Gems, Peter said they’d go into recording sessions and not even speak to each other much less play together.” - Circus, June 1969

“[Davy] got sick of banging the tambourine all day long. And [Micky] lost faith in himself. He never did believe he was a decent drummer, so he didn't want to do it anymore. Mike wanted to produce his own records. He wanted to have total control. I was the only one who believed in the group per se, and so there I was all by myself, wanting a group, with nobody to be a group with.” - Peter Tork, When The Music Mattered (1984)

“Taking the expression of following one’s muse quite literally, [Peter] sought to re-create in the studio the very environment that inspired him to compose the song. This endeavor included having a recording engineer crawl on the ground after young Justin to capture real-life ‘smiles and coos’ (as in the song’s lyrics). Both lady and baby giggled and squeaked through hours of expensive recording time, which seemed to infuriate some members of the band and their musical coordinator, the late Lester Sill. ‘“Lady’s Baby” was a very weird and ridiculous situation,’ recalls engineer Hank Cicalo. ‘To accommodate Peter at the time, he wanted to do this thing and he wanted it to be real spacey. So what we did was we set up the studio and brought rugs in and made a little room with pillows. He would bring his friends in and they’d sit around and he’d play a little bit. It was pretty outrageous: days and days of doing the same piece of material. ‘They would just sit around for hours and drink wine and carry on, and try to get takes of this tune. Maybe we would make one or two takes. It was OK for me as an engineer because it was like taxi time. But he wouldn’t take any help from anybody. At this point in time I thought my communication with the guys was pretty good, and I could talk to them and whatever else. There were a couple of times he got a little hot about doing this. I’d say, ‘Hey, you’re wasting a lot of time. Either we do this track, or we get on with it.’ We must have done a hundred takes on that thing. He sort of went off on his own in a lot of ways. And there was a little resentment between the guys in not working together.’” - The Birds, The Bees & The Monkees box set liner notes

“Hey listen, fair is fair. They laugh and joke about that [‘Lady’s Baby’]. OK, it cost as much to do I think as ‘Good Vibrations.’ They were laughing about Peter Tork, but that [song] is a true-to-life thing. He was living with a woman [Karen Harvey] at the time and she had a little baby [Justin Hammer] and that changed his life, you know? That gave him something to think about. He was being downtrodden by the studio in regard to his recording and his playing and his songs and everything else, but the guy was the salt of the earth. It wasn’t just Hare Krishna, waterbeds and brown rice. That guy was a very, very accomplished musician. He needed magic to be able to get in and do ‘Lady’s Baby.’ It’s a nice song. It’s true. It’s got the warmth and everything of what he was living. ‘Lady’s Baby’ touches me, lets me know that I am free, whatever it is. I remember it so well. It’s a real tune, you know? I love it.” - Davy Jones, The Monkees: The Day-By-Day Story of the '60s TV Pop Sensation (2005) (x)

"[M]y darling Karen, with whom I am still very good friends all these years later.” - Peter Tork during his My Life In The Monkees & So Much More tour, 2013 (x)

"We’re still very, very good friends." - Karen Harvey, The News Journal, July 16, 1989 (x)

Q: “The Birds, The Bees & The Monkees sessions was a productive time in the studio for The Monkees. However, none of your stuff like ‘Lady’s Baby’ and ‘Tear The Top Right Off My Head’ made it to the album. How come?” Peter Tork: “To tell you truth… I… I never was able in those days particularly — I’m getting better at it these days — but in those days I was almost entirely unable to fight for what I saw as quality. If I didn’t get somebody fighting on my behalf then it didn’t, just didn’t come to pass. And none of the other guys was much interested in supporting my sense of quality, they had their own agendas and each one of them… I mean, not that I was left out in this regard, no one of us really supported any of the others except that, that I like to think that I tried to support Micky in a way which, for some reason, he never did pick up on. I mean, I think that Micky has a certain kind of genius that he was never able to acknowledge in himself. But be any of that as it may, I just basically think that I wasn’t feeling a part of it anymore already by that point, I’d already felt like I was odd man out, and of course I quit almost immediately thereafter. In fact, I think it’s The Birds, The Bees & The Monkees that has some tunes that were recorded after I quit.” - Headquarters radio, September 1989 (x)

[thefreakymunson]

Like I Did, chapter 2

Summary: A week after this. House party. What else could I say? A/N: Angsty angsty boiii

Billy’s arm was thrown around your shoulder as you stood next to him in the kitchen of the house party. The last one of senior year and everyone was there – your last big hoorah of the your high school years. You were tucked in between Billy and Tommy, trying to continue listening to what was being said but your eyes were glued to the mop of wild brown hair on the other end of the house in the living room.

Corroded Coffin, the only band in the senior crowd, was playing covers of everyone’s favorite songs. For the past hour, they had played everything from Ratt to Scorpions. Eddie’s playing was fantastic as his fingers strummed the Warlock with great expertise. His fingers were always so quick on the neck of the guitar and of course he was showing off.

Everyone had chilled out their senior year. The bullying had stopped, realizing you were going to be adults thrust into the real world within a few days. The class of ‘86 was just spending their last few days together.

You couldn’t keep your eyes off of him. It had been nearly two weeks since you left his trailer that night. He hadn’t attempted to contact you. He avoided you in the hallways. He was doing what you asked him to and yet, it still hurt. There were no shared smiles in the hallway, no make out sessions in the girls locker room. He didn’t follow you out past the football field for alone time anymore. You didn’t exist to him.

The band went quiet and you looked up to see Eddie toss back a shot that was handed to him by one of girls hanging around him. He tuned his guitar down as he glanced up at you and then immediately looked away when he seen you were staring at him.

“This is for you,” Eddie said quickly into the microphone, “You know who you are.”

The lump immediately swelled in your throat as you dared to look back up at him. He slammed another shot and then glanced back at the band, giving Gareth the signal to start and the familiar chords of your favorite song filling the air. There was no way he was going to do this to you. Not now.

“Woke up to the sound of pouring rain, The wind would whisper and I’d think of you. And all the tears you cried that called my name And when you needed me, I came through.”

His voice was smooth as he belted out the lyrics beautifully. All the memories surrounding that song flooded you as you stared at him, willing the tears to go away – silently begging him to stop. This was the first song he had sung to you on his acoustic guitar, the night you told him for the first time you loved him. The first night he didn’t say it back.

The stars were so pretty against the blackened sky. Crickets chirped nearby as you laid with your head in Eddie’s lap, his fingers gently massaging your scalp. You had snuck out out to meet him at your spot down by the quarry. He had just gotten out of jail and the first call he made was to you. He needed to see you. He’d been in the slammer for nearly two weeks at that point – picked up on a minor drug charge.

The back of his van was too hot so you settled for a blanket in the high grass. Rushed touches and kisses, soft moans, and earth shattering orgasms had passed. For the most part, you two had redressed because the last thing he needed was a public indecency charge. He was wearing his jeans but nothing else, tattooed chest visible to the world. The acrid scent of weed filled the air around the two of you as he lit a joint, took a drag, and then passed it to you.

You didn’t know if it was the weed, the relaxed after sex cuddle, or just true feelings that made you utter the words. But before you could stop yourself, you were looking up at him with a soft smile as his fingers brushed through your hair.

“I love you, Eddie.” You said – not expecting to hear it back, but not denying that it would’ve been nice.

With that smile that made your heart burst, he leaned down and kissed your lips, warm hand splayed across the side of your face. He didn’t say it back but you could almost feel it in the way he touched you.

“Can I play something for you?” He asked, brown eyes glinting down at you.

“You never have to ask me that,” you mumbled against another kiss.

He killed the solo because of course he did. Music was his true talent. His fingers blistered across the fret as if it was what they were made to do. The crowd, mostly drunk by now, had their arms in the air and were swaying back and forth. Billy had faded into an after thought even though you were pressed right up against him.

“We’ve had our share of hard times, but that’s the price we paid. And through it all, we kept the promise that we made. I swear, you’ll never be lonely. ‘woke up to the sound of pouring rain

Washed away a dream of you. But nothing else could ever take you away. ‘Cause you’ll always be my dream come true.”

He leaned back away from the microphone to take a deep breath before he put every ounce of emotion he had into the next lyrics, staring straight at you through the crowd:

“Oh my darlin’,” He was quiet for a moment as he sucked in a shaky breath and then gave the next line his all, “I love you.”

The band kicked back in and everyone cheered except for you. You excused yourself from the crowd and walked outside, feeling his eyes on you the entire way. The band continued to play the rest of the song and you felt as if your heart was going to burst out of your chest as you walked outside, the warm stale air greeting you.

You heard the rumble of Eddie saying something into the microphone inside the house and then the music went quiet. You sat down on the edge of the steps, propping your head on your hand as you looked out at the emptying backyard. You heard the door open behind you and you sighed, already knowing who it was.

“Y/N?” His voice was raspy, having lost it from singing for the past hour, “I – I shouldn’t have done that. I’m sorry.”

“No you’re not,” you said softly. He never knew how to genuinely apologize. He thought just saying “sorry” made it all better. He never truly meant it.

He sat down beside of you, keeping a bit of distance. He knew better than to push his luck and he genuinely didn’t want to argue with you tonight.

“I miss you,” you whispered. Thankfully it was just the two of you out here. You were sure Billy had lost sight of you in the crowd or forgotten he was even truly there with you.

“Yeah?” Eddie snorted, “Wonder why?”

Your eyes cut over to him as you frowned, “Don’t be cocky with me, Eddie...not right now.”

“’M not,” Eddie said as he brought his knees up to his chest, “You don’t look happy with h-”

“Because I’m not,” you cut him off, “I should be. By all means, I should be in love with him but I can’t stop thinking about you.”

You watched as he picked at the loose thread in his jeans, trying to find something to do with his hands. Confrontation always made him antsy but especially when it was with you. You didn’t yell and scream at him. You wanted to have actual conversations and talk things through and he didn’t know how to deal with that type of maturity.

“You’re going to graduate and then you’re off to Berkeley in the fall just like you talked about.” Eddie sighed, “You’re going to leave me anyway so...why not make it easier?”

You wondered for a second why he brought that up before you pushed the thoughts away. He wasn’t afraid of losing you. If he was, he wouldn’t have mentally shoved you away...would he?

“I didn’t get in,” you said softly.

“Huh?”

“Early admission...I didn’t get in.” You nodded, forcing your lips into a tight line, “My grades weren’t good enough.”

“What about the other ones?” Eddie asked, his voice soft and careful. He didn’t want to upset you.

“All big fat no’s.” You nodded, “I’m stuck in this fucking town for the rest of my life apparently. Gonna work my fucking life away in the factory just like my parents.”

“Stop,” Eddie sighed, playfully bumping his shoulder against yours, “No you’re not. You’ll find away out of here. My girl’s smart like that.”

You felt your heart clench at the way he called you his girl. You weren’t going to bring it up again – weren’t going to beg him to love you. But you still didn’t understand why. Why weren’t you good enough for him?

“Not according to the college admissions team,” you snorted.

“Fuck ‘em,” Eddie said, his hair tickling your shoulder as he shook his head.

“Wished it was that easy, Eds.” You sighed.

And just for a moment, you let the barrier down. You leaned your head against his leather clad shoulder, feeling the warmth of his body even through the thick fabric against your cheek. You felt his lips press against the top of your head as he nuzzled his nose against your hair, breathing in the scent of your shampoo.

“What did you mean by ‘make it easier’, Eddie?” You asked, your fingers toying with the chain on the end of his leather sleeve.

“Hmm?” He mumbled.

“Earlier – just a few minutes ago, you said that I was going to be leaving anyway so why not make it easier.” You glanced up at him, seeing him staring down at you with a confused look.

“I don’t know why I said that,” Eddie shrugged – even though it was a lie. He knew exactly why he said it. The thought of you leaving for college, leaving this town and never coming back, crushed him.

You were quiet as you hugged his arm to you, feeling a bit of comfort for the first time in weeks. You had never met another person that made you feel so safe and secure. His presence brought you such a deep peace internally while everything around you was falling to pieces. He was your comfort and safe space – your person.

“Actually,” Eddie sighed and tangled his fingers with yours, “You deserve the truth to that, Y/N. The thought of you leaving here sucked. I mean, you deserve everything good in this world. You really do but the thought of you leaving here...and forgetting me?” His voice trembled just a bit and you looked up at him in slight shock. Was he actually showing emotion?

“It killed me,” he finished his sentence, “You know I – I don’t get attached to people. I don’t allow that to happen for a reason and maybe – maybe there’s something fucked up in here for that,” he tapped his finger against his temple, “But you...the thought of you forgetting me really fuckin’ scared me.”

“Forget you?” You gasped up at him, “Eddie. I could never forget you.”

“There is nothing memorable about me, Y/N.” He snorted, “You’d go out to a college and find someone better. Someone that’s a better person and maybe has their fuckin’ life together...a smart guy with a lot of money who can treat you like you deserve.”

“Eddie-”

“I am never getting out of Hawkin’s, Y/N. This is it for me.” He laughed sarcastically and tightened his grip on your hand, “But you made living here better. You made it worth all the bullying and the fucking assholes. You’re actually the reason why I stayed in school and fought so hard to graduate because for once, I had someone who seen that I could do better – could be a better person.”

He sniffed roughly and blinked away the unshed tears. This was all you had ever truly wanted from him. He was opening up to you, telling you his fears and his inner thoughts for the first time.

“And ya know,” he laughed softly, “Not to sound like a big ole pussy, but...the way you love me...it scares me how good it feels. No one’s ever wanted me around for long...no one’s ever stayed. I’m not used to people treating me like you do, Y/N. I’m not used to...to being wanted in more than just a sexual way or for fuckin’ drugs. I ain’t used to it at all...you feel too good to be real.”

“But I am real,” you said, your thumb stroking over his as you tightened your grip on his hand, “I’m right here, Eds. I have been this entire time. I’m not going anywhere.”

“But that’s the thing,” Eddie sighed, “I know you, Y/N. Who’s to say that if we get together finally and then a college accepts you?”

You watched as he stood up, breaking the connection you two had physically. He lit the cigarette he had tucked behind his ear as he walked down the rest of the steps slowly, guarding the flame from the wind with his free hand.

“You’d stay here with me instead of going out and doing something huge with your life.” Eddie said, smoke billowing out of his mouth, “And then I’d ruin your life too.”

“You don’t know that.” You said, folding your arms over your chest.

“I do because I know you, Y/N.” He sighed.

The door behind you opened and out stumbled the girl he came with. A trashy girl named Rhonda who you hated the sight of. Her over painted face with enough hairspray in her hair to kill someone. She reeked of cheap perfume and beer.

“Eddie, I’m ready to go.” She pouted, “I’m like...really drunk.”

He sighed to himself as he smoked his cigarette. You could see the inner turmoil on his face as he thought about what he should do. Does he leave and take her home, or does he stay and talk with you? This was an important conversation the two of you needed to have.

Don’t go, you thought to yourself, Please don’t go.

Eddie stubbed his cigarette out on the bottom of his shoe and sighed softly as he looked up at her, “Sure thing, doll. I’ll be right in.”

“Now...please?” Rhonda grumbled, “I’m starving.”

He sighed and nodded, flicking the dead cigarette out into the lawn before he walked back up the steps. He didn’t even say goodbye this time. He just...left. With her. Leaving you all alone, wondering what the fuck just happened...

[lookalivesunshine2007]

playlist explanation as requested by @r-capa !! 100% this is the most effort i’ve put into a playlist ever and i think it turned out so well. i hope anyone who gives it a listen enjoys it as much as i do. i’ll link the playlist again so people who see this post first wont have trouble finding it. its also decently late for me so sorry about any grammatical errors lmao :)

Starman (David Bowie) honestly this is really just a vibe establishing song that fits better with events that take place pre-movie, but i can't bring myself to get rid of it lol. feel free to skip this one (depending on when you see this it might not even be on the playlist)

Starlight (Muse) the “real” start of the playlist and the initial “we’re in space on a mission wow this is so cool”

Muse’s vibes in general are super space-y i feel. A nice little “before everything went wrong” song. it’s a super upbeat song with rad space vibes, plus lyrics like;

“far away, this ship is taking me far away”

“i will be chasing starlight until the end of my life”

Violet Hill (Coldplay) is Capa reminiscing about earth while sending his message to his loved ones, as well as the rest of the crew doing the same. (Capa specifically because he’s the only one we visually see do it). It’s also partially fitting to be about the crew’s dedication to completing their mission and the state of earth as they left it. Some lyrics that really stood out to me in this song were;

“Was a cold and dark december, from the rooftops I remember there was snow, white snow” among other lines about freezing and winter.

“I don't want to be a soldier who the captain of some sinking ship would stow far below '', basically the crew just refusing to sit around doing nothing while the earth freezes.

The “love” mentioned throughout could fit the crew’s love for earth displayed by their willingness to be a part of the Icarus II mission.

Hysteria (Muse) is when Harvey discovers the emergency beacon from the Icarus I, and they decide to change their course. It also goes into the shield repair scene, and Kaneda’s death. No particular lyrics (besides maybe the chorus very loosely) stick out for me but the overall message and vibe of the song fit so well with these scenes for me. I imagine the solo/bridge of this song is where Kaneda dies. The rest follows not ridgid/particular events.

Icarus (Bastille) Mace, Capa, Searle, and Harvey have just boarded the Icarus I. This song basically covers their entire time aboard the Icarus I. A ton of the lyrics fit so well in my opinion, especially when applied to Capa specifically. This song also covers the four aboard the Icarus I deciding that Capa is the most important, and Capa, Mace, and Harvey crossing the gap between the two ships to get back to the Icarus II. I find the bridge is best for the little quiet moment where they are preparing to take the leap between the ships. I’ll quote the chorus here so you can really get the vibes.

“Icarus is flying to close to the sun and Icarus’s life it has only just begun. This is how it feels to take a fall. Icarus is flying towards an early grave.” SO GOOD. These can be applied to the crew as a whole, as well as explicitly to Capa.

Viva La Vida (Coldplay) With only half the crew left, and the discussion and discovery of the Trey incident, the crew is basically just waiting for their death now. This song is representative of everyone still alive essentially making peace with their fates now that they are aware they don't have enough oxygen to make it home.

Psycho Killer (Talking Heads) PINBACKER. I feel like there's very little explanation needed for this one but i’ll get into it anyway because i LOVE this song. The song is quite literally about a serial killer. The scenes I think fit well with this song are basically just the ones with Pinbacker making his way through the crew LOL.

“I can’t sleep cause my beds on fire” OKAY SUNBURN MAN.

“we are vain and we are blind” fits so well with his views of fundamentalism.

The line “je me lance vers la glorie” translates to (roughly) “I launch myself towards glory” which again, brings us to his fundamentalism characterization and the “holy” mission he talks about throughout.

Apocalypse Please (Muse) The lyrics. OH MAN. It so perfectly encapsulates the final part of the movie, where Capa basically blows the Icarus II and its airlock open and makes his way to the payload, fighting Pinbacker and setting off his bomb. The last minute sounds “sparkly” if that makes sense, which I feel is PERFECT for when Capa does set off the bomb and we see it start to go off, sparkles and all. These are some of my favorite lyrics that relate to these scenes;

“Declare this an emergency. come on and spread a sense of urgency and pull us through. And this is the end, this is the end of the world”

“come on it's time for something biblical”

“proclaim eternal victory come on and change the course of history”

My Way (Frank Sinatra) This whole thing is basically Capa as he “meets” the sun. It's a kind of recounting of the events that led up to this place while time is slowed down. I like the upbeat and triumphant but overall melancholy feel of the song and it just makes it fit super well here.

“and now the end is near and so i face the final curtain” and honestly most of the lyrics. This is just a really versatile song that’s great for cinematic type playlists in general.

Capa Meets The Sun (Underworld) a song from the movie’s soundtrack that serves as a moment for everything to really sink in, and an extra moment before you go on with your day. I loved that this ends with the message Capa sent to his loved ones, and it's a perfect way to end the playlist. I wanted to put the main theme (Adagio in D minor) as the final song, but I felt this one fit the intended purpose better :)

[randomvarious]

2 Unlimited - "Here I Go" 1995 Eurodance / Eurohouse

So, yesterday, we had Belgian-Dutch dance project 2 Unlimited at their saddest, with their lame Euroreggae-pop hit, "No One," but today we have them at quite possibly their scariest, with "Here I Go," which sees them back on the dancefloor in order to catchily contemplate their potential and very literal descent into hell! 😈😱

And really, the only way their songs could've ever had some semi-coherent theme to them like this in the first place is if rapper Ray Slijngaard supplied bars that consistently stayed on some kind of topic, which he hadn't really done much of on any of 2 Unlimited's prior singles. But on the group's third album, Real Things, you started to see their songs acquiring, like, maybe, a quarter-inch of depth to them, as they tried to make music about, well...real things...😅.

There's no way out, man you try to escape Concentrate your mind cause it might just break Into half, crack down fast I keep my face straight no need to laugh I did some right, I did some wrong I regret these things, but I gotta stay strong I feel depressed, now don't you know Catch me, 'cause I'm falling deep down below

Reads a little bit like a very rough draft of an angst-ridden Linkin Park verse, doesn't it? And hey, weren't they fronted by a rapping and singing pair too? 🤔

Now, try not to read this following chorus from singer Anita Doth as if it's being delivered by Chester Bennington instead:

Oh, I can't escape I'm trapped and there is no safe place to go And I do regret the things I did but how on earth could I know? Here I go Here I go catch me I'm falling deep Here I go Here I go catch me I'm falling falling

Now, folks, am I really about to uncork one of the hottest and also single-stupidest takes in the history of music blogging here? Yes; yes I am:

The late period of 2 Unlimited's initial run in the mid-90s, when the lyrics on their singles started to employ actual themes, represents a clear predecessor to Linkin Park. In fact, the year that Ray and Anita both left 2 Unlimited was the same year that Linkin Park formed under their first name, Xero! It's actually all on the same continuum!

Anyway, this black-and-white video for "Here I Go" is pure, unadulterated nightmare fuel too, as people seem to be falling from very high distances, only to be caught by spider webs made of thick rope, which seems to delight some freaky-looking, underground-dwelling humans who live down there. And each one of those humans were all probably once one of those people who fell into one of those webs too. But now some of them very unsettlingly crawl on stilts, and the leader of the pack appears to get around in some kind of insectoid contraption.

Never could've imagined that exploring 2 Unlimited's videography past their popular US singles would ever lead me down into such a deep and dark hole, but here we apparently are right now! And "Here I Go" appears to have marked a turning point for the group as well, as it was their first single to not chart as highly throughout Europe as they'd probably hoped and expected. But funnily enough, while the well was clearly starting to run dry in 1995 with this one, two of the group's earliest hits, "Get Ready for This" and "Twilight Zone," would end up appearing Stateside on the platinum-selling first volume of Jock Jams that same year. And then further appearances on future installments of that series would end up extending 2 Unlimited's relevancy in the US far past the time of their initial breakup, which most Americans were undoubtedly completely unaware had even ever happened!

More fun videos here.

[exvangelicalrage]

Apocalypse Anxiety

6/30/23

When I was a kid, one of the excellent decisions my parents made was not letting us read the Left Behind books, even though everyone at church swore the books were the best thing they'd ever read (after the bible, of course). 

If you're unfamiliar, the whole series revolves around a futuristic interpretation of christian eschatology, particularly the rapture and the tribulation. The series starts with a good chunk of the world population getting "raptured" suddenly, or taken to heaven by god, and then follows a group of people who didn't disappear. These folks try to figure out what happened and navigate the wild post-rapture world, and everything wraps up with the second coming of christ. The characters that survived the tribulation witness the millennial kingdom, where christ reigns for a thousand years, and then the final judgment day, and eventually, a new heaven and a new earth are created.

Obviously it's complete bullshit. It's not even biblical, as 11-year-old me wrote extensively about in her journal (I even included citations!). But the thing is, a lot of christians still believed it. And I think it formed a lot of mental images about what the "end times" would look like for people, which, as a result, meant there was a lot of conversation about prepping.

If you got left behind, what would you do? How would you survive? People talked about learning to grow stuff and sew. They bought generators and came up with secondary heat sources for their house. They talked about how prepared they already were compared to everyone else. 

Keep in mind, we lived in a rural area where people already had to be quite self-sufficient. So it was more of a bragging contest than anything, with a few people beefing up the systems they already had in place. 

The year 2000 brought with it a lot of apocalypse panic, fueled in part by that stupid book series (though I'm sure the Cold War, recent in so many memories, didn't help either). The Y2K bug was going to take down systems all over the world! We could be without power, without computers, without clean water!!! Our local morning show guys even did a parody of the YMCK song, where they sang, "Yyyy-2-K! What's the big deal about Yyyy-2-K! It's a real big deal / no it's not even real—" etc. Luckily for me I do not remember most of the lyrics.

Fast forward to 2016. By then, I was well and truly Exited from christianity. I'd made it through Y2K, 9/11, the recession, and college. I had a full time job and friends who weren't christian. I hardly ever thought about apocalypses, other than admitting that I occasionally enjoyed reading a good post-apocalyptic book series. 

But the day after the 2016 election, I found myself crying under a tree in the cemetery near my condo. I was terrified that trump would bring about the apocalypse, even though I didn't even believe in the fucking apocalypse anymore! At least, not the christian version of it.

Someone made a meme that said "the end comes with trump-pence (instead of 'trumpets')" and it was all I could think of. Like a giant neon sign to my trauma-bent brain.

Fast forward again to 2020. You probably remember that fucked-up year. 

It started with fires in Australia. And murder hornets. Remember those? Weird "signs and omens" of an impending apocalypse. Then came the plague and pestilence. 

Truth be told, it feels like we've basically been mid-apocalypse my entire life. Y2K. 9/11. The recession. trump being elected. fires. famine. plague. pestilence. war. death. 

And now, there are more fires. So many fires. I'm in an area with bad air. The canadian wildfires are filling the atmosphere with smoke and it's drifted down into my region of the northeast USA. Again. A couple weeks ago, we had air that had me and my spouse coughing and with sore throats, even indoors. Today, the outside is hazy and smells, and the new outlets are warning us all to stay indoors. 

I know it's just smoke. I know it'll blow away. I understand what's happening. Not to mention, we're fine. We are safe indoors. We have an air purifier. We don't have to work outside or even leave the house if we don't want to. Though the dog might get annoyed if he doesn't get his daily adventure.

We have enough food to last us weeks, if we're careful. We have a tank full of gas. I have a boatload of back-up plans for what to do in a variety of catastrophic scenarios. 

But I still feel the overwhelming desire to curl up in a hole and hide. My anxiety is sky high. It's a visceral reaction—not to the smoke itself, or to the knowledge of climate change, or even to a rational fear that one day, the fires might reach us. 

No. It's fear of the christian apocalypse. Fear of the rapture. Fear of getting left behind.

I know it's all fake. I just can't quite shake it.

[chvoswxtch]

AAA Hello dear! Super excited to be in the bar with you!! CONGRATS!! and thanks for feeding our souls with your writing <3 Margarita of your choice <3 Been hearing NONstop 'The devil is human' by Aurora and 'Jekyll and Hyde' by Five Finger Death Punch. Totally different tones, still sour notes in both. The catholic guilt on the first one had me wandering on Matts crooked faith and how he feels guilt every so often. Second one just the duality of himself and his life and how tiring it can be. CHEERS!! hope you are having a wonderful week <3

hello my darling!

so I tried to incorporate both of these lyrics as best as I could. this actually came at the perfect time bc i'm rewatching season 3 of daredevil (yes again, it's my fav), and just generally feeling like an angsty little gremlin. this was heavily inspired by episode 1 of season 3 (resurrection) and my own religious trauma asjkhdjsk.

cheers! 🥂

blurb below the cut

the devil is human

why did you give us hearts we don’t understand?

Matt didn’t understand the confliction he felt. It seemed simple from the outside looking in. Why believe in someone that doesn’t believe in you? Why ask for forgiveness for what was done to him; what was put inside him? Why continue to forgive someone who has taken everything they could possibly take? 

There had been moments of doubt throughout his life. Violent shades of anger, piercing blows of grief, cold winters of loneliness, and frustrating winds of complexity. But he always found peace and understanding in scripture. His shoulders always felt a little lighter after confession. His heart rose above the sea level in his chest when he prayed. 

Everything had a purpose. Losing his sight. Losing his father. Losing Elektra. 

But twice? Losing the person he loved most in this world, having them die in your arms, twice, that was cruel. 

Matt had thought his abilities were a gift. A trade for his loss of sight. He believed the hellfire he felt in his heart was a test of his faith and his strength to be a warrior of God. He believed the blood of the Devil in his veins is what aided him in fighting for truth and justice. It was that extra kick he needed to protect the innocent. The Devil himself had been an angel once, God’s favorite even. 

But Matthew Murdock was not God’s favorite. 

And he didn’t really care anymore. Because he was never God’s to begin with. 

His abilities were a curse. The wicked flames that split open his knuckles and fueled his thirst for blood weren’t holy in origin. He hadn’t been crafted with pieces of the Devil. He had been created by the Devil. 

He was raised to believe in a God that didn’t believe in him. He gave his blood, sweat, and skin in exchange for a cause that was never his to begin with, and for what? A lonely life full of loss, torment, and pain. 

Maybe that’s why he felt so torn. He spent his whole life thinking he was fighting on the right side. Being told that if he followed the rules, he could be saved. If he sacrificed himself, he would be good. It would all be worth it in the end, when God welcomed him into his home in the next life. 

It was all bullshit. God was never inviting him into his home. He never even answered when he called. It didn’t matter if he prayed until his knees bled, saved a hundred lives, brought justice to the real monsters that walked the Earth; none of it mattered. 

So why did he still tense up when he heard sirens? Why did he have the itch to run across the rooftops when he heard screams for help? Why did he still want to fight? What was he fighting for? Who was he fighting for? 

Did he even make a difference anyway? It had been weeks since Matt had been protecting the city from the shadows, and it felt like nothing had really changed. Maybe he was just a different kind of monster that lurked in the dark.

Matt tilted his head back slowly, his blank, bruised eyes gazing upwards towards the stained glass window he knew was right above his head that depicted one of the saints. 

He wasn’t one of them.

“If I ever want to change, would this all remain the same?”

His whispers echoed in the silence of the church basement like thunder. He wasn’t sure who he was asking. He wasn’t sure if he even cared to know the answer. He wasn’t sure who he was anymore. 

But he knew that he would rather die as the Devil than live as Matt Murdock.

[alexdelray1]

Hobie x Reader Fluff

Warnings: I think there might be some bad words but i don't remember.

Song: Black Sheep by Metric.

Oh yeah... Oh yeah! Oh yeahhh!!!

Hello again, friend of a friend, I knew you when. 

Our common goal was waiting for the world to end! 

Now that the truth is just a rule that you can bend! 

You crack the whip, shape-shift and trick, the past again!

Sending my love on a wire. 

Lift you up, everytime, everyone, ooh, pulls away, ooh. 

From youuuuu.

I sang my favorite song during rehearsal. Hobie played guitar and the rest played their instruments. I always wanted to play a song with other people, but I didn't know that I would be the only singer.

Got balls of steel, got an automobile, for a minimum wage. 

Got real estate, I'm buying it all up in outerspace! 

Now that the truth is just a rule that you can bend! 

You crack the whip, shape-shift and trick, the past again!

I hated this feeling, but at the same time I loved it… At first I was terrified that I didn't remember anything, but after hearing the music the lyrics seemed to pop up in my head. It was always a strange feeling.

Sending my love on a wire... 

Lift you up, everytime, everyone, ooo, pulls a way, oo... 

Its a mechanical bull, at number one.

You'll take a ride from anyone, everyone wants a ride, pulls away, oooh..

From youuuuu...

-You did a great job, Reader. - Hobie complimented me and handed me the Coke that was on the table next to him earlier. I grabbed a coke and drank it.

-How about joining us?- asked one of Hobie's friends, hanging on my shoulder.

-It would be nice, but I can't. Work, my unacceptable father and I live in another city. Although I can play with you from time to time. - I lied in a quarter of that sentence.

-Yeah, Reader is making millions for some shitty company. For example, I'm there part-time. - Hobie made an alibi for me and for himself.

-So this is where you always run away when we don't go to clubs or play. Reader, remember. You can always share your boss's salary with your colleagues.- joked the guy who played the drums.

-I'll remember, okay Hobie, we have to go.- I said to my friend, grabbed my bag and started heading towards the exit.

-Bye, guys!- I said.

-Bye, motherfuckers!- Hobie said goodbye to his friends and started to follow me.

-Bye, bastard and Reader!- the three of them said goodbye to us. I left the building with Hobie and entered the alley.

-It's a pity that in my universe you are just a side character and don't live in my city. How about I get along with you from this universe? If you have the same voice, you would be useful to us. - Hobie offered and I turned on my 'watch'.

-Not very. When I introduce myself to your friends from this university, they will think whether I have amnesia. For now, rely on me and my rare visits. - I replied and pressed the 'hologram' button. My outfit immediately changed from normal clothes to a Spider-Girl costume.

-Do you know why every Spider man has a tight suit?- Hobie asked, changing the subject.

-I don't know why?- I asked, thinking what stupid thing he would come up with next.

-Because we all have great asses. And your dad the most. - Hobie started laughing and I opened the portal.

-Come on, stop traumatizing me.- I replied and entered the portal and Hobie followed me.

We found ourselves on Earth 616, on the roof of one of the skyscrapers. It's night now and it looks like we're still in New York, just a different one

-Wowowow! Why so high? - Hobie asked and grabbed one of the pillars.

-There are no unusual phenomena on this earth. They do not have, nor can they have, any heroes. No one here has power, so we have to be unnoticeable. - I replied and put on the mask, Hobie repeated this action after me.

-This is stupid. We would be less noticeable on earth. Like two figures on the roof of a skyscraper at night? It looks like we're trying to commit suicide. - Hobie said and wanted to start swinging around the buildings, but I stopped him with my hand.

-Wait a moment and don't whine. Swing so that no one sees you. No screams, no guitar sounds or anything else. Understood? - I asked and he sighed.

-Yes, mommy.- he replied sarcastically, shot a net and jumped off the building.

-God, I hope I don't regret taking him on this mission.- I said to myself and did the same as him.

We started getting closer to where the anomaly should be. I kept watching with my eyes to see if Hobie was about to pull out his guitar, but after a while I realized that he wasn't that stupid.

Swinging with a mask is so much better than without it for me. When I'm at HQ and I don't have to wear a mask, my hair gets almost everywhere. Okay, maybe it's also because I don't want to tie my hair, but that's my preference.

-I think we're there… - Hobie said quietly and landed in front of a house. It didn't look strange from the outside. There were no lights on in it, but there was some whining noise in it. I landed next to Hobie and crossed my arms.

-Let's quickly climb in through the window. This house looks abandoned, so there won't be a problem with witnesses. - I said and went to the window. I opened it and entered through it, and after a while Hobie did the same. I walked up to one of the walls and heard something.

-Is this… a baby crying? - I asked Hobi and he nodded.

-I think so too, but it could be a trap.- said the boy and started walking slowly towards the room from where the crying could be heard and I followed him.

Hobie opened the door and went inside first. In the middle of the room there was a baby, probably several months old, crying.

-Ah, it must have entered the portal somehow and landed in this universe.- I replied and breathed a sigh of relief that I didn't have to do much work today. I walked up to the baby and took him in my arms. Judging by the clothes, it's a boy. As soon as the baby opened his eyes and realized that neither his mother nor his father was holding him, he started crying.

-What a mama's bo…- Hobie didn't finish and started looking around.

-What's wrong with you?- I asked and started looking around. Suddenly, a villain ran out of the firecracker wall and tried to attack me.

His head was out so the only logical thing I could do was kick him in the balls. The logic is strange sometimes, but that's how it is. Unfortunately, in one hundredth of a second I realized that this was not the best idea, so it was easiest to lower my head from my knee.

The guy got hit in the nose and immediately fell to the ground with his nose almost detached. Don't worry, I won't turn anyone into Voldermort.

-Hey Hobie, look what an idiot.- I laughed and cleaned the blood from my knee.

-Well, I'm looking. So that's all? A bit boring. I expected something more exciting and here… eh. You take the kid and I'll take the guest. - Hobie said and wanted to approach the villain.

-Not so fast… I knew this would happen so… - the guy took a button out of his pocket. Oh wow. Either it's a bomb or he'll turn on the cameras and show us to the whole world.

-This is the button for the bomb that is in the room next to us… - said the villain and I laughed.

-Whoa. Guy, you can kill yourself when you land in your universe and not in this one.- Hobie urged him.

-It's not about the universe, cho-- the villain didn't finish.

-Guy, we don't care that the old man was beating you with a belt. - I said and I used the net to take the button from him and destroy it, dividing it in half.

-Now don't disturb us on our pathological date.- Hobie took him under his arm and we left the building.

[batgirlsay]

Aesthetics of Winter Nights

A Playlist for Obiyuki Winter Challenge 2023 by @snowwhite-andtheknight​

Used a similar strategy as last year’s winter challenge, with lyric mash-ups of the three themes, including a few new Matt Pond songs and songs that I remembered too late to include in playlists this year. The Jimmy and Motion City songs are mostly these playlist b-sides, interpreting Dark Academia as dark winter vibes that would have fit in my college and vampire Obi playlists from earlier this year.  

Aesthetics of Winter Nights

In the Dark (feat. Anya Marina)- The Natural Lines Spontaneous Skylights 2- The Natural Lines Carry You- Jimmy Eat World Closer- Jimmy Eat World Stand Too Close- Motion City Soundtrack Crooked Ways- Motion City Soundtrack willow- Taylor Swift Rabbit- Matt Pond PA Hold Nothing Back- Copeland

Summary lyric mash-ups and themes are under the cut:

Day 1: Royaltycore (In The Dark and Spontaneous Skylights 2- The Natural Lines)

You keep finding me in the dark Well, you're making me be myself When there's no one else on the earth

Our names in the sand for the surf to swallow From outside, these castles seem hollow

Inside, there's promise in bloom Inside, my thoughts fеll in time I knew I was yours, you knew you wеre mine

Trust me, I know how to fall Spinning seeds, follow me

We go back to where we begin Oh, the patterns keep our thoughts swimming

Day 2: Dark Academia Part 1 (Carry You and Closer- Jimmy Eat World)

I could never be the one that you want, don't ask Well, here's to living in the moment, cause it passed

You said to "keep me in your pocket" So I carried you

Going to stay here in my place And you'll stay in yours

One thing to make your mind And another to say its name

I'm still carrying a little hope That maybe things could be different now Is that so wrong? Could going through the motions lead to real emotions?

Every day, I get a little closer, dear Will you love me, darling, when I get there?

"Remember me," she said, smiling "Write my name somewhere safe" I'll never be who you'll dream

Every day, I try a little harder, dear No one guilty, no one right

Day 2: Dark Academia Part 2 (Stand Too Close and Crooked Ways- Motion City Soundtrack)

If I stand too close I might fall in But if I'm too far gone I'll never win If you believe in me I might just want to spend some time with you again

All this distance Years of sweet resistance Swirling over head Like angry clouds of discontent

You came and washed the night away I haven't felt this way in ages Are you haunting me Or have I finally gone to sleep

You flood this empty heart of mine I haven't felt this way in ages I'll be surely sick if push to shove comes clearly to this

I'm married to the dark All echoes of an ancient heart I am daggers and knives And when the seasons change I creep back to my crooked ways Run if you think you can

I fear the worst is yet to come I'll suffocate these pangs of hunger for your pretty head And blanket red of pure regret

Day 3: Cottagecore (willow- Taylor Swift, Rabbit- Matt Pond PA, and Hold Nothing Back- Copeland)

I'm like the water when your ship rolled in that night Rough on the surface but you cut through like a knife

Wherever you stray, I follow Life was a willow and it bent right to your wind Wait for the signal and I'll meet you after dark Show me the places where the others gave you scars

Maybe it sounds too strongly I will put my thoughts away It’s what I’m giving you today Run our paws along the bookshelf No two minds take the same step 

Every sidewalk must lead somewhere I’m sure you’ll find out what it means Go where you want but I won't be too far Go where you want and I know where you'll end up I'll fall in love and hold nothing back from you

[aniron48]

Hi friend! Would love to hear about the following for the writer's ask if you're up for it.

4. What detail in any one of your fics are you really proud of?

30. Have you ever written something that was out of your comfort zone? If so, what was it, and how did it affect your approach to writing fic thereafter?

45. What’s something you’ve improved on since you started writing fic?

Hi back at you, friend! 💜 Thanks so much for the ask!

4. What detail in any one of your fics are you really proud of?

Oooh this was a hard one! I think probably my favorite is the Chavela Vargas lyric I snuck into all the flags we've hung. Since Felix is canonically a Spanish speaker who's spent time in Latin America, I decided it was appropriate to share my favorite singer with him, and early in the the fic we find Felix listening to her "golondrina viajera" (traveling swallow). It's easy to miss, but for the close reader, it's previewing the complexity of Felix's feelings for Bond and foreshadowing one of the memories Felix recalls in the fic as well. It was a treat for me to tie everything together with a song lyric I love so much! (And for non-Spanish speakers, I always translate Spanish in the notes at the end. 😁)

30. Have you ever written something that was out of your comfort zone? If so, what was it, and how did it affect your approach to writing fic thereafter?

The temptation is so real to just say "all of it." 😂 Setting aside that truth, however, I think the other answer that comes to mind immediately is probably for the age of the earth, and after. It was a completely bananas idea for a fic--it's incredibly short (around 800 words iirc), takes place entirely during one sex scene, and the theme that runs through the entire thing is the concept of geologic time. But once I started writing it I knew it was something I needed to write for me, and somehow it ended up being one of the things I've written that I'm proudest of. It was such a lesson in learning to take risks and write the weird little things that bring my heart joy.

45. What’s something you’ve improved on since you started writing fic?

Honestly? Probably writing smut. 😂 I was so in my head about it the first time I tried to write anything over a Teen rating for this fandom, but thanks in large part to the advice of the wonderful writers in the fandom both here and on slack, I got lots of answers to my myriad questions and lots of encouragement and finally I just went for it. I feel like I can see myself gaining comfort with it as well, from the first (slightly) steamy scene I wrote in bad thing twice, through to the much more explicit rain, to the "am I writing about sex or glaciers? why not both?" level of relaxation I felt writing for the age of the earth, and after. Mostly I just feel deeply grateful for all the encouragement I've gotten from both readers and other fic writers--it's the loveliest community.

Thanks again, Mac! This was so much fun to do. 💜

[0nl0n]

ONION ONION

NEW AU ALERT ( THIS MIGHT BE LONG IM SORRY I-)

Alr ive ,thought about it and im calling it "mercurys lulaby "( idk if i spelled lulaby right)

Story:

So mercury was bullied alot in this au and he discovered his singing voice( the singing part is important but we'll get to that later)

After earth went a TINY BIT TO FAR, mercury just ran to the asteroid belt, far away from Jupiter and saturn

It took awhile but mercury managed to make a vacuum outa asteroids ( i ran outa ideas here)

He slooowly went near the sun where the sun couldn't see him, and uh-

Mercury like- sucked the light, and energy outa the sun, since the vacuum was pretty big

The suns colour drained, he was just.. Grey

There was no light no nothing, lets just say his personality drained too.

Everyone immediately noticed and freaked out, but then they heard something.

Mercury used his little song ( which didn't have lyrics, just vocalizing)

Everyone felt drowsy. Like the song was making them fall asleep

Mercury came out from behind the sun after each one fell asleep

He captured venus ( NO, THIS ISN'T VENCURY BTW)

and mercury took venus captive

The planets soon woke up, confused, and freaked out

Meanwhile with venus, he wasn't himself anymore, by that, i mean he was hypnotized, the real venus was in his mind if that makes sense, he could see what was going on around him but he just couldn't control himself

mercury had venus in a asteroid cage, mercury was thinking what he could do for revenge.

He looked over to the suns energy he collected. He grins at it

Meanwhile with the sun, he was almost lifeless, actually, he was slowly (LIKE REALLY SLOWLY) shrinking.

The planets where out of their orbits thinking what to do. Saturn was crying, the moon and earth were making up plans, and mars and jupiter were shook

so they needed to stop mercury as fast as possible.

Mercury didn't know venus was hypnotized, since venus was just sitting on the ground, lifelessly

Mercury angrily told him " JUST STAND UP WILL YA?! "

venus opened his well- purple and white eyes and just stood up

Mercury was a bit shook, but he grinned at himself thinking he could use this to his advantage

The planets were finding ways to stop mercury

Earth and mars went to the deep parts of the asteroid belt, planning to comfront mercury

mercury ended up capturing earth, leaving mars since he saw mars as a friend-ish

Earth was yeeted into the same cage as venus was, venus was just following mercury wherever mercury went ( again, not vencury)

Earth wanted to know what mercurys plan was

after that (this part will be simplified bc i don't want this to be too long)

Mars soon was captured with earth, ( TW:GORE MENTIONS INCOMING) mars got his eye r!pped 0uT. Mercury wanted to know their plans.

Earth was also harmed, his surface looking like hell

after that jupiter went into the deep part of the asteroid belt

mercury didn't take jupiter, instead he wanted jupiter to "join" him

Jupiter of course said no, like a normal person would

Mercury told him sm like " alr... Well then... How about a deal? How about we battle? Me, "earth and mars and Venus" vs, you and those idiots? If we win, i get to rule the galaxys. And the sun dies off. If you win. I will stop and return the suns energy. "

Jupiter shook his smol hands and yeah

They fought, mercury sadly died. Then earth mars and venus came back to normal ( oh yeah mars and earth were hypnotized too-)

The sun was back to normal. Except.. Mercury was gone.

yeah so thats it, im so sorry this was long- i just wanna share this au, even if im bad at making aus XD

Naw man I love this au 😭. Mercury's villain arccccc and the fact that my hc is that mercury ca n sing and make music, the au fits so well with my au. Now I he ugre to make an animation meme about this au 😌 wait a minute....THIS WAS EARTH'S FAULT DANG FAQ TERRA and dw about the gore. i liek gore 😃👍 i would even like to become a gore artist one day lol. (BTW, I don't like vencury unless it eros' love plan cause he's clearly got an arrow in his head 😑) imma make art of this lol

[newmusickarl]

Album & EP Recommendations

Can You Afford To Lose Me? By Holly Humberstone

Although I hail from Nottingham these days, my original hometown is in Lincoln, Lincolnshire. Now other than being known for the renowned Lost Village Festival that takes place once a year, the music scene in the area is kind of dead. Once upon a time, bands would regularly play there on their way up to superstardom (indie titans like The Killers, Kings of Leon and The Wombats all passed through back in the day), but nowadays most will just head to nearby cities like Sheffield or Nottingham instead.

With this being the case, it also means that rarely new artists emerge from Lincolnshire. So when one does eventually break through and get some national exposure, it’s kind of a big deal. Back in the mid-00s, emo-tinged synth-pop outfit I Was A Cub Scout were the band that looked most likely to put Lincolnshire on the map, but sadly they quickly disappeared almost as quick as they arrived. Now it may have taken nearly 15 years, but Lincolnshire finally has a new hope and she’s already making waves that no other artist from the area has done previously. Her name is Holly Humberstone.

Holly has already had quite an incredible 2022, having been named as this year’s Brit Awards’ Rising Star winner before then going on to support pop heavyweights like George Ezra and Olivia Rodrigo on big UK and US tour dates. She also overcame her nerves to deliver a memorable Glastonbury performance on the John Peel stage over the summer. Now as she gears up for her as-yet-unannounced debut album to be released some time next year, Holly has combined her latest single and highlights from her recent two EPs into an impressive “Story so far” compilation.

If her brilliant EPs passed you by previously, then Can You Afford To Lose Me? Is the perfect introduction to Holly’s music. An unconventional pop star in every sense, her music is always beautifully written and tastefully understated. The album’s opening title track is a great example, with her soft vocals gracefully gliding over a Bon Iver-esque folktronica accompaniment. Scarlett is then an upbeat, instantly catchy track in which Holly reflects on some tough love advice given to her friend over a one-sided romantic relationship. Her very first single Deep End then continues to hit home thanks to the rawness of the words and guitars, before Haunted House presents a gorgeous stripped-back piano ballad offering up an ode to her childhood home.

Structured almost like a live set, Holly ultimately saves her real big hitters for the album’s back end. Thursday remains my favourite song of hers to date, a spiritual sequel to Scarlett with the lyrics “Let it burn, this is hell on earth and you're enjoying the weather” giving a playful nod to Earth, Wind & Fire’s September, which is also directly referenced in the track. Popular single The Walls Are Way Too Thin then radiates with a Lorde-esque melody, emotive lyrics and shimmering instrumentation. It’s all then wrapped up with the glorious duo of Falling Asleep At The Wheel and Friendly Fire which combine to deliver a stunning grand finale.

Obviously I’m going to route for her anyway because of her Lincolnshire roots, but I do think Holly Humberstone is an exceptional talent who already has an impressive catalogue of just great pop songs. At only 22 years old she’s only just getting started too, with plenty more room for further artistic growth. I’ve enjoyed following her journey to this point, but I have a feeling next year things are going to go up another level – so use this compilation as an opportunity to jump aboard.

Listen here

Mareas De Oro EP by Gold Tides

Mama Mañana Records are quickly establishing themselves as a record label that just doesn’t miss. Following up Hubba’s brilliant Empty Dreams EP last month, the attention now turns to the latest offering from Sante Fe’s desert rock heroes, Gold Tides.

Collecting together six songs crafted during pandemic writing sessions, Mareas De Oro is a hazy and brilliantly trippy listen, filled with jangly guitars and mind-altering musical passages. Sunni, Pt.1 opens the shortplayer with deep, warped vocals and gorgeous sand-stained guitars, before Monsoon Seduction chimes in with its playful keys and punky vocals from frontman Gabe Koehler. Recent single Satanas then sees Lorenzo Aragon take over vocal duties for a hypnotic moment sung completely in the Spanish.

Sunni, Pt.2 then presents a complete contrast to the similarly named opening track, channelling imagery of cool, deep blue oceans over a rambunctious refrain of “stop fighting it and run to it.” The appropriately titled So Far So Good remains my personal favourite, featuring a psychedelic central guitar groove with an instantly catchy refrain of “Through the Void I Saw It / Through The Flames I Saw It.” Before you know it, the rumbling bassline of Sweettart arrives to carry you into the sunset on a wave of joyous surf rock.

Overall, this another brilliant EP from Gold Tides and also another excellent release from Mama Mañana Records. You’d do well to keep an eye on both band and label going forward as they continue to deliver the goods.

Listen here

Life In Miniature by Low Island

“As the name of the record suggests, it is a snapshot of the last two years in which frontman Carlos Posada seemed to encounter all of life’s blessings and curses during one quite intense period. From love and loss to happiness and grief, to sad endings and new beginnings, here Low Island present a beautiful tapestry of treasured memories that, although personal, impactfully resonate out of the audio through lyrical gut-punches and life-affirming sonic uplifts.

With Life In Miniature, Low Island have successfully built on last year’s debut with another strong collection of songs that simply radiate with electronic majesty whilst also frequently moving you to your core. The songwriting really is the star of the show this time, gifting a beautiful reflection on life, love, death and memory that is just stunningly poetic in its blend of joy and melancholy. This may be Life In Miniature but the lasting impact is closer to the max.”

Read my full review for Gigwise here

Listen to the album here

Ultra Truth by Daniel Avery

“A grooveable record with no interest in hanging at the club, for every floor-filling moment like “Wall of Sleep” that features newsletter favourite HAAi offering heavenly vocals over synths and a skull-crushing foundation, there’s a slower, atmospheric comedown which gives pause to the trek. Perhaps no song demonstrates this idea more than “Overflowing With Escape,” the auditory equivalent of being crushed by a wave under layers of compressed distortion. The listener is forced to confront the track’s heaviness, but there’s beauty in staying in the demanding moment.

Ultra Truth is one of those albums that skirts description, instead begging to be experienced with a fully devoted ear. Daniel Avery crafts a moment that gloriously combines electronic music with pure humanity.”

Read Kiley Larsen’s full review here

Listen to the album here

Brothertiger by Brothertiger

“Musicians usually give the self-titled treatment to their debut album. Still, when a vet decides to go down this path, it typically means pursuing a reset with an offering that plays to their strengths. After his acclaimed Tears For Fears Songs From the Big Chair cover album and four compilations of lockdown-era livestreams in the form of the stunning Fundamentals series, it’s only natural Jagos is looking for new trails.

Not only is Brothertiger a successful reset, but it’s also Jagos’ best official album. Even when hanging on to his chillwave roots, like on “Summer Wave ’98,” a song that wouldn’t sound out of place on Nick Hexum and George Clanton’s collaboration album, Jagos’ technical explorations are evolved. As we head into another turbulent week, make space to float away with Brothertiger. You’ll thank yourself for it.”

Read Kiley Larsen’s full review here

Listen to the album here

Protector by Aoife Nessa Frances

“Throughout eight tracks, Frances takes us on a journey though love, loss, angst and hope. There are a wealth of female influences throughout the album, with ‘Chariot’ recalling Alanis Morrissette’s ‘Uninvited’ in particular, while shades of Kate Bush and Tori Amos are plain to hear, as well as even Madonna on ‘Only Child’. Whether consciously or subconsciously, Aoife is definitely drawing on what has come before.

Everyone will find something to relate to in these songs and the sonic melodies will haunt you long after a first listen, but perhaps what is most intriguing will be to see how this music translates live.”

Read the full HeadStuff review here

Listen to the album here

Other Worlds by The Pretty Reckless

“Supporting their forthcoming UK tour, The Pretty Reckless release an album of covers and alternate and acoustic versions to wonderful effect.

Other Worlds is built around a tribute to the band's hero Chris Cornell. They were touring with Soundgarden when Cornell sadly passed, and you can hear their influence. The cover of "Loud Love" is a perfect nod to the Soundgarden sound, with lead singer Taylor Momsen bringing her A game.

This record is a fan service dream. That said, if you aren't familiar with The Pretty Reckless and their work, then this would actually be a smart place to start, there's a lovely, warm feel to the record, and it offers you a great look into the band and their influences.”

Read Stu Evans’ full review for XS Noize here

Listen to the album here

English Leather by Nancy

“Hailing from the north-east, the psych-pop provocateur created quite the buzz last year off the back of his well-received mini-album, the interestingly titled The Seven Foot Tall Post-Suicidal Feel Good Blues. That record introduced listeners to Nancy’s bizarre artistic vision, where he draws inspiration from vintage sounds of the 60s and 70s and blends them into a carnival of eccentricity. Wasting little time delivering the follow-up, English Leather is Nancy’s latest offering which sees him build on his previous effort in every way – both the good and the bewildering.”

Read my full review for Gigwise here

Listen to the album here

Also worth checking out: Where I’m Meant To Be by Ezra Collective, Myself in the Way by Turnover, How can I Sleep? I’m Wide Awake EP by Beaux, Smithereens by Joji, Alpha Zulu by Phoenix, The Hunna by The Hunna

Tracks of the Week

You Better Mean It by Nimmo

Rejoice as the UK’s finest dance act is back and preparing for their next era. As we’ve come to expect from the duo of Sarah and Reva, You Better Mean It is another straight-up banger to add to their extensive catalogue, powered by bassy synths and rich soulful vocals. Glorious!

Listen here

The Delicate Nature by Bob Vylan featuring Laurie Vincent

Fresh off the back of dropping one of the Albums of the Year, grime-punk duo Bob Vylan have now teamed up with Slaves’ guitarist Laurie Vincent for another hard-hitting thumper. With harsh heavily distorted guitars and steaming hot bars from Bobby, it all erupts into a frantic and ultra-aggressive final 20 seconds. Awesome!

Listen here

CYAN1DE by nothing, nowhere featuring Pete Wentz

And finally just in time for his highly-anticipated UK tour getting underway this week, emo/rap/pop-punk sensation Joe Mulherin has teamed up with scene legend, Fall Out Boy’s Pete Wentz, for another passionate and mind-melting genre crossover. With a big anthemic chorus and a balanced mix of clean and scream vocals, its sure to go down a storm on his upcoming live dates.

Listen here

Also out, also great: Running Up That Hill (Like A Version) by The Wombats, Mother by Matt Maltese, Pretty Boy by Noel Gallagher’s High Flying Birds

[ericleo108]

The Industry

03/01/2024 Click here for Spotify, Apple Music, or Youtube. “The Industry” is my 71st official release and my 106th track published. This is my biggest and most elaborate release so far. It has more features than tracks. This has been a long time in the making. I had some trouble getting the features through my distributor but distrokid came through for me. The beats and major feature production comes from Anno Domini. The entire project was mixed and mastered by Keyano and the cover art is by Gigzlogo from Fiverr.

I talk about this blog post and other updates in the latest Sunday update here:

This album is called “The Industry” because it features many artists, big and small, from the music industry while also being about “The industry” as in the economy. I did the best I could with the limited resources I have. I would like to thank Anno Domini for this opportunity and for make this a dream come true and Thank you to all the featured artist.

90% of the CO2 in the atmosphere over the last 10 years came from 3 products, gas, oil and coal. This is who I’m referring to when I say “Big Carbon.” I was gonna just say “big oil” but it’s more than just big oil and saying “carbon” is really focusing on the problem.

The album approaches sociological problems and by the middle I bring in my personal perspective. I firmly believe we have a lot of the problems we do because religion which distorts zealots worldveiw. Thinking being gay is wrong, the earth is only 6 thousand years old, or the rapture is gonna happen really affects how people perceive and affect the world, and since we live in a democracy, political and societal outcomes as well. I believe inaccuracy in thinking comes from the distorted worldview of religion, and in America that means chirstianity. This means it’s fundamental to attack followers reality at it’s core because it is the basis in which they project their actions. I just hope Kurupt isn’t a devote christian or he might be upset. 

I do not condone violence peroid, let alone against congress members, although I think they basically deserve it. With that said, I tried showing Mitch McConnell as little respect as possible. You know, I’m human too and between his policies, greed, and lust for power representing an abhorrent party that he has enabled to regress the nation, it’s not hard to hate him, and as an artist I’m just tapping into that very real sentiment. People will cheer when he dies like they will Dick Cheney or how they did Harry Kissenger. The world would be a better place if you off’d yourself Mitch. Not because your death would solve our problems, but because your influence on power needs to end. Honestly, I don’t like Mitt Romney, but I took a different approach and said people should be like him because he’s actually retiring. Listen, I know the replacements might be worse, but they could also be way better. I would be satisfied with a maximum age requirement if we couldn’t get term limits. 

This release was going to be 12 tracks long, not 10. I had the hardest time getting this published. I went through CDbaby and it got rejected. I published it without the KRS-One or Gucci Mane feature track. After much deliberation, I have since went through distrokid to publish the “Heavy Hitters” EP which has the Krs, Gucci, and a snoop dogg feature that was supposed to be on the “Westside Connection” album but got rejected by CDbaby as well.

Lyrics:

America in Decline - Cappadonna, ZENRequium

Big Carbon - Kook G Rap, Duce McGuire

Smeagol - Cam’ron

Bomg First - Jadakiss, Soul Stretch

Captalism - Rich G

A Lesson

Honey - Kurupt

The Cold - Planet Asia

Independent - Juvenile

Lace Em Up

America In Decline

Ayo

To all my young brothers that hustle and flip

Get your money be humble

Killer bees everywhere yo we call it the Jungle

Some real nice Cheba

The government control that medical refund

Tattoo on my stomach that's the symbol of death

Yo I'm coming

You only got a little bit of time left

Back out the hood

I be the reclaimer

I punch deceivers in the face and roll on the flame

Hooky player

Survival of your forcedness

The board of education and all of that court shit

I'm from the street first then I went corporate

I'm out in Cali somewhere eating crawfish

I'ma pescatarian my ex-girl whorish

The angel of rap and country like a tourist

Even the terrorists

Know I got the rawness

The whole world ain't nothing but a fake Egypt

With these Devils acting like they tryna lead it (ayo)

I'm bout to leave here on a ship

Niggas turn zombie's they receiving the chip

I'm out here

With my mind on flip

I'm in the zone

Got the garlic in my system

My whole team drop knowledge and wisdom

We drop knowledge and wisdom

America in decline

Can’t afford to find

A house, food, education

Or care for your child

It was all by design

By the oligarchy

You can’t make ends meet

Cuz they rigged the economy 

America in decline

Can’t afford to find

A house, food, education

Or care for your child

It was all by design

By the oligarchy

You can’t make ends meet

Cuz they rigged the economy 

While you struggle to cop it

And made a deposit

Corporations make record profits

Billionaires are leaving on rockets 

And you are left to pay costs kids

Vampires should suck dick

Seamen has more life than blood

They looking at me like

I know what it was

When they changed the rules

Made America loose

By listening to fools

And never replacing them with new

Blood, new faces

America disgraced with

Wretches that won’t have to face

The destruction that all their laws have made 

From restructuring to give money to the paid

They’ll be dead and gone

But America will fall

Cuz what they did is wrong

And a selfish con

Guess the Process 

Is to stifle all the progress

Feather they’re own nest

And reap all the profits

America in decline

Can’t afford to find

A house, food, education

Or care for your child

It was all by design

By the oligarchy

You can’t make ends meet

Cuz they rigged the economy 

America in decline

Can’t afford to find

A house, food, education

Or care for your child

It was all by design

By the oligarchy

You can’t make ends meet

Cuz they rigged the economy 

Most of the world living on child support

Instead of talkin’ shit out

They’d rather take it to court

I used to think I was rich man

I realized I’m poor

That’s why I take an opportunity

When it knocks on the door

I drop bombs with psalms

To feed my mind so I’m calm

If you don’t see it or believe it

Let me sound the alarm

And I ain’t running from the problem 

Imma face it head on

I used think I was a man

Now I see I was wrong

It was all designed with a higher power in mind

They got money to start wars

Is feeding the poor a crime?

What if we all fortify?

Stand together unified

We could stop all the lies

I promise they’d be petrified 

America in decline

We can’t afford the disease

A hundred people have to die so that one lives with ease

America in decline

We can’t afford the disease

A hundred people have to die so that one lives with ease

America in decline

Can’t afford to find

A house, food, education

Or care for your child

It was all by design

By the oligarchy

You can’t make ends meet

Cuz they rigged the economy 

America in decline

Can’t afford to find

A house, food, education

Or care for your child

It was all by design

By the oligarchy

You can’t make ends meet

Cuz they rigged the economy 

___________________________________

Big Carbon

(Kook G Rap Lyrics Unknown)

Fuck big carbon, they’re the problem

They bought the news so they control the column

Been licensed, to pollute commons

And stifle innovation, top to bottom

Fuck big carbon, they’re the problem

They bought the news so they control the column

Been licensed, to pollute commons

And stifle innovation, top to bottom

You wanna invest

In income-producing assets

That make you money

That’s steady and passive

You won’t survive long unless you stretch

I still hope for the best but expect regret

I’m talking to the cats that I never met

I wish you peace my friend a bed to rest

Don’t ever let um convince you

Your needs shouldn’t be met

Everything is free

You just need materials and labor

Corporate endorsements

Are when the police protect property

Over the environment

That they pollute silently

So I dissent and live defiantly

While Carbon heating the entirety 

Global criminal conduct is how science sees it

The pollution, kills millions a year

While they lobby and interfere

With policy to limit there’s

While they should really be in jail

Fuck big carbon, they’re the problem

They bought the news so they control the column

Been licensed, to pollute commons

And stifle innovation, top to bottom

Fuck big carbon, they’re the problem

They bought the news so they control the column

Been licensed, to pollute commons

And stifle innovation, top to bottom

Now they pretend to be spiritual individuals 

Testing us like a physical

Kill us with chemicals 

Confiscate our residuals

Poisonous minerals

Force fed by the cynical

Think they school’um

But disregard the principles

Actin invincible

And aint talk’n mic in the mechanics

But all we need is a miracle

But they don’t like it when we’re lyrical

The devil’s being disguised

But we’re conscious they’re identical

But still got the keys to the solution

Cuz that big carbon pollution 

Got’um contradicting their constitution 

And then COVID cost so much confusion 

Then they blinded up with stimulus checks 

And called it a contribution?

Just be mindful of your investments

Success ain’t meant to be comfortable

Remain restless

And stay attended to your checklist 

Don’t let’um slow you down

Keep use of motion until you’re breathless

Fuck big carbon, they’re the problem

They bought the news so they control the column

Been licensed, to pollute commons

And stifle innovation, top to bottom

Fuck big carbon, they’re the problem

They bought the news so they control the column

Been licensed, to pollute commons

And stifle innovation, top to bottom

____________________________________________

Smeagol

I say see no evil hear no evil

No I can’t compare to people

Take a needle, try a shot 

Heroine, I swear it’s lethal!

You’ll be throwin’ up mean lean

Dozzin’ off wake ‘em up

Hurry up tell ‘em that he owe the boss

And he know the cost mob night holocaust

Mob lights flower tossed

Hard white throw us off

Gucci this dress pants Lenox sweater

Yes France

Just glance, wanna fight!?

Here I am let’s dance!

Do-si-do you lookin’ like a lovely ho

One, two bloody nose dripped down on his bloody clothes

Got what you wanted, I make it stick

Ain’t got to be handicap man make a wish

What you want Laker tick’s? Ski slopes, major trips?

Razor to ya neck disrespect I’ll lay ‘em stiff.

Round table round off sound off damn let the pound off!

I’ll show you what is lethal

And Infecting the people

Turning them into Smeagol

Like they Anemic and feeble

Like plastics in your blood

Pathogens in puss

Earthquakes, wildfires 

Famine and floods

I’ll show you what is lethal

And Infecting the people

Turning them into Smeagol

Like they Anemic and feeble

Like plastics in your blood

Pathogens in puss

Earthquakes, wildfires 

Famine and floods

Like Covid from the lab

Spreading across the map

Killing all your moms and dads

Leavein homeless children sad

Lethal like a chemical spill

Of dioxins that kill

Agent Orange, where’s the source

That left your newly born deformed?

The payment for the rent is tall

While families aren’t at all involved

Take oxycontin when hurt and fall

And end up addicted to Fentynyl

War in the middle-east, Russia and Ukrain

Give us an excuse to sell them weapons and then bang

No healthcare from the burn pits

That cause asthma and the serpent 

Lies bout what the purpose is

How they thank you for your service kid

When you Paywall healthcare Inequality kills 

But corporations are fulfilled for denying the bill 

While they pray in the steeple, 

We put money over people

I bet you heard, protect and serve

But they use their guns instead of words

Safety is a fallacy, with rampant police brutality

They show up at the rally scene

Turn to violence and battery

I’ll show you what is lethal

And Infecting the people

Turning them into Smeagol

Like they Anemic and feeble

Like plastics in your blood

Pathogens in puss

Earthquakes, wildfires 

Famine and floods

I’ll show you what is lethal

And Infecting the people

Turning them into Smeagol

Like they Anemic and feeble

Like plastics in your blood

Pathogens in puss

Earthquakes, wildfires 

Famine and floods

_______________________________

Bomb First

Three and a half years if they catch you with a gat

All that mean now is that niggas is shootin’ back

War is something I got the taste for 

Out on bail bigger gun than the one I got the case for

Never can tell what I might do I ain’t nothing like you

I put my Dutch out on your night boots

Pull my nuts out on yo wife in the mic booth

Then situate with her at the end of the night too

Those were the happy days these the real years

Niggas is brain dead in shit bags and wheelchairs

For the record I don’t give a fuck who ya team is 

And you don’t want it with me ‘cause I’m an extremist (Ugh)

Get back, take that, this rap, we blast

What’s a rat to a cat, or a bomb to a gat 

An opinion to facts, guessing compared to the math?

This a stick-up, bitch what, give me what you have

Like Pac, we bomb first 

We act, while you ponder

We adapt, you dishonor 

What you have and leave squandered 

I learned to be gangster from congress

Support the enterprise for profit

Lobby money with stock tips  

Like the drug money you pocket

The real terrorists are republicans

The gun-toting Smith-n-west’n grins

That come from killing the innocent

And claiming they deserved the shit

You small time, just tryna to survive

But if you get caught you’ll do more time

For selling drugs than a rapist

Makes sense if it’s a racist

System with most of the cases 

We make criminals of patients 

Yea Marijuana still illegal, although it’s medicine for people 

A textile, a food, with no overdose, but claim that it’s lethal

Are you a broke citizen down on your luck

Well find a way to get your money up cuz we don’t give a fuck

Get back, take that, this rap, we blast

What’s a rat to a cat, or a bomb to a gat 

An opinion to facts, guessing compared to the math?

This a stick-up, bitch what, give me what you have

Like Pac, we bomb first 

We act, while you ponder

We adapt, you dishonor 

What you have and leave squandered 

I learned to be gangster from congress

Support the enterprise for profit

Lobby money with stock tips  

Like the drug money you pocket

Why we try to fake like we don't know our system is wrong?

Its the land of the free? 

It's independently owned

I could try to

hold up, let me break it down in a song

I could try to, hold up

If you smart about your taxes

you might not even pay

And it's legal in your business

You can buy them away

Or you donate it to "Charity”

This is not advice

And we just talking

This is therapy

More and more

I feeling like we living in a parody

Only say I worry we ain't aware of the

Effect that we gone have

And Imma say this with sincerity

Every generation getting harder even barely

And even when I think of having kids it start scare me

Get back, take that, this rap, we blast

What’s a rat to a cat, or a bomb to a gat 

An opinion to facts, guessing compared to the math?

This a stick-up, bitch what, give me what you have

Like Pac, we bomb first 

We act, while you ponder

We adapt, you dishonor 

What you have and leave squandered 

I learned to be gangster from congress

Support the enterprise for profit

Lobby money with stock tips  

Like the drug money you pocket

________________________________

Capitalism

Get the elderly out of Congress

How much have the fucks

Already cost us?

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

They enacted their vision

But it corrupted the mission

And Boomers left a society of despotism

You know I mean?

Can you feel me?    

Let me rip a minute 

On these insipid decisions

And intended intention

Of the economic agenda

Trickle down economics

You gotta be fucking kidding me

Kill yourself

If you think it’s answer economically

Capitalists make money off disasters

They got the shock doctrine mastered

And make global warming happen

They’ll buy with no logos

Sell it with girls that are Gogo

Say the love is all Eros 

And it’s meant for the pharoes

Cuz it makes fat cash destroying things

Just look at Oprah and Hawaii

Just set up a charity to funnel your money

And get it back in taxes, singing and humming

How it’s so terrible, my property value rose

From a disaster that left the island tattered

Disaster capitalism is on the rise

And makes society more stratified

Your misfortune is by design

Because they like you desptotic when they buy

Global warming is old, all they are is frontin

They make new ways take and plunder

We knew about carbon pollution in the late 1800 hundreds 

And big oil is still trying to convince us it’s nothing

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

You know I’m saying?

These fucks man

So glad Mitch McConnell died

Cuz he’s an awful senator

You know they could retire

But they cling to power

That’s why we hate him

It’s selfish and pervasive

In the Senate chambers

To stay and embrace it

Look, You’re not gracious

For bogarting a replacement

That’s more tenacious 

And doesn’t wanna enslave us

It’s not advantageous

To have geriatrics takes and

Are also patients

It affects whole nation

Won’t let you fly an airline past sixty-five

But if you wanna run a country

You can do it till you die

We got all these politicians holden on to power

When they should be Mitt, take a hint, and retire

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

You make me do this

Rich G

You know that right?   

Try and change the system from within and it changes you

So I'm stacking change what else you expect Rich to do

Corporate lobbying has the ear plus pockets of politicians

Follow the money to make sense of their decisions

Corrupt officials ain't just a third world issue

Defense contractors enriched each time we shoot a missile

Consumer society created planned obsolescence

Pushing insecurities through ads on adolescents 

Valentines days invented by hallmark cupids a profiteer

This a letter in a card to say its fucked up dear

I'm sincere we need an overhaul of the government 

Conglomerates have it their way and we loving it

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

Capitalism works

That’s why millennials are poor

Gen Z is even worse

And both parties want the war 

Thanks for the carbon

You left for your children

You literally got them coal

And robbed them of a pension

Get the elderly out of congress

There should be term limits 

If we want progress

Listen, if if you can be too young to run the country, 

you can be too old

And that’s all

____________________________________

A Lesson

This is just a fair warning

I love to get horny

And give a fuck, what your story

Not yet, you’re not sorry

Ever since the inner circle I’ve stepped in

I’ve been sharpening lyrical weapon

To slit your throat, make um joke

About how you been flex’n

Haven’t done a mixtape in years, ya know

My music’s all original

Put in work, and ya I’m finna blow

And get paid off the residual

I would love some MCEE

To have a problem with me

Say my name, and make it sting

While make’n a scene

I ain’t scared of you

I’m flattered dude

I ain’t gonna battle you

I’ll serve you in a dark padded booth

So don’t bring me negativity

Unless you want some energy

That aggressive and offensively

Exposes what you pretend to be

No one owns my mechanical

No one takes my publishing

I say what I want 

And make money from stunt’n see

I’m a grown adult with a baby face

You ain’t gonna take my place

You ain’t got the mental state

To keep up with my pace

I’m a vetran, could wreck them

But rather make’um my brethren

Give an ultimatum to uphold

As I expose the deception

Fuck what you think

You ain’t convincing me

Unless you have overwhelming evidence

This is how it’s gonna be

Bitch shut the fuck up, why you talkin that shit

You sound like a child, that’s throwing a fit

You never grew up, but blew up big

They’re what you consume cuz you still a kid

You get what you give 

And they ain’t into shit rap

This ain’t a diss track

It’s a lesson for your bitch ass

I could make amends

Yeah, I’m down to make friend

But that’s not the intent 

Of motivation you intend 

You didn’t jock me when I’zz underground

Said you were down with the sound

Now you wanna come around 

Like you was alway down 

Gi’me an excuse

To write about the truth

Rap it in the booth

And make this happen to you

I ain’t never had a rap beef

Don’t want one, but I’d happily

Show you that I have teeth

And run it like an Athlete

I’m sure its not your too big to respond

It’s the contract your on

It doesn’t allow freedom at all

To defend your own honor

What’s more important is the dollar

Its not from your squalor

And the rights that you squandered

Who wants your Dumbass comments anyways

We were happy that you went away

They want to run, be free today

From you and your stupid ways

You feel no shame

From the problems you create

But if you want to inundate

I figured you could get a taste

Fuck what you think

You ain’t convincing me

Unless you have overwhelming evidence

This is how it’s gonna be

Bitch shut the fuck up, why you talkin that shit

You sound like a child, that’s throwing a fit

You never grew up, but blew up big

They’re what you consume cuz you still a kid

You get what you give 

And they ain’t into your shit rap

This ain’t a diss track

It’s a lesson for your bitch ass

______________________________-

Honey

I want this shit banging in my headphones, you understand me

Let me hear that beat

You dig

I'ma address some shit

Let y'all niggas know the real

I've been dormant for too long

Hibernating

Everybody want it, but do you wanna get it

I'm sick of all these niggas bullshitting

I'm sick of all these bitches

I'm sick of how these bitch niggas tripping

And how y'all get these passes to these snitches

Neighborhood crippling

Dog pound gangsters in the building

I'ma treat these niggas like bitches

Show em to the wolves and the vultures

The hyenas and my siblings

So they can experience what they say they really living

Man, let me show you how deep it really gets

And then I'ma show you the power of membership

One on the hip, illegal extended clip

I'ma show you niggas the power of membership

The viking and the villain

Riddling, couldn't stop this adrenaline

Mind bending forensic technical chemist

One for the bro, walk up and explode

I'ma show you niggas the power of membership

Nigga, we everywhere

I’m everywhere rocking that cosmic debacle

108 the prophet, understand ergonomics

Of electric ultrasonic magnetic harmonic

Conscious balls of telepathic diagnostics (stupid)

That’s what my artistry’s about

While you run your mouth for clout 

Or tryna turn Um out

I like them questioning “how?”

I hope they listen to learn astronomy, sociology and doubt

How Jesus could be god and not just arrogantly pronounced

As the truth, when the use of religion is a arroused

By consolidating power and giving it to the house

Because it doesn’t make sense

You know space is immense

And it was all meant for us

Is what Jesus presents

The Bible is a fairly tale

Contradicts itself everywhere

It takes an ass like dairy air

To think it’s really fairly clear

I’m sorry, I should stop, but nothing is

And the subject of the song is dumb ass shit

Jesus hates you

Jesus hates you

Jesus hates you

But it really doesn’t matter cuz

Jesus loves you

Jesus loves you

Jesus loves

But really doesn’t exist

I don’t do it to be mean, even shine or make you cry

It’s really a function of the perspective I entice

To say thinking and intelligence is nice and is desired

Is like saying dick and pussy is best when combined

Jesus hates you

Jesus hates you

Jesus hates you

But it really doesn’t matter cuz

Jesus loves you

Jesus loves you

Jesus loves

But really doesn’t exist

But to put it susincly Which is good to provide

Your like a bug attracted to light

Cuz Bees don’t spend their time Explaining to flys 

Why honey is better than shit to survive

Jesus hates you

Jesus hates you

Jesus hates you

But it really doesn’t matter cuz

Jesus loves you

Jesus loves you

Jesus loves

But really doesn’t exist

________________________________________

The Cold

This me and Asia, they say I’m gifted

I like misdirection and to put it simplest

I don’t think for myself, so yes I’m Christian (often)

I run it like the church, inquisition

Whether winter or fall I love the cold

It reminds me of my blood and it’s oxygen threshold

When the light from your eyes goes dull and closed

Is when I’ll stop coming after your throat

And we don’t play that gangsta shit

All my moves I make legitimate

In broad daylight I have the sense

Everything you have figured, isn’t

I suggest if you don’t wanna catch a case

Show some discretion, respect, and grace

I ain’t hard, but I ain’t a bitch either

You may try the takeover and then find that I’m the ether

Is the atmosphere to ethereal like gravity

Or since it’s clear do we not see it mattering?

I wouldn’t bring me back unless your eager

To figure out why they fear the karma I teach her

Weather winter or fall I love the cold

It reminds me of my blood and it’s oxygen threshold

When the light from your eyes goes dull and closed

Is when I’ll stop coming after your throat

I Molotov mics in the night

With the energy to cause a street fight

Knuckle up baby, buckle up

It's dangerous on the ave

They flaming guns 

Slanging crumbs 

Hennessey and Jamison

The eyes of the jungle Blood shot

The disgruntled smirk of a crook

Posing for the pic, in his first mug shot

My seven and a half is working oh that's for certain

We in the lab cooking and jookin'

Until its closed curtains

I'm busting shots at the serpent for a purpose

The seven stars represent the seven churches

Watch what you worship

Don't miss the revelations

You'll be caught up like the listeners

Still caught up on my first shit

Assassin with the blade catch a niggas fade

It's a rapture on the stage when you capture these grenades

You'll be a fossil once

Once they really understand the gospel

El Chapo with chopped cheese and a taco

This me and Asia, they say I’m gifted

I like misdirection and to put it simplest

I don’t think for myself, so yes I’m Christian (often)

I run it like the church, inquisition

Weather winter or fall I love the cold

It reminds me of my blood and it’s oxygen threshold

When the light from your eyes goes dull and closed

Is when I’ll stop coming after your throat

Weather winter or fall I love the cold

It reminds me of my blood and it’s oxygen threshold

When the light from your eyes goes dull and closed

Is when I’ll stop coming after your throat

I suggest if you don’t wanna catch a case

Show some digression, respect, and grace

I ain’t hard, but I ain’t a bitch either

You may try the takeover and then find I’m the ether

What’s a mind to a god

Time to a thought

Price to some art

Or lies if you're smart?

What’s a mind to a god

Time to a thought

Price to some art

Or lies if you're smart?

Sooner or later I’m gonna figure you out

And all I’ve really found, is how cowards get down

How they bring um out bring um out bring um out bring um out

It’s hard to tell that you aren’t really a clown

I’m not tryna develop what you sell

I’m hear just to tell

You, you need to get help

I’m not tryna develop what you sell

I’m hear just to tell

You, you need to get help

Weather winter or fall I love the cold

It reminds me of my blood and it’s oxygen threshold

When the light from your eyes goes dull and closed

Is when I’ll stop coming after your throat

Weather winter or fall I love the cold

It reminds me of my blood and it’s oxygen threshold

When the light from your eyes goes dull and closed

Is when I’ll stop coming after your throat

______________________________________________

Independent

Always committed, every day I was wit it

Well recognized for the ways that I did it

Indepent player that’s how you get it 

The people know whats happenin but they ain't gonna admit it 

Always committed, every day I was wit it

Well recognized for the ways that I did it

Indepent player that’s how you get it 

The people know whats happenin but they ain't gonna admit it 

Been rhyming ten years

Still haven’t broke even

I do it for the love

Cuz it Damn sure ain’t the money

But give me some funding

And a beat that funky

And I’m Gonna pop off, 

Guaranteed if you market me

You know what’s the difference between me and those puppets

About a hundred and fifty thousand dollar marketing budget

Having an audience is currency

That I don’t have currently

But I’ve invested in a catalog

And marketing um urgently

Need money to grow

And give um what they wanted

Need money for marketing

Just like any product

But I’m free, my own boss

Though I can barely pay the costs

I do what I want, I say what I please

They ain’t got no strings on me

I do what I want, I say what I please

They ain’t got no strings on me

Always committed, every day I was wit it

Well recognized for the ways that I did it

Indepent player that’s how you get it 

The people know whats happenin but they ain't gonna admit it 

Always committed, every day I was wit it

Well recognized for the ways that I did it

Indepent player that’s how you get it 

The people know whats happenin but they ain't gonna admit it 

I didn’t have a mentor

I started on my own

Everything I’ve done

I’ve had to do alone

300 dollars a month

Is my total budget

By the time it’s right

To promote there’s nothing

What a great community America has

Put in work every day but never paid for that

Which you made to get the bag

Americas so great that it’s people can’t

Afford necessities cuz they don’t get paid a living wage

How is the national debt doing today

All the money went to corporate pay

While you can’t afford a place to stay

Having money for food

It must be nice

Having money for goods

It must be nice

America The great

Where the people get raped

Of their financial stake

of what the community creates

Always committed, every day I was wit it

Well recognized for the ways that I did it

Indepent player that’s how you get it 

The people know whats happenin but they ain't gonna admit it 

Always committed, every day I was wit it

Well recognized for the ways that I did it

Indepent player that’s how you get it 

The people know whats happenin but they ain't gonna admit it 

_____________________________

Lace’em up

Let me rock it for a minute

I’m not a gimmick, yo I live it

Positive and different 

Like an ace word to tennis

They on the lean sippin

I live the dream envision

Thinking as they listen

From start to finish

If you want me on stage with

Raps for your entertainment

I need that bag, and the payment

From fans demanding my graces

Until then it’s about branding and landing these placements

Finding some way to get paid and get

The love so it make me continue with it

Not wanna quit, and give’um this gift

I do it for the love, the fun and the win 

Dabbin up a friend, bought what happened, what it is

This that classic flow with lyricism

Don’t kow tow, just listen

I’m here to help the mission

Unlock your inner vision

May not always agree

But I’m always for peace

Capeesh, I need you

To Keep it real with free speech

Lace’em up, lace’em up, lace em up, lace em

I’m just a man try’na create and make it

Be humble, burst your bubble while still being gracious

The music speaks for itself and felt as a statement

Lace’em up, lace’em up, lace em up, lace em

I’m just a man try’na create and make it

Be humble, burst your bubble while still being gracious

The music speaks for itself and felt as a statement

I’m that ill type, I kill mics

They’re all like, that was real right

It makes me feel like

A shooting star in the night

Glittering and glistening

On a path that righteous

Spread my name across the sky

Catch your eye, decide this

Music is a symphony

And it gets to me, and I write this

Hoping it goes gold

Like a touch from Midas

Don’t have to decipher

When I pop up in the Cypher

I’m a fighter that stifles

Don’t wanna make me your rival

Cuz I got stamina, and a brand that run

Edutainment for the audience

Since started up, I got the love

Harbored luck, and toughened up

It’s a cold, cold world even when it’s sunny

It’s about what you sold and only if it makes money

Most can’t make ends meet or afford to fill up their tummy 

The rich claim it’s hard work when they really got lucky

I bubble up and double up

On the trouble, I’ll sum it up

If you want it, I can get it done

Til you get enough, and feel the love

Lace’em up, lace’em up, lace em up, lace em

I’m just a man try’na create and make it

Be humble, burst your bubble while still being gracious

The music speaks for itself and felt as a statement

Lace’em up, lace’em up, lace em up, lace em

I’m just a man try’na create and make it

Be humble, burst your bubble while still being gracious

The music speaks for itself and felt as a statement

I bought these beats

For my artistry 

On standard lease

From Anno Domini

So If you like this rap, think it's dope like morphine

Buy the track, to show you support me

I bought these beats

For my artistry 

On standard lease

From Anno Domini

So If you like this rap, think it's dope like morphine

Buy the track, to show you support me

Lace’em up, lace’em up, lace em up, lace em

I’m just a man try’na create and make it

Be humble, burst your bubble while still being gracious

The music speaks for itself and felt as a statement

Lace’em up, lace’em up, lace em up, lace em

I’m just a man try’na create and make it

Be humble, burst your bubble while still being gracious

The music speaks for itself and felt as a statement

[cyarskj1899]

A GUIDE TO AC/DC

For AC/DC’s 50 Years of Rock, We Salute You

As the Australian legends mark five decades since their debut, trace their glorious lack of evolution and inimitable brand of thunderstruck anthems.

AC/DC has been many things over the course of five decades, but above all else, they’re a family business. By the time guitarists Malcolm and Angus Young formed the band in Sydney in 1973, they had already watched their older brother George go through the entire life cycle of rock stardom. He was guitarist and songwriter for The Easybeats, whose 1966 single “Friday on My Mind” was the first Australian hit to cross over internationally—but by 1969, the band had flamed out due to the kind of success and excess that was only starting to become rock cliché.

Continuing as songwriter and producer alongside fellow ex-Easybeat Harry Vanda, George established the philosophy that has defined AC/DC for 50 years; there is no telling their story without him. “He took us in studios and let us, even when I was in my teens, play on records with him doing the guidance,” Angus told Zane Lowe in 2020. “He said, ‘The real art is making the complex simple.’ And he used to say, with a band like us, there’s just the two guitars, the bass and the drums, and the vocal on top, so you’ve got to keep it pretty tight and basic to get that song idea across.”

But AC/DC only became AC/DC once they replaced lead singer Dave Evans with Bon Scott in 1974—not kin but a kindred spirit. Impish and troublemaking, Scott was the perfect foil for Angus, whose revolving stage costumes soon settled on the still-standard schoolboy uniform. They re-recorded their debut single, “Can I Sit Next to You Girl,” with Scott on vocals, and their first album, High Voltage, was released in Australia in February 1975. Five more studio albums followed over the next four years. (Confusingly, the 1976 version of High Voltage was their international debut and mostly contained songs from their second Australian album, the similarly explosion-themed T.N.T.) 

From here, the formula was set. “You look for new ways of doing riffs and experimenting a little, but when you get something and go, ‘That’s definitely AC/DC,’ you know you’ve cracked the puzzle,” Angus said. Their sixth album, the group’s international breakthrough Highway to Hell, was their first with South African producer Mutt Lange, who opened up their sound in a way George couldn’t—and their last with Scott, who died of alcohol poisoning in 1980, shortly after the album’s release. For any normal band, this would be the end of the story.

Let Loose From the Noose

“MALCOLM, AFTER A couple of weeks, called me up and said, ‘There’s no point in the two of us just moping, let’s go out and get a little studio,’” Angus told Apple Music. “And that was good therapy for us.” In Englishman and Geordie lead vocalist Brian Johnson, AC/DC had the outrageous fortune of finding perhaps the only other person on earth who sounded like Bon Scott. Released less than a year after Scott’s death and again produced by Lange, the cathartic Back in Black made mourning sound like a party and became not only the biggest AC/DC album but the second-biggest album of all time. 

What followed was a steady—and still continuing—parade of records pairing a mathematically impossible number of variations on Young brothers riffs with brilliantly direct lyrics delivered in Johnson’s demonic-Chipmunk rasp, cementing AC/DC as a ubiquitous, inimitable capital-B Brand in the least obnoxious sense of the term. If you attend a sporting event and “Thunderstruck” doesn’t blast through the PA at any time, assume the home team has been fined.

Big Balls

AC/DC DID NOT invent the double entendre, but they did perfect it—committing fully and proudly to chiseling grade-school gags out of granite. (Sometimes a single entendre sufficed; 1995’s “Cover You in Oil” is, alas, about covering you in oil.) Do “Givin the Dog a Bone” or “Go Down” look particularly enlightened through a 2023 lens? Not really. But there is something so cartoonish about them that neutralizes any real menace; no one listening to the 1976 school-recess classic “Big Balls” could possibly be more amused by its profound stupidity than Bon Scott himself.

And during the heyday of ’80s pop-metal, as high-haired, spandex-clad come-latelies built an industry on objectifying women in videos and album art, AC/DC kept pace with iconography centered around a middle-aged man dressed as a 13-year-old, forever the band’s spiritual age. The only shocking thing about AC/DC’s tongue-in-cheek ribaldry is that they somehow don’t have a song called “Tongue in Cheek.” Yet.

We Salute You

AC/DC’S RISE, CULMINATING in the shocking success of Back in Black, kicked open the floodgates for loud, loutish songs with heavy guitars and screeching vocals as bona fide hits throughout the ’70s and ’80s. Van Halen doubled down on the showmanship while Guns N’ Roses were stalwart enough students that when Brian Johnson needed to leave AC/DC’s Rock or Bust tour in 2016 because of hearing loss, Axl Rose stepped right in. Back home in Australia, bands like Jet, and more recently Amyl and the Sniffers, have carried the torch.

But this barely scratches the surface: AC/DC’s mastery of George Young’s directive to “make the complex simple” means you can find that simplicity anywhere you want across music. (History may file punk into a different bin, but how could the Ramones’ self-limited selection of chords and wardrobe be anything but a show of solidarity?) Dave Grohl brought his former band’s penchant for ear-bleeding/earworm riffs without Kurt Cobain’s existential angst to Foo Fighters, while Joan Jett and The Donnas flipped AC/DC’s cartoonish machismo. AC/DC didn’t invent, or even reinvent, the wheel—they just make you want to go fast.