#trap music 2019

[supersupersounds]

QUAVIS - Black Mass

This popped up in the latest AFX DJ sets -  Filthy, filthy half time beats.

-Kris

[reckonslepoisson]

Legendary Member, Thaiboy Digital (2019)

Despite leaning much more heavily into trap, Legendary Member is actually less propulsive and hooky than Tiger. The highlights (usually, for me, the cuts with Yung Lean, Bladee or Ecco2k features) are phenomenal, but a lot of the rest I can take or leave.

Pick: ‘Lip Service’

[hothammies]

concept designs for the zombie apocalypse au i'm working on - pt. 2 (small au details under the cut regarding their wardrobe)

---

max's design

takes off her jean jacket during supply runs / fights - used to be billy's jacket

signature weapon is a sawblade baseball bat - was taught how to swing from billy but the bat was modified by dustin

lucas' design

has started wearing jackets less and switched to dress shirts - the jackets were getting in the way of his new shoulder holster

signature weapon is a crossbow / revolver - the best marksman of the group and most knowledgeable with guns (his dad taught him everything as a war veteran) can really use anything!

dustin's design

found his vest off of some dead biker guy, thought it looked sick, and hasn't taken it off since - he puts pins on it to personalize it

no real signature weapon because he tends to stick away from fighting, more support - he knows basic fighting skills but is a beast with his crafted weapons (e.g. bomb traps, molotovs, etc)

is the pack mule when it comes to supply runs - he stays with mike and will to scout but brings a heavy backpack with possible backup supplies / weapons if need be

---

other notes: wanted to share that the apocalypse starts in 2019 while the kids were born in 2015. the first arc of the story takes place in apocalyptic 2028 and so on (their current designs are for arc 3). reason? i wanted them to experience some of the music and technology up to the 21st century :] i'll make a more official story thing later! maybe i'll write something for this au or draw a comic? idk my creative writing skills are pretty weak but we'll never know until we try LMAO

[thyme-in-a-bubble]

a list of some spring movies/series 🌷

spring is here!! and so is your friendly neighbourhood little organisation freak of a goblin to give you a list of some spring movies and series. as always, just close your eyes and point somewhere on this little list, or even put the numbers in a generator and go with whatever the result is ♡

summer | autumn | winter

🐝 ‧₊˚ ⋅ movies ⋅˚₊‧

mary poppins (1964)

the sound of music (1965)

aristocats (1970)

alla vi barn i bullerbyn (1986)

my neighbour totoro (1988)

kiki's delivery service (1989)

a league of their own (1992)

the secret garden (1993)

pride and prejudice (1995/2005)

whisper of the heart (1995)

clueless (1995)

my best friend’s wedding (1997)

parent trap (1998)

10 things i hate about you (1999)

notting hill (1999)

she's all that (1999)

but i’m a cheerleader (1999)

bring it on (2000)

miss congeniality (2000)

spiritied away (2001)

the wedding planner (2001)

legally blonde (2001)

princess diaries (2001 + 2004)

spy kids (2001-2003)

maid in manhatten (2002)

bend it like beckham (2002)

tuck everlasting (2002)

school of rock (2003)

how to lose a guy in 10 days (2003)

something’s gotta give (2003)

13 going on 30 (2004)

finding neverland (2004)

howl’s moving castle (2004)

saving face (2004)

the notebook (2004)

imagine me and you (2005)

nanny mcphee (2005)

penelope (2006)

miss potter (2006)

step up (2006)

she’s the man (2006)

bridge to terabithia (2007)

enchanted (2007)

atonement (2007)

stardust (2007)

ps i love you (2007)

wild child (2008)

made of honour (2008)

ondine (2009)

bride wars (2009)

valentine’s day (2010)

tangled (2010)

leap year (2010)

easy a (2010)

from up on poppy hill (2011)

jane eyre (2011)

crazy, stupid, love (2011)

what to expect when you’re expecting (2012)

remember sunday (2013)

saving mr banks (2013)

about time (2013)

now you see me (2013 + 2016)

love, rosie (2014)

testament of youth (2014)

kingsman (2014-)

paddington (2014 + 2017)

far from the madding crowd (2015)

burnt (2015)

brooklyn (2015)

cinderella (2015)

the man from u.n.c.l.e. (2015)

lady chatterley's lover (2015/2022)

creed franchise (2015-2023)

me before you (2016)

mother’s day (2016)

this beautiful fantastic (2016)

the light between oceans (2016)

paterson (2016)

how to be single (2016)

hidden figures (2016)

gifted (2017)

dunkirk (2017)

ocean’s eight (2018)

life itself (2018)

peter rabbit (2018)

christopher robin (2018)

tomb raider (2018)

set it up (2018)

crazy rich asians (2018)

spider-verse movies (2018-)

1917 (2019)

the art of racing in the rain (2019)

can you keep a secret? (2019)

booksmart (2019)

someone great (2019)

endings, beginnings (2019)

emma (2020)

enola holms (2020-)

the last letter from your lover (2021)

the world to come (2021)

🌼 ‧₊˚ ⋅ series ⋅˚₊‧

little house on the prairie (1974-1983)

moomin valley (1990-1992)

greys anatomy (2005-)

gossip girl (2007-2012)

skins (2007-2013)

the great british bake off (2010-)

new girl (2011-2018)

brooklyn nine-nine (2013-2021)

the fosters (2013-2018)

the 100 (2014-2020)

jane the virgin (2014-2019)

outlander (2014-)

grace and frankie (2015-2022)

poldark (2015-2019)

critical role (2015-)

howards end (2017)

girlboss (2017)

she's gotta have it (2017-2019)

the bold type (2017-2021)

mr. sunshine (2018)

queer eye (2018-)

crash landing into you (2019)

the witcher (2019-)

dickinson (2019-2021)

sex education (2019-2023)

bridgerton (2020-)

ted lasso (2020-2023)

nevertheless (2021)

abbott elementary (2021-)

flatshare (2022)

[pal1cam]

Support Palestinian Musicians & Artists :

Here is a list of Palestinian musical artists, musical groups & bands, to make it easier for you to stop supporting musicians and artists who support genocide and occupation…

Faraj Sulieman : a solo musician who makes musical works that are very piano & jazz infused with a hint of rock n’ roll. He has performed in many countries in Europe and the Middle East. He has released 10 albums in the last 10 years, one of them being a children’s musical album called “Faheem” that found major success with the voices of the 2 kids, Faheem Abu Hilu and Hala Qassis, that were very dominant in the album alongside the sound of classical piano played by Faraj Sulieman himself. He also made the soundtrack for the Palestinian movie “200 meters” directed by Ameen Nayfeh. (Recommended Works : Better Than Berlin / Second Verse / Upright Piano)

DAM : a rap band founded in 1999 by the 2 brothers Tamer and Suhel Nafar along with their friend Mahmoud Jrere, the 3 rappers who came out of the city Lod [a mixed city that has indigenous Palestinian citizens & zionist Israeli settlers] make songs mostly about the inequality in the authorities’ treatment towards Palestinians, and songs criticizing the Palestinian society living in occupied territory under the Israeli Government… They primarily rap in Arabic, yet they sometimes use English & Hebrew as well. In recent years the female artist Maysa Daw has joined the band replacing Suhel Nafar and adding a feminine perspective to the band’s niche. It’s also important to mention that DAM was the first ever hip-hop band in the entirety of the Middle East. (Recommended Works : Ben Haana Wa Maana / i don’t have freedom)

Tamer Nafar : as mentioned before, he is a Palestinian rapper and actor and one of the founding members of DAM. Besides his works with DAM he also produces music under his own name, sometimes collaborating with various Palestinian & international artists. He also participated in making the soundtrack for the film ‘Junction 48’. (Recommended Works : The Beat Never Goes Off / Johnnie Mashi)

Maysa Daw : a solo musician, singer & songwriter, and as mentioned before the freshest and newest member of the band DAM, and a member of the newly formed female group called Kallemi, She was featured in Vogue Arabia 2019 as one of 5 Arab stars setting the world of art, culture and entertainment. She is also the daughter of the actor and director Salim Daw. (Recommended Works : Asli Barri / Between City Walls)

47SOUL : a group of four men who are all originally from Palestine that have created a new music genre called “Shamstep” which is an electronic dance movement mixed with the sound of Palestinian & Middle Eastern folklore. The musical group was formed back in 2013, and since then they’ve become pioneers in that unique style of theirs and have been on tours all over the world from the US to the UK and of course the Middle East. They’ve performed in NPR’s tiny desk in 2019 which helped them gain even more international recognition. (Recommended Works : Shamstep / Semitics / Shireen)

El far3i : he is a Palestinian-Jordanian rapper, singer, songwriter, and percussionist. He is currently a member of the Shamstep band 47Soul, and was formerly a member of the Arabic rock band El Morabba3. He started his career in 2012, and has since released six solo albums. (Recommended Works : Tghayarti)

Shabjdeed : Straight out of the restless town of Kufr Aqab, Palestine, emerged a talent by the name of Abu Othaina. With his controversial takes and raw skills Shabjdeed was an instant addition to the Palestinian rap scene. After gaining traction from his self-titled track, he caught the attention of Al Nather, a local producer, and worked with him to create the alter-ego Shabjdeed; an act that can easily be considered one of the most influential and popular in the region. The duo developed their own niche dark hip-hop and trap style combining Shabjdeed’s nihilistic and daringly personal delivery style with Al Nather’s colourful and rhythmic instrumentals. From the beginning they have been able to build a dedicated fanbase, grossing over 1.5 million total streams on Soundcloud across two years whilst only relying on word-of-mouth advertisement. The duo have created together a record label and named it BLTNM Records which was brought to it’s biggest success with the release of Shabjdeed’s first full length album called “Sindibad el Ward”. And today Shabjdeed’s music is the modern voice for not only the Palestinian revolution, yet for the entire revolution in the Middle East caused by youth that dream of a better future and go against their capitalist and money hungry governments. (Recommended Works : Fi Harb / Aadi / inn ann / Ko7ol w 3atme)

Daboor : A Jerusalemite rapper to the bone, Daboor’s debut single “Liter Black'' was released in 2020 to much fanfare and critical acclaim. His unique style and raw talent cemented his status in the rap scene and he was soon signed to BLTNM Records. Daboor’s words touch on the violence of the occupation, and his delivery mimics it with brutal bursts of staccato. (Recommended Works : Inn Ann / Dolab)

Lina Makhoul : an independent American-born Palestinian singer-songwriter & producer. She was raised in the city of Acre in occupied Palestine since the age of 4 and according to her she has showed interest in music and dance since a young age. She started her career in 2012 and has since released 1 full length album as well as a number of hit singles, She also opened for Queen+ Adam Lambert in 2016 and toured with Little Mix in 2017. (Recommended Works : Shway Shway / Fish Masari / 3 sneen)

Elyanna : a Palestinian-Chilean singer-songwriter who started her career in 2018 and has since released 1 full length album and a number of singles, and she has collaborated with artists with significant recognition such as Massari. She performed in Coachella 2023 to become the 1st ever Middle Eastern & Palestinian artist to perform in Coachella in Arabic. (Recommended Works : Ana Lahale / Ghareeb Alay)

Noel Kharman : She is best known for doing mashup covers where she mixes Middle Eastern and Western music, creating a unique bridge between these two worlds through her powerful and angelic voice. She started her career on Youtube with covers of viral songs, but her big breakthrough happened in 2015 when she published her first mash-up cover which was a mix of ‘Hello’ by Adele with Fairuz. The cover went viral overnight and since then, she became an instant internet sensation. The cover has gained over 30 million views on YouTube. Today she has released many songs of her own after being signed to a record label and has collaborated with various artists and went on tour in many cities in the Middle Eastern region. (Recommended Works : Ya Lali)

The Synaptik : This Palestinian-Jordanian artist based in Palestine started making music at the age of 17. The Synaptik studied medicine for 7 years and graduated. His stage name is derived from his fascination with the nervous system, neurotransmitters and his personal experience with ADHD, which led to calling himself The Synaptik: “…because that’s where things happen.” The Synaptik has pioneered a new wave of sound for the Arab youth. His honest and potent lyrics are highlighted by his songwriting style that merges singing and rapping effortlessly. With a tsunami of a first album under his belt, dozens of local, regional, and international shows and a much-anticipated second album, The Synaptik has cemented his status as one of the pillars in the Hip Hop scene in the region. The Synaptik has collaborated with numerous artists from all over the Middle East such as rap superstars Abyusif, Wegz, Marwan Mousa, Chyno with a Why?, Shabjdeed and more. (Recommended Works : Sabelek)

Apo & The Apostles : Apo & the Apostles started out late 2013 in Jerusalem-Bethlehem with their first release in March 2014. Since then, they've been taking their music to whoever and wherever they are welcomed. The band is known for their energetic performances that turn to parties and after-parties. (Recommended Works : Baji Wenek)

[ppeonppeonhan]

Which BL Couple do you want to see in a Sequel?

And not just a cameo or an Our Skyy 2-episode arc.

HIStory 3: Trapped (2019, above) - I want to keep seeing how their relationship works as their morals clash.

Bad Buddy (2021) - I know we risk ruining a good thing and that we got the Our Skyy episodes, but I could watch more of these two as they learn to nurture their relationship in spite of the negativity surrounding them.

Not Me (2021) - There is SO much that can be done in this universe with these twin rebel characters. They should absolutely revive it as LGBTQIA legislation and police corruption evolves in Thailand.

Love is Science? (2021, above) - I could watch 12 whole episodes of Ou Wen learning to trust playboy bi Mark.

Semantic Error (2022, top) - Park Seoham returns from military service later this year, but IDK. I feel like there's not much else to explore here. Loved every minute of it though.

KinnPorsche (2022) - This is another couple that I feel ran its course. I would sooner watch a spinoff of Kim and Chay, even though I think Jeff Satur is more interested in music these days, because I need to know if Kim loved Chay or if he just pitied him. Plus, Kim is next-gen mob boss and I'd love to see it. And while I did enjoy Pete & Vegas, it appears we are still up in the air about whether the actor who played Pete...is a piece of sh*t. What a plot twist?

Love in the Air (2022) - Both couples contributed some of the best sex scenes to BL history, but I doubt there's more story to tell.

The Eighth Sense (2023) - They fucked me all the way up. 😭 Made To My Star 2 seem like a cake walk. I need a sequel just to know where this is going.

[charcubed]

Disneyland's Rogers: The Musical, propaganda that turns Steve Rogers into more myth than man, and revisionist history (possibly) to a purpose

Any of my thoughts in this post could just be me reading too far into things. I'm very aware of that, and please know that this post exists just because this sort of thing is fun for me! This is a thought exercise where we propose "What if we live in a world where the MCU is actually doing a cool and interesting thing as a longcon?" If you have anger at Marvel, that's valid and relatable, but please don't get angry at me or imply I'm an MCU stan who doesn't think critically about the mouse. Thanks!

Breaking news: I'm back on my bullshit!

A quick personal recap: I infamously hated Avengers: Endgame for a long list of reasons (and I even rewrote the movie). One of those reasons is that I've always taken issue with Steve's ending. But in the years since then, and as the MCU's phase 4 has evolved, my frustration at Steve's "ending" has turned into an ongoing and legitimate theory that the MCU could be slowly leading into a loosely adapted Secret Empire plot line. I know we've all been joking about Steve being trapped or about an imposter Steve since 2019, but uhhh, it's kind of not a joke to me anymore? It feels weirdly plausible at this point and so I enjoy discussing the potential.

You can find a full elaboration on that here, where I wrote out my "Steve was snatched by HYDRA" theory in 2021.

In that post, one of the things I mentioned at the time was Rogers: The Musical being in the Hawkeye trailer.

[The musical's] very existence is an example of how in-universe the stories of the lives of the heroes are being commodified, especially (in terms of how they’re framing it) for Steve’s. The heroes are no longer seen as people, if they ever were. They are, as Kate Bishop says to Clint in a recently released clip, more about “branding.” Sam Wilson will be redefining the shield moving forward in a Cap context, but simultaneously, the world is still enamored by Steve Rogers as a symbol in his own right. And that is ripe for manipulation as a Trojan horse to control public opinion… whether in the context of things like this by themselves (is the musical portraying Steve accurately, or is it painting an inaccurate picture of him the world accepts as fact?) or in future (is this propaganda that makes the public see Steve a certain way and continue to love him, to set up a fake or brainwashed Steve coming on the scene later?).

Now a form of the musical exists in full, at Disneyland and all over Youtube. Considering some of its baffling content – which I will break down below – this perspective seems even more strongly worth considering.

I have two main reasons for why I'm defending examining this musical so closely:

1. It is (arguably) an in-universe piece of media that has bearing on the MCU canon. It isn't like any other typical Disneyland attraction; its very existence is meta and it was in canon first. Obviously it's seen in Hawkeye, but there are also posters for it in several different phase 4 properties. It's lurking in the background indefinitely. So what can this musical tell us about what the wider public within the MCU is being told about the life story of Steve Rogers?

2. This Secret Empire graphic – which is animated in the center of the stage of a prolonged period of time – feels like a literal sign to pay attention.

Granted, this is obviously still ancillary material. 99% of the MCU audience will never see this musical, whether in person or on YouTube. But just because it isn't a vital piece doesn't mean it's automatically an entirely irrelevant piece.

They've given me an inch with that sign and I'm taking a mile.

So if you're interested, please join me on this journey :)

For the record, let me just say that I salute the creative team behind this show. It's pretty fun and the songs are catchy, the sets and costuming are cool, and the cast is overall very talented.

It's also fucking maddening. LMAO.

Why? Firstly, because of the seemingly deliberate ahistorical inaccuracies. We all know Ant-Man is wrongly shown in the Battle of New York, which originally "came from [the Hawkeye showrunner] and Marvel, as something to further aggravate Hawkeye as he watched the show, and also as a comment on how movies and articles and people always get something wrong." It seems like they expanded those meta nods, but most inaccuracies are now in service of glorifying Steve and Peggy's "love story." Yes, romance objectively makes for good theater; but again, I feel that this is worth examining considering the full context.

And secondly, Steve's ending is framed as an offer presented to him, convincing him it's the happy ending he deserves because he's tired. In my mind, these two big elements go together, and I'll walk you through the details of what happens in the musical before I tie the thought threads back around into some theorizing.

For your reference, here's a list of the main songs and story beats:

• "U-S-Opening Night" - the Starkettes (who are basically a Greek chorus) frame the show's story, and then it turns into an ensemble that loosely takes place at the Stark Expo. • "I Want You" – Steve's "I want" song about trying to enlist in the army. • "Star-Spangled Man With A Plan" – Steve performing on the USO tour obviously, and then there's a reprise with an added voiceover that (very briefly) covers the Howling Commandos' rescue + the war via comic book imagery. • "What You Missed" – Fury and the Starkettes tell Steve some pop culture things he missed while he was frozen, + they tell him about the Avengers. Then Fury goes down a list of other hero characters, including the Guardians? Doctor Strange? Wanda?? It plays loose and fast with time, because many non-2012 characters are bafflingly mentioned in this nonlinear Avengers list – including the Winter Soldier (???). • "Save the City" – this is the song seen in Hawkeye, with the civilians + the Avengers all involved, but it's slightly different here and expanded to also reference other battles. • "End of the Line" – Old Steve presents main Steve with the time stone as an opportunity for his happy ending, and they reflect on things together. (Yes, this is insane.) • "Just One Dance" – Steve and Peggy reunite and sing about their love. • And then there's basically a reprise of "Save the City," with the Starkettes and the whole cast closing the finale out.

Right out of the gate, let's address this: the main reason you're going to see some fans pissed about this musical is not only that Steve and Peggy's ~epic romance~ is made a pillar of the story... but also that Bucky's importance/involvement in Steve's life is minimized as much as possible.

And they took Bucky-related elements from canon and made them center more around Peggy instead.

• For some weird reason, Peggy is in the Stark Expo scene. When a soldier is hitting on the Starkettes ("hey sweetheart, I wanna dance!"), Steve tells the soldier to show the ladies some respect. The soldier grabs Steve and throws him down, and then Peggy swoops in to yell "Pick on someone your own size!" and punches the guy before walking away. So she's given Bucky's TFA line verbatim, and she is given the role he had of saving Steve from bullies. There is blatantly no reason they couldn't have had Bucky still serve that function and be truer to "history," because he briefly enters this scene in uniform less than a minute later to announce he's shipping out to the 107th – and then he spins off with a date on his arm. (We don't see Bucky on stage again until the full cast comes out for the finale!)

• After the Star-Spangled Man show, Peggy rushes in to talk to Steve. Steve is excited about his USO performance (???) but she urgently tells him to listen as she says that the 107th has been captured. Peggy apparently knows it's Bucky's division, and she knows Steve is going to go, so she tells him that she's already arranged transport for him. This is a subtle twist from the truth of how it went down in TFA, in which Steve recognized 107 as the number of Bucky's division, and his dogged determination inspired Peggy to relent and help his rescue mission. Here, Peggy is given a stronger role in the Cap origin story. And before Steve rushes off, Peggy sings a short untitled ballad hoping for their dance, so Steve pauses before he leaves to ask her to go on a date with her when he returns. • The most egregious Bucky-to-Peggy change of all is the song "End of the Line," in which the infamous Steve and Bucky line/promise (that broke Bucky's brainwashing...) is re-contextualized to be about ???? Peggy waiting for Steve in the past??? Old Man Steve and regular Steve sing it together. But we'll go back to that in a minute.

Again, I get it, yeah? It's for theater. Whatever. But in reality, the obvious logical truth is that Peggy is centered (to the point of taking elements from Bucky's story, and in turn Bucky is downplayed) because they needed to convince the audience that Steve going back in time to be with her makes sense. Steve's time travel ending had to be justified, so the Peggy and Steve "love story" had to be a pillar in this with everything else being given lesser weight.

And the inherent selfishness of him doing something as big as going back in time also had to be justified... which is why they do their best to convince you Steve fought so much he deserved it.

Let me elaborate on that by describing the lead-up to the "End of the Line" song.

So, right before "End of the Line" is "Save the City" – which includes Steve belting "I can do this all day!" repeatedly, of course. It's the 2012 Battle of New York as the Avengers come together to win.

As they begin to disperse, the song then transitions to a voiceover alert mentioning Sokovia being under attack by artificial intelligence (a.k.a. Age of Ultron). The Avengers group rushes back to center stage to say "Save the city! Help us win!" together for battle again.

And then things get fucking weird.

Because the next voiceover threat is "Washington DC. Attack: the Winter Soldier." This is not accurate to the order of events! The Winter Soldier events were before Age of Ultron; the public of the MCU would also know this.

And suddenly on stage Steve is now in the center while everyone else gestures to him. Instead of singing with him, they're telling him "Save the city! Help us win!"

Then, another voiceover: "Wakanda, under attack" (Infinity War) and again, Steve is centered while everyone else points to him. The ensemble says, "Save the city, help us win! Save us all from the state we're in! Got to hear you, got to hear you, got to hear you say..." as Steve is buckling to his knees under their pointing. And as the lights go down to one spotlight on him and everyone else leaves, he says "I can do this all day" one last time, but now it's subdued.

The implication is that Steve has been fighting and fighting, people leave him or he loses them, and he's tired.

And then fucking Old Man Steve arrives.

He says "On your left," because yes, they gave him Sam Wilson's line. BATSHIT.

So now there's two Steves on stage! There has been no mention of Thanos or infinity stones or anything up to this point! (I can only assume that's because in the MCU universe no one would want to be reminded of the trauma of "the Blip" – though it's pretty wild that they're allowed to know about magical time travel?)

Steve is baffled by Old Man Steve's arrival. I, too, was baffled by Old Man Steve's arrival.

As Steve questions how this is possible, Old Man Steve shows him the time stone from his pocket – and only the time stone – which Steve recognizes.

OLD MAN: "You've got to remember where you've been to know where you're going." STEVE: "Where am I going?" OLD MAN: "A date with destiny." STEVE: “Destiny. So we’re the hero till the end?” OLD MAN: “That’s the thing about endings, Steven. They can be rewritten.”

Lmao???????

Steve starts singing about how he hopes this means they "win" and calls himself a "tired hero."

STEVE: "But sometimes I wonder, who will save the savior? Can we really do this all day? So here I am, now and also then. Just a man, looking back at where he's been." OLD MAN: "The road is rough but wounds are healed by a thing called time. You can't forget what's waiting at the end of the line."

Me, watching this: the fact that he says this out of the blue makes absolutely no sense.

There's a bit more singing, including "end of the line" repetition, and then Old Man Steve pulls out the time stone to essentially show visions of... I don't fucking know. Past, present, and future?

That's pre-serum Steve, Steve with Mjolnir, and Sam Wilson as the new Cap. This is the only reference to Sam in the whole thing.

More singing, and then: Peggy's silhouette.

OLD MAN: "Can't forget who's waiting..." STEVE: "I can't forget who's waiting..." BOTH: "Don't forget who's waiting..." STEVE: "At the end of the line."

At this point I'm like, what in the hell?

Did Old Man Steve just brainwash normal Steve into thinking "end of the line" is now about Peggy? Because uhhhh, sorry, that's what it feels like!

Then Steve uses the stone to go back in time, reunites with Peggy, etc. etc. finale.

It's truly some crazy shit.

[drags hands down face]

Look... there's a lot to unpack here, and there's a lot that gets me about it. I know this is dramatized for the stage! I KNOW! But the fact that Old Man Steve shows up to convince Steve he should go back in time makes me want to gnaw on furniture.

Another person essentially uses the lure of a life with Peggy to tempt Steve into doing this, dramatized or not. That is how it's framed.

It's a hell of a way to frame it, and it makes Steve's ending stand in even starker contrast to so many other things in phase 4. Desperately trying to go backwards when you shouldn't or to bring back a lost lover is an evil temptation, and it results in a trap or negative cosmic consequences for basically all of the other characters in the MCU.

• In Shang-Chi, Wenwu is tempted by the Soul Eaters beyond the Dark Gate. They use the voice of his deceased wife to convince him to set them free. • In "What If" episode 4, Doctor Strange becomes evil in a desperate bid to save Christine and he destroys his universe. Along the way, he tries to tempt/trap the good Strange who's fighting him by using visions of Christine, but good Strange knows she isn't real. • Wanda's grief and desire to bring back Vision leads to – well, you know. • In No Way Home, Peter trying to undo things is what causes the multiverse problems.

And the fact that they frame it as Steve being tired, so basically the argument is he deserves that time travel ending (just like MCU fans who defend Endgame say in real life)... Well.

There's no way to make it hold up, especially because in "What If" they explicitly subverted that and had Captain Carter not go back in time despite how she felt she'd "earned" it.

Lastly, in this musical as Steve decides to pursue time travel as his course of action, he basically has the meaning or memory of "end of the line" rewritten for him. I refuse to not think that is some nefarious shit. Yes, it's not out of the realm of possibility that it's just some general Disney erasing Steve and Bucky nonsense.

But... this is on another level to me. I do think that it's a blatant choice that they had to be aware even general MCU fans would call bullshit on. Everyone knows it's inaccurate. "End of the line" is embedded in pop culture consciousness as being connected to Bucky. It just is! Surely that means it's not a stretch to theorize it could be deliberate meta commentary.

How, in the MCU world, would the in-universe playwrights even know the phrase "end of the line"? How the fuck would it be accidentally applied to Steve and Peggy? Not to sound like a crazy person, but who the fuck was rooting around in Steve and/or Bucky's personal business or their brains in order to obtain that knowledge and then remix it, and why? Neither of them would flippantly mention it in the public eye or interviews ever. So where did its inclusion come from?

And in the finale ensemble, this is Bucky's line when he comes out on stage and salutes + points to Steve: "Don't forget who's waiting..." And Old Man Steve completes it with "...at the end of the line."

What on God's green earth am I meant to do with THAT?

Smh.

The vibes are fucked, folks.

The MCU public wouldn't know enough to say the vibes are fucked. The MCU public wouldn't know the origin of "end of the line" as a phrase. But us? The ones who know the "true story" via the movies? We can call bullshit.

Whether the creative team behind this musical did every aspect of this consciously or not, in my opinion the fact that they had to tweak canon "history" to A) make Peggy's involvement in Steve's life more central and B) emphasize Steve as a tired hero all works as commentary on and almost a condemnation of Endgame's frustrating ending. In a way, it's also what Endgame did with the compass and 1973 moment with Peggy as well.

Steve's ending had to be convincing.

It's theater.

And so, maybe the same is true for the in-narrative perspective of this musical in the context of the MCU world. What purpose would it serve to tell the MCU public a feel-good narrative about how all Steve Rogers wanted was to no longer be a tragic man out of time and get to make a life with his best girl? To frame it as being about how he fought so hard for years and so he earned a happy ending? To minimize and nearly erase Bucky's importance in his life?

Who would want to do that sort of propaganda, and why?

The MCU civilians are given this happy explanation and maybe don't widely question it. Who cares about the details or logistics if it makes a good story, I guess. It's a stretch, but maybe they mostly applaud it. Maybe they're happy for "America's favorite son" (not unlike people who uncritically liked Endgame). In a way, it's even a rehabilitation of his image (after the Accords) like putting the shield on the Statue of Liberty. And maybe they'd even be ready and waiting to applaud if Steve ever made a dramatically selfless and de-aged return to the spotlight or a position of authority.

But mostly, the public is being conditioned to not know or to forget that anyone else like Bucky Barnes or Sam Wilson would possibly know Steve Rogers the person well enough in the modern day to call bullshit on any of this – or on his hypothetical miraculous future return.

So. Sure, it's probably nothing.

But what if it's not?

-------

UPDATE: @faeriecap added to this post with some incredible information and further behind-the-scenes context about the MCU/Marvel stuff at Disney parks! Check it out here :)

[matan4il]

Daily update post:

Three more bodies were retrieved from Gaza by the IDF and identified. At least two of them were Israelis taken hostage on Oct 7, who were seen alive in vids published by Hamas as they were being led away, and today it was confirmed that they were murdered in captivity by these terrorists. They were both 19 years old. On the right is Ron Sherman. On the left is his friend, Nick Bizer. In the middle are the last text messages Ron sent to his mom. They read, "Bye mom, I love you all" (followed by five heart emojies), then "That's it," "They're here" and "It's over."

The third body was identified as 28 years old Elia Toledano. He was kidnapped by Hamas terrorists from the Nova music festival on Oct 7. As far as I can tell, there's no confirmation yet of when he was killed.

May their memories be a blessing.

The IDF revealed today how Hamas is trying to lure Israeli soldiers into an ambush in a booby trapped area, with armed terrorists lying in wait: by using child-shaped mannequins, school bags and speakers playing recordings in Hebrew and of sobbing, to make the soldiers think hostages might be held there.

Yesterday, the IDF finished a 60 hours operation in Jenin, where the Palestinian Authority is supposed to be responsible to fight against Hamas and terrorism, but in reality, the PA does nothing. This was the longest IDF operation in Jenin since Opoeration Defensive Shield (Mar to May 2002, which started following a wave of suicide bombings, and specifically after the murderous terrorist attack on Park Hotel in Netanya, where Jews eating a Passover meal together were targeted and murdered). During the operation that ended yesterday, the IDF uncovered 10 shafts leading to terror tunnels. That's not in Gaza. Let that sink in.

Also, if you see anyone saying, "But Hamas only operates in Gaza!" you'll know they're either ignorant or lying. Hamas only rules Gaza, but it absolutely operates outside it.

Another case in point for that last statement, that Hamas operates outside of Gaza, too. Remember that I posted in my daily update yesterday about the people arrested for having intended to carry out a terrorist attack against Jews in Denamrk? We have more info about that now, and it turns out that 7 people were arrested in total, not just 4, and that they were arrested in 3 countries, not just 2 (so in addition to arrests in Denmark and the Netherlands, terrorists were arrested in Germany as well), and most importantly, the people arrested included Hamas terrorists.

Again, let that sink in. When we tell you that Hamas wants to kill all Jews in the world, that's not just idle talk. It's not just a recent statement, either. Here's a Hamas senior stating as much back in 2019, and they also said as much in their founding charter.

Maybe just as importantly, these terrorists were taken down thanks to the Mossad's work.

So when we tell you that Jews are safer with Israel existing, that's not just in the case of Jews finding sanctuary from danger in Israel. That's true as well. But there can be Jews, even anti-Zionist Jews, who will lead their entire lives outside of Israel, never realizing that behind the scenes, an antisemitic terrorist attack that could have killed them, was stopped thanks to the fact that the Mossad (Israel's equivalent of the CIA) is in charge not only of protecting Israelis worldwide from terrorist attacks, it's responsible for the safety of all Jews. That's the kind of protection people would rob Jews of, when they advocate for the destruction of Israel, or even "just" the destruction of Israel as a Jewish state.

I thought this was a great response. From Letters to the Editor, Los Angeles Times:

Hanukkiahs lit in honor of the Israeli hostages, in the Jewish Quarter of the Old City of Jerusalem, on the last night of Hanukkah (the song is Come Back by Idan Raichel, performed by Roni Delumi, and its chorus goes, "Come back, come back, today / I so wanted you to arrive / I wish you'd come without announcing it this very day"):

These are 26 years old Yovel Sharvit and 27 years old Mor Trabelsi:

They married exactly a month before the Hamas massacre. On Oct 7, they were at the Nova music festival. Yovel survived, but Mor was shot to death in front of her eyes. Yovel participated as a model in a special fashion show, meant to call attention to the victims of Hamas, and especially to the sexual violence perpetrated that day. Yovel wore a wedding dress reminiscent of her own, with blood stains on, and groping hands. The dress also features sentences in Hebrew and Arabic that Yovel heard on or about that day. The dress is torn at the top, as per Jewish mourning customs. The make up artist recreated Yovel's real wounds on her back, and just as importantly, the deadly gunshot wound that killed Mor, on Yovel's forehead.

(for all of my updates and ask replies regarding Israel, click here)

[nose-nippin-fun]

Hazbin Hotel Episode 4 Discussion:

I’ve seen a lot of nasty posts floating around today criticizing Vivzie and the show. I’m not here to discredit your feelings, but I think that the darker tone of episode 4 merits some constructive discussion beyond a knee-jerk, pearl-clutching reaction.

From what I’ve seen, the biggest complaint from viewers, myself included, is that this emotional episode with some fairly intense depictions of SA/r*pe was not prefaced with a content warning aside from the usual small text in the top left corner. I truly do believe Amazon should correct this going forward so that viewers can feel better prepared for tone shifts between episodes. That being said, here are my defenses of the show.

Hazbin Hotel has had a huge fan following since the pilot release back in 2019, which set the tone of the show. Between the pilot and Addict music video, people had a pretty clear indication of the adult themes that would be present in the project moving forward. The show is set in Hell, the place where the world’s worst sinners are trapped in the afterlife. This is not an excuse, this is an explanation. There are going to be several characters with tainted morality, some of whom are irredeemable. That’s why they’re in Hell. This show is not meant to glorify sins, but to shine a light on flawed, relatable characters who will grapple with ethics and other struggles and come out changed in the end.

“I can’t believe Angel doesn’t leave his situation and stays stagnant.” Have you ever lived through/witnessed abuse? It is never this easy to sever ties with an abuser. They position themselves in power to control and manipulate, and many times, it’s not physically safe to get away from them. Also, this has been ONE EPISODE, you cannot expect a character with deep trauma to be totally different after a 20-30 minute episode. Angel’s character arc will take time, but his interaction with Husk at the end is an important first step in that direction.

“So Angel is supposed to just get over his trauma because he and Husk sang a song about it?” No. If that was your takeaway, I’m truly sorry you missed the point. Husk is the only person who’s been raw and blunt with Angel (on screen) about dropping the Angel Dust persona and being Anthony. Angel is used to having to put on a flawless, sexy act at all times, so much so that that’s how people really believe he is at all times. Husk sees through this mask Angel developed to protect himself and tell him through their song that imperfect and broken as he feels, Angel isn’t alone in struggling with feelings of powerlessness and addiction. He’s not comparing his loss of overlord status to Angel’s horrible SA, he’s finding common ground and empathizing (the best way a Hellbound soul can). This song wasn’t a solution, it was a gateway to vulnerability and the beginning of change for both characters.

“We’re expected to just ship Huskerdust after Angel has done nothing but sexually harass and push Husk’s boundaries?” No. That’s absolutely the wrong reason to ship anything. While it’s true that in the first three episodes, Angel sees Husk as eye candy who might be able to distract him from his suffering, episode 4 brings a necessary shift in their dynamic. Angel is used to everyone around him wanting Angel Dust, the pornstar. But for the first time, someone doesn’t want that coveted persona, and he can’t comprehend this. Angel has no control over anything except the act he keeps up, so he clings to it as a false sense of power. It’s only after Husk tells him that he likes Angel for everything he is off camera that Angel starts to treat Husk with respect, which will pave the way for any future Huskerdust shipping.

You don’t have to agree with what I’ve written, and I absolutely don’t blame you if you’ve realized this show is not content you can comfortably consume, but please understand that depicting difficult material is not the same as glorifying or excusing it. This episode was hard for me too, because I care about Angel Dust, and I am so eager to watch his growth as the show continues. My heart goes out to anyone struggling from triggering this episode caused. I hope you’re able to safely navigate away from this show while respecting the viewers who continue to watch.

[shefaniquotes]

“I knew who No Doubt was and Gwen Stefani but only the big hits, you know.”

Vocal Point with Martina McBride, October 2019

“Some songs are so big, I don't care if you live in the jungle, you're aware of [them]. Me being a country artist from the middle of nowhere, their music was big, you know, and so it’s like of course I knew those songs and loved them. But I didn’t know who sang them.”

“Two months ago, ‘Hey Baby’ came on the radio and Gwen said something like, ‘Oh, that’s wild. I haven’t heard that in a while.’ And she said, ‘You know, we won a Grammy for this song.’ And I said, ‘That’s y’all? That’s you?’ Because I literally thought that was like TLC. And Gwen’s so sweet, she goes, ‘Yeah, I guess I can see where you would think that.’”

97.1 AMP, May 2016 (see also)

Carson: “Do you know what ska music is?”

Blake: “I do now. And it’s like a - It’s not reggae but it’s a little bit reggae and rock mixed with some horns and you gotta have a - You must have a hot girl singing lead. You know, one of those things.”

97.1 AMP, May 2016

“This is the artist canvas wall here at the Forum, and I was just walking around looking. There’s some really cool bands. […] Look here, there’s No Doubt. I like those guys a lot — one of them a lot.”

Forum in Los Angeles, March 2016

“The ‘Tragic Kingdom’ album has sold more albums than all three of us combined our entire careers. That one album, incredible.”

The Voice, September 2019

Blake: “We are not actually ‘Doing It To Country Songs’ anymore. Well, we are doing it to other music.”

Carson: “Right, No Doubt songs.”

Blake: “Yeah.”

AMP 97.1, April 2017

Q: “Do you know ‘Trapped in a Box’, Blake?”

Blake: “I do. I know that song. Have you ever seen the video? It’s like a homemade video that their dad shot. It’s pretty interesting.”

Entertainment Tonight, May 2018

“One of the many musical moments you have introduced me to over the years – ‘Oi To The World’. The first time I ever saw this, I thought, ‘Oh, wow, they misprinted the title of the song, they left out the ‘J’. What the heck.’ It’s so fun, though.”

Apple Music with Love podcast, November 2021 (x)

“My favorite Gwen Stefani song – I think I gotta go with ‘Underneath It All’. I love that song. I think it’s such a cool record.”

People Magazine, November 2017 (x)

Blake on No Doubt, various sources

[somethingpersonarelated]

Another No More What Ifs Analysis

Okay, so... between wanting to analyze this and Our Light, and the kpop posts that I'll be doing that overlap with this. This blog will turn into Persona Music Analysis hour. Long post. Heavy spoilers for P5R, Proof of Justice, and Mementos Mission. BEGIN!

Let's begin with some context for the song. I think this is crucial to understanding why it is associated with Akechi's character. If you're familiar with this, you can skip to the lyrical analysis! The best analogy is that Beneath the Mask is to Akira as NMWI is to Akechi, in my opinion. Proof of Justice was an OVA released with the P5 anime (in May 2019) a couple months before the release of Persona 5 Royal in Japan (October of the same year). This OVA is centered around the relationship between Akira and Akechi. Specifically, Akira's grieving process as he goes through the places where they used to meet to find clues about the phrase "Proof of Justice" which was written in the Leblanc crossword. The Jazz Jin, as noted by Muhen here, is a place where Akechi would typically go alone. He also notes in confidant rank 4 that it wasn't necessarily a place that he was keeping secret, but that he never brought people around there since it was his personal space to reflect. As we'll examine, the content of the lyrics is too specific to not be related to the story, and there aren't any other characters or themes I could think are as associated with the song as Goro Akechi. Just wanted to clear this up first, as for some it's not entirely clear why the song is specifically Akechi's (since it's not explicitly stated, and the lyrics are hard to catch while you're playing through normally).

Lyrical Analysis

people come and they go some people may stay with you though I am all alone tonight and I kept on asking myself questions

The very first line is one of the easiest to dissect. Goro, since the death of his mother, has had few stable figures in his life, whether it is his parents, family, or friends. This also extends to his line of work as a celebrity detective, as he is kept so busy that there are very few people he sees on a regular basis, at all. He notes in the second confidant rank (if you choose to ask if he has no friends) that he doesn't have people that he chooses to spend time with. [I chose this option on my last play through and remember it but I can't find the dialogue anywhere].

The doubt that grows in this verse comes from the second line. He is taken by surprise that there is someone he is giving thought to for more than a couple seconds at time. Someone he is... to some degree choosing to spend time with even though he is doing it for the mission. At first, to investigate the Phantom Thieves identity to prevent them from interfering in his revenge plot, and then to lure Akira into a death trap. Tying it back to the first line analysis with the third and fourth line, this dissonance has put the first example of his doubt in this song.

Conceited I was at time I never really doubted myself But tonight got me thinking about it all if I am the fool or what not

There is a self-awareness that Goro always has about his personas (in the metaphorical sense). Goro kind of knows that he's arrogant and it was not ever something that bothered him. Even his character flaws will not get in the way of his plan, even if those flaws are just his humanity peeking through. There's a longing in Lyn's delivery of the last two lines here. He's stumped as to why he feels this way and the inner conflict makes him pause more than he is comfortable with.

"If I am the fool or what not." This line, is literally perfect, the double meaning is just ugh! We'll see this idea again near the end of the song, but I want to take an opportunity to talk about it now. For two years, Goro was the only Persona-user he knew, so he had no reason to believe anyone would ever stand a chance against him. Not only is he angered at himself for allowing Akira to get close to him and cause these doubts but he's also questioning what his role was.

I do not regret with my choices I'm rather proud ooh I know I won't change anything because I can only be me so

I had already written parts of this analysis like two months ago but I saw a post written by @vashtijoy here on how Mementos mission has a sneaky reference to this song. So check that out! It's something I never noticed.

Before Shido's palace, there's an acceptance of the circumstances in this line, that he has to do it regardless of what he may think because he has a goal. Throughout the third semester, we see an Akechi that is alive and tried to deal with the consequences of his actions before Maruki took that opportunity away from him. But he does not show remorse for what he did, that it was the only path he could have chosen with the information he knew.

How can I be so sure? at a crossroads I'm afraid too But I can't let fear get the best of me Someone once said burn my dread babe

This verse... this verse makes me wanna cry. I cannot even lie to you. The direct statement that there is fear behind the fact that he doesn't want to kill Akira and the acknowledgement in the last two lines that one of them has to end up dead. That he is also acknowledging that Akira must also be fearful, by playing with fire through continuing to lead the Phantom Thieves. The doubt is consuming him in this verse. The crossroad offers two choices, one where he sacrifices himself for Akira and one where Akira no longer is with him. The reference to Persona 3 really carries the weight here with this theory. I would explain more but I only spoiler tagged for P5R so we move.

Who knows what tomorrow holds? just wanna live my life the way I want what fills up my soul is passionate music that makes me want to sing

The first line, to me, reads that he's given up on allowing himself to think if there's another way to resolve his doubts. That there's another path where neither of them die and that it can't exist. He wants to live freely, which is what he thinks is assured once his revenge plan is complete. In another world, maybe it was one where both of them could be together without this chasing them. The last two lines I don't have a particular opinion about, but I think they add to the fact that Goro has given up entertaining other possibilities.

my story will be starring me just like yours ooh ooh who knows when will it end what matters most is how you bring joy to life so

I think about confidant rank 8. It feels written all over this line, and we come back to an idea that was present with "If I am the fool or what not." I think there's a bit of that 'hatred' that he talks about, that he's resentful that Akira story will end differently than his own. He's waiting for the day to come and resolves by centering himself, that once his goal is achieved, that he will achieve joy for the first time in his life. Refusing to acknowledge that Akira was showing him companionship that brought him happiness for one last time.

The Theme of Doubt

One of the things I have had trouble defining is what the doubt Goro is referring to is, or why the doubt is there. It's one of the things that is left in the air. Speculating here a little more than I usually will try to: the doubt stems from the fact that Goro is enjoying his time with the protagonist and is unsure what that means. In terms of what he is doubting, I'm not sure, I don't think he is referring to his plan, but rather the fact that Akira is caught up in it at all. His resolve to complete his plan never changes, but he wishes he could choose to leave him out of this. This tracks with a line stated by the SIU director which implies that some of the cruel actions carried out by the conspiracy/antisocial force by Akechi are not entirely his idea. He still carries them out without hesitation, but he never thinks of them himself. One of the reasons I wrote out this analysis was to see if there were any opinions on what this part of the song meant since I have trouble wrapping my head around it myself.

Goro, in base game and third semester, never shows any form of doubt or regret to the protagonist directly, only brief flickers and implications from dialogue. But this song is layered with it and bashes you in by telling you that it is what he is struggling with most when it comes to executing his plan. It's what nags at me even though I've tried to analyze this song a couple of times on my own.

IN CONCLUSION: I obviously hate goro akechi. (lying is fun)

[tomorrowxtogether]

Tomorrow X Together Give Us ‘Deja Vu’ on the ‘Kelly Clarkson Show’

The song appears on their newly-released mini-album Minisode 3: Tomorrow

TOMORROW X TOGETHER performed their latest single “Deja Vu” during Wednesday’s episode of the Kelly Clarkson Show.

The track appears on their newly-released mini-album Minisode 3: Tomorrow. After Clarkson introduced the group as “one of the biggest K-pop groups on the planet,” Huening Kai appeared solo on a dark stage clutching a coin inscribed with “2019,” the year the TXT debuted, as sand fell from his hand. As he was joined by fellow bandmates Soobin, Yeonjun, Beomgyu, and Taehyun, the stage revealed a cavernous backdrop as the quintet sang, “Within that long, eternal journey/The sadness we shared is my clarity/Is by your tears.”

A press release bills “Deja Vu” as a “hybrid Pop track that fuses elements of Trap, Rage, and Emo Rock that sings of how the thought of meeting ‘you’ in the future feels like ‘déjà vu’.”

Minisode 3: Tomorrow brought seven new songs to TXT’s catalog, including “Deja Vu” and “Deja Vu (Anemoia Remix).” Their last full-length, The Name Chapter: Freefall, was released back in October. Their sixth mini-album arrives in celebration of the group’s fifth anniversary.

In March, the K-pop band announced that they’ll be embarking on the U.S. leg of their Act: Promise Tour this spring. The trek launches in South Korea’s capital, Seoul, on May 3, and promises to be “grander” than its 2023 predecessor Act: Sweet Mirage Tour. The U.S. portion of their world tour kicks off May 14 in Tacoma, Washington, and features 11 total shows across eight cities including Oakland, Los Angeles, Houston, and New York.

The concert promises to be a showcase of a “cohesive narrative, seamlessly weaving together captivating music, performances, VCRs, and set designs.”

[th3-0bjectivist]

Dear listener, I rarely post hip hop, and when I do its usually so deep underground that a brief, intermittent ray from the sun would strike it fuckin’ blind. I like hip hop that is bizarre and experimental and for the last year or so, I’ve been getting increasingly deeper into phonk; a darkly themed and distorted subgenre of trap. The primary reason that I enjoy phonk is because it seems to be a modern worldwide trend for regular people with audio software to create this kind of music from nothing more than disparate samples, which is based on old school Memphis rap and southern hip-hop styles. And while I wish I could tell you a whole lot more about the artist showcased this week, like a lot of other phonk performers, SPYDER550 seems to enjoy his anonymity. Smash play and enjoy GODDD MODE from 2019’s ACID THUG.

As much as I enjoy giving my audience on Tumblr a proper overview of who the artist is, what they stand for, etc… sometimes I can’t dig up anything of substantive value. SPYDER550’s Instagram is here, his SoundCloud is here, his Spotify page is here, and I found a slightly more robust profile that seems legitimate enough here. You, yes you that is reading this, feel free to go ahead and Google this artist for yourself and tell me if you can possibly draw a clearer picture of the person behind the music than I did here. I suppose I should be relieved; generally speaking, there is TOO MUCH information on certain musical acts that I post, and here is a good example of the polar opposite. From what little I was able to ascertain from my research for this post, 550 is very new to the worldwide music scene, having their first album out in 2019. As far as I can tell, they’ve released at least five albums since then, all under 10-tracks at a stretch. I can’t even tell with 100% accuracy where this artist is located on the planet. One profile says they are from Russia, another says they’re based out of Finland, and another says Memphis, Tennessee… which I’ll assume is just a throwback to Memphis rap (i.e. the music his own sounds are based on). I don’t even know if the above picture is really 550, or even what the hell his real name is. But you know what? None of that really matters, because I’ve been bouncing from tune to tune wherever I can find his music online, and I can tell you there’s a lot of noticeable raw talent here. Each individual tune I’ve found by this artist is intriguing, catchy, and thoughtful in its own unique way. His musical arrangements possess a haunting quality that is often repetitive, but repetitive in a good way, all while managing to be enchantingly mesmerizing. Like a lot of phonk artists, you can bet your bottom dollar that 550 ‘chops and screws’ a lot of his tracks together using various samples directly from the internet (including the vocals most likely). Just below is another bizarre banger, Toxic Face from 2021’s SPYDELIC. Enjoy!

I try to put as much research that I can stand into these musical entries, and sometimes, there’s just not a lot of meat on the bone. That said, if you liked the music in this post, click here, and here, and here for more. It’s just about all I can do to fully inform you of this artist’s existence outside of hiring an internet sleuth to ascertain more. Image source: https://www.viberate.com/artist/spyder550/

[thyme-in-a-bubble]

a list of some summer movies/series 🌞

hi hi hi!! it's just me, your friendly neighbourhood little organisation freak of a goblin here to give you yet again a list of some seasonal movies and series. this time, say it with me folks, summer! as always, just close your eyes and point somewhere on this little list, or even put the numbers in a generator and go with whatever the result is ♡

autumn | winter | spring

🐚 ‧₊˚ ⋅ movies ⋅˚₊‧

roman holiday (1953)

jaws (1975)

friday the 13th (1980)

Indiana jones (1981-)

dirty dancing (1987)

the princess bride (1987)

paris is burning (1990)

point break (1991)

jurassic park (1993-)

before sunrise (1995)

a goofy movie (1995)

clueless (1995)

birdcage (1996)

boogie nights (1997)

i know what you did last summer (1997)

my best friend's wedding (1997)

parent trap (1998)

bilboard dad (1998)

tarzan (1999)

the talented mr. ripley (1999)

10 things I hate about you (1999)

the mummy (1999)

cast away (2000)

almost famous (2000)

our lips are sealed (2000)

charlie’s angels (2000 + 2003)

holiday in the sun (2001)

the wedding planner (2001)

the fast and furious franchise (2001-)

princess diaries (2001-2004)

lilo and stitch (2002)

blue crush (2002)

crossroads (2002)

how to lose a guy in 10 days (2003)

under the tuscan sun (2003)

the lizzie mcguire movie (2003)

pirates of the caribbean franchise (2003-2017)

sisterhood of the traveling pants (2005-2008)

monster in law (2005)

aquamarine (2006)

she’s the man (2006)

the cheetah girls 2 (2006)

high school musical 2 (2007)

camp rock (2008)

forgetting sarah marshell (2008)

vicky cristina barcelona (2008)

fool's gold (2008)

mamma mia (2008 + 2018)

adventureland (2009)

bride wars (2009)

hannah montana the movie (2009)

the last song (2010)

letters to juliet (2010)

eat pray love (2010)

one day (2011+2024)

a little bit of heaven (2011)

soul surfer (2011)

the impossible (2012)

magic mike (2012+2025+2023)

the big wedding (2013)

lovelace (2013)

endless love (2014)

chef (2014)

the longest ride (2015)

mad max: fury road (2015)

the shallows (2016)

it (2017)

girls trip (2017)

baywatch (2017)

jumanji: welcome to the jungle (2017)

gifted (2017)

call me by your name (2017)

crazy rich asians (2018)

adrift (2018)

ibiza (2018)

every day (2018)

bad times at the el royale (2018)

tomb raider (2018)

the red sea diving resort (2019)

midsommar (2019)

we summon the darkness (2019)

spider-man: far from home (2019)

the devil all the time (2020)

palm springs (2020)

the last letter from your lover (2021)

raya and the last dragon (2021)

luca (2021)

uncharted (2022)

glass onion (2022)

do revenge (2022)

the lost city (2022)

the gray man (2022)

death on the nile (2022)

barbie (2023)

bottoms (2023)

anyone but you (2023)

la passion de dodin bouffant (2023)

road house (2024)

the challengers (2024)

players (2024)

🍦 ‧₊˚ ⋅ series ⋅˚₊‧

the o.c. (2003-2007)

america's next top model (2003-2018)

project runway (2004-)

h2o: just add water (2006-2010)

gossip girl (2007-2012)

private practice (2007-2013)

rupaul’s drag race (2009-)

the walking dead (2010-2022)

new girl (2011-2018)

the fosters (2013-2018)

black-ish (2014-2022)

jane the virgin (2014-2019)

grace and frankie (2015-2022)

critical role (2015-)

stranger things (2016-)

the durrells (2016-2019)

big little lies (2017-2019)

she's gotta have it (2017-2019)

the bold type (2017-2021)

queer eye (2018-)

station 19 (2018-2024)

euphoria (2019-)

roswell, new mexico (2019-2022)

valeria (2020-2023)

911: lone star (2020-)

outer banks (2020-)

bridgerton (2020-)

sex/life (2021-2023)

the white lotus (2021-2025)

daisy jones and the six (2023)