Poems about music using imagery
It's /r/aves!
2009.12.25 19:35 thewabberjocky It's /r/aves!
Welcome! This subreddit is for all electronic dance music lovers to share all things related to raves/festivals and rave/festival culture: events, flyers, fashion, memes, ticket sales, history, music, and more.
2008.01.25 05:30 r/Music
Reddit’s #1 Music Community
2008.05.14 19:18 Indie Music
/indie is the place to share and discuss Indie Music.
2024.05.15 00:05 Meit4ntei Help me find an AI 80s style Transformers movie trailer
Hello every, I apologise in case of issues for I am not used to this platform, I only created this account to ask for help in my research on a video that I've seen last night.
I was on a streaming site and watching Detective Conan, as I often do in the evenings after work. I was pretty tired, so I ended up falling asleep during the episode. I woke up halfway at the end, because of the music change. This always happens at the end of an episode or movie on this site, because I think it's related to some sort of Russian YouTube scam, free from copyright moderation.
Here's how the video turned out: What seemed to be an 80s movie trailer for Transformers, obviously AI-generated. I don't really support AI as an art form because it gives less credit to actual artists, but this surreal trailer caught my attention. I texted my friends to tell them that I had watched a strange movie trailer that seemed like it came straight out of a dream. During the video, shots of the robots and the human characters were shown, the narrator presented the film and gave a summary. It was in English, the voice quality was low, imitating a VHS tape recording. What I remember hearing: "The Autobots, led by their leader Optimus Prime, against the Decepticons", or something like that, I can't remember the exact order of the words. However, I do remember the mention of Sam Witwicky by the narrator, with a shot of what he was supposed to be. At least one plan came up several times, some kind of large birds (my memory is blurry) with the colours of the decepticons, with red eyes. Optimus prime had human eyes, it was pretty trippy lol.
I was captivated by this strange and fascinating video, in a sense. I wanted to record it for my friends, but the trailer ended before i could do so. Another video played, I was unable to go back to my strange catch.
I would appreciate it a lot if you guys could give me a hand. No matter what i try to type in the research bar of the russian website, I cannot find anything.
The websited is called sibnet . ru (safe, tested).
So far, I have only searched for about 20 minutes today. I will keep going tomorrow.
Thank you in advance for your help!
submitted by Meit4ntei to HelpMeFind [link] [comments]
I was on a streaming site and watching Detective Conan, as I often do in the evenings after work. I was pretty tired, so I ended up falling asleep during the episode. I woke up halfway at the end, because of the music change. This always happens at the end of an episode or movie on this site, because I think it's related to some sort of Russian YouTube scam, free from copyright moderation.
Here's how the video turned out: What seemed to be an 80s movie trailer for Transformers, obviously AI-generated. I don't really support AI as an art form because it gives less credit to actual artists, but this surreal trailer caught my attention. I texted my friends to tell them that I had watched a strange movie trailer that seemed like it came straight out of a dream. During the video, shots of the robots and the human characters were shown, the narrator presented the film and gave a summary. It was in English, the voice quality was low, imitating a VHS tape recording. What I remember hearing: "The Autobots, led by their leader Optimus Prime, against the Decepticons", or something like that, I can't remember the exact order of the words. However, I do remember the mention of Sam Witwicky by the narrator, with a shot of what he was supposed to be. At least one plan came up several times, some kind of large birds (my memory is blurry) with the colours of the decepticons, with red eyes. Optimus prime had human eyes, it was pretty trippy lol.
I was captivated by this strange and fascinating video, in a sense. I wanted to record it for my friends, but the trailer ended before i could do so. Another video played, I was unable to go back to my strange catch.
I would appreciate it a lot if you guys could give me a hand. No matter what i try to type in the research bar of the russian website, I cannot find anything.
The websited is called sibnet . ru (safe, tested).
So far, I have only searched for about 20 minutes today. I will keep going tomorrow.
Thank you in advance for your help!
2024.05.15 00:03 captain_DA The Qabalah: Malkuth, where the lighting strikes.
In the realm of nature, nothing quite captures the awe-inspiring force of lightning. Even in our modern-day age, with all our wonders and technologies, witnessing a lightning strike and hearing its thunderous sound can’t help but leave us with a sense of awe and respect for the power of the natural world.
Among the Cherokee, a special kind of respect was paid to lightning. The burnt wood from trees struck by lightning was sought after by shamans. The wood would be buried in soil to ensure a healthy crop and warriors were rubbed with the charred wood for strength, effectively being “charged with bolts of sacred fire”.
To the Cherokee and other groups, lightning was a dramatic display from the spiritual realm, and served as a reminder of the spiritual forces that pervade the natural world and influence human life.
Interestingly, the branching pattern observed in lightning strikes is mirrored across various natural phenomena in our world, with one of the most recognizable patterns being the network of branches in trees.
This striking similarity stems from a shared principle of growth and movement: both the electric charge of lightning and the tree limb navigate from a point of lower potential to one of higher potential, albeit in opposite directions—lightning moves from a high potential charge to a lower one, while a tree limb grows towards a zone with low potential, in this case, a shaded area, towards a zone of greater potential, or sunlight exposure.
This observation highlights a universal pattern of progression; each decision branching out like the limbs of a tree or the forks of a lightning bolt. Perhaps this progression is archetypal, instilled by the Logos as a concept, which is why it is so prevalent. When perceived from a broader perspective, our lives too unfold in a similar branching design, marked by choices and diverging paths that closely resemble the intricate patterns seen in trees and lightning.
This image of a tree and lighting serves to demonstrate that the realm we inhabit is full of metaphors pointing toward higher concepts. Matter is, as the author Walter Russel wrote, “merely the record of ideas and not the ideas themselves”.
Material objects are the shadow of a greater concept which is more nebulous and abstract. The idea reigns supreme, yet its manifestation is physical form. For instance, before we create anything in the physical, it begins first as an idea in the imagination.
Within the imagination, the concept is still nebulous and it has the opportunity to take many forms. It is not yet concrete and “real”. It is still in “potential”.
Once the concept is acted upon, and work is done to bring it into form, then suddenly it has a real-world impact. It is “real”. Yet, at the same time, it’s not real. It’s only the shadow of the concept itself.
This brings up an interesting question: which is superior? The idea or the form based on the idea?
Some would suggest that the point of art, for instance, is to convey concepts. Observing a masterpiece allows us to converse with concepts of a higher order, transcending the physicality of the art piece itself. It matters not what medium the art takes, what matters is the concept that is being conveyed.
This dynamic interplay between the ethereal and the tangible showcases how higher ideas manifest and how these manifestations, in turn, draw us closer to the divine.
As the author and occultist David Goddard writes in his book Tree of Sapphires,
“By the penetrative observations of the Microcosm, you receive intimations of the Macrocosm”.
Perhaps no spiritual tradition encapsulates this concept more distinctly than Qabalah.
Qabalah is a form of Jewish mysticism aimed at understanding the nature of God and the universe. It offers a framework for comprehending the relationships between the Divine, the cosmos, and humanity through a system of ten spheres (Sephiroth) and 22 paths that represent different aspects and levels of consciousness and reality.
The system is visually represented by the Tree of Life, which serves as a map illustrating how the Infinite One, or Ain Sof, interacts with the finite world. Its emanations are called Sephiroth, which are attributes or aspects of the Infinite One.
Holistically, the Tree of Life can be viewed as the process through which the Infinite One differentiates itself into physical reality, metaphorically representing the transition from 0 to 1. It also represents the path back towards unity, from the lower to the higher.
As David Goodard writes,
“It is the lighting flash from Kether at the top of the tree, down to Malkuth that shows the path of involution, or the One Life-Power descending, plane by plane, veiling itself in denser vibratory states.
The sequence of the lighting flash from Malkuth ascending to Kether is the way of evolution, termed the Path of the Return.”
It is the Path of the Return that we will be discussing - starting with the very last sphere on the tree: Malkuth
Malkuth
The Tree of Life is a visual metaphor for how the One differentiates itself into many. One way to study the tree is to see it as a system of triangles made up of various interconnected paths. These paths are described as Activating, Formative and Balancing.
The author Robert Wang in his book The Qabalistic Tarot writes,
“...each of the key triangles on the Tree refers to one part of the Soul: The Supernal Triangle is the Supreme Spiritual Self, the Ethical Triangle is the Higher Self, and the Astral Triangle is the Personality in incarnation.”
In addition, he writes “the core structure of each part of the Self is composed of three aspects, an Activating (Yod-Fire), a Formative (Heh-Water) and an energy which is Balancing (Vau-Air)”
Therefore, each sphere works with the other to form the whole. The only exception is the final sphere, Malkuth. Malkuth contains all three aspects and includes a fourth: “Heh” or “Earth”. Yod Heh Vau Heh, also known as the Tetragrammaton, or the “unprounceable name of God”. Malkuth is the solidified end result of the actions of the Yod Heh and Vau.
You might also liken these forces to the Hegelian dialectic of Thesis, Antithesis, and Synthesis.
The forces can also be thought of states of consciousness.
The Tree of Life is also divided into three Pillars. The left Pillar are considered “active” forces and the spheres on the right side of the Pillar are considered “formative” or “passive” forces. Within the Middle are the equalibrating forces, considered consciousness itself by Qabalaist.
To visualize this better, think of music played from a guitar. The string is the formative, or passive force, the tension and vibration of the string is the active force, yet without the balancing force of the musician, no music could be created. You would just have noise.
We should regonize that there is no true beginning and no true “end”. When one looks at the Tree, both the bottom, Malkuth, and the top, Kether are both the beginning and the end. The top of the Tree contains the sphere known as Ain Soph, which is God prior to any self-manifestation, existing in no-thing, or what Ra refers to “Intelligent Infinity”.
Therefore, as the light moves further from Kether, it gradually gets stepped down into lower and lower vibrations, filtered through the activating, formative and balancing forces of each triangle.
Malkuth is denest realm on the tree, the “final” destination of the light from the One. It is the what we call the physical universe, the world of form.
In the book The Mystical Qabalah, the author and mystic Dion Fortune writes this about Malkuth,
“It is the formative, concreting function of Malkuth which finally renders tangible and definite what was, upon the higher planes, intangible and indefinite, and this is its great service to manifestation and its characteristic power.”
Within Malkuth, the tangible is precise, and the abstract takes a backseat. Forms here acquire a defined outline, in contrast to the superior spheres where the form is fluid and undefined.
Malkuth is the grounding point of the Divine’s will, where the idea finally becomes manifest.
However, the process of grounding this energy requires the use of channels and links.
Dion Fortune also writes,
“The whole problem of Malkuth is a problem of channels and connecting links. The rest of the work is done by the mind on the subtler planes; the real difficulty lies in the transition from the subtle to the dense, for the subtle is so ill-equipped to work on the dense. This transition is effected by means of the magnetism of living things, whether organic or inorganic.”
The physical, being a dense realm, can be difficult to break through without the appropriate channels and magnetism of beings and objects existing in this realm.
Being immersed in matter, it can be easy to think that we are cut off from the Divine. And, while it can be difficult to hear at times, the subtle calling of Spirit is always transmitting information.
As we work on clearing the rocks and thorns that block the heart, it becomes easier to hear the call of Spirit and to form that connection to the higher realms.
The more we form the connection and listen to the higher callings of Spirit, the greater impact Spirit can have in Malkuth.
The conduit for this connection is, of course, you. All of us have the potential to be channels for the Divine. In fact, as wanderers, this is perhaps the main reason for incarnating on this planet.
To act as that grounding point for the Divine. This is the natural role of humanity. To be the embodiment of Spirit in the physical realm of Malkuth.
This is the act of being a co-creator of the Logos.
Recall that each Logos is responsible for setting up the archetypal framework of a particular system. Everything materializing in Malkuth is a direct offspring of these archetypical blueprints.
Take, for example, the form of the galaxy. Our galaxy adopts a "spiral" configuration which one can see throughout the physical universe. This shape happens to resonate deeply with narrative structures, notably the "Hero's Journey"—a seemingly universal storytelling structure that is found in almost all myths told across cultures and time.
It can be argued that the reason this storytelling structure is so universal is because it is archetypal. That is, it is not learned, but rather inherent in all of us, accessible by those sensitive enough to perceive within the Deep Mind.
The narrative arc of the hero's journey unfolds as follows: The protagonist starts with a certain limitation, be it a belief system or another type of restraint. Eventually, the call to adventure beckons, leading them to accept this quest.
This journey propels them through trials and tribulations, adversity, and shadowy depths, facilitating their growth and leading to the acquisition of vital wisdom. After triumphing over these challenges, the hero returns, ready to embark on a new cycle, equipped with newfound insights.
This narrative framework underscores the principle of continual growth. To evolve spiritually, one must journey beyond the familiar, confront their inner darkness, and from this confrontation, arise, reborn. However, like in real life, the process is never-ending.
If one were to conceptualize this structure visually, it would mirror the form of a spiral.
Since the spiral shape is so ubiquitous, and if we understand that the Divine imprints higher concepts into the physical, then it appears that this archetypal story structure could be a universal pattern, at least in our logos.
This raises an interesting thought: galaxies with alternative formations might operate under distinct archetypal systems, a reflection of the endless variety and complexity inherent in the cosmos. Perhaps a hint as to what those archetypal frameworks could be is found it the shape of their galaxies.
How often have we heard of individuals being suddenly "struck" by a bolt of "creative genius"? Numerous tales abound of artists, scientists, writers, and the like who have given birth to magnificent creations, only to profess that the origin of their "unique" ideas felt as though they were not entirely of their own making but were, in essence, "channeled" from an external source.
This phenomenon suggests a connection to a higher reservoir of knowledge and inspiration, indicating that profound concepts are omnipresent, awaiting discovery and expression in our world.
This is part of our role here in Malkuth. To be conduits, grounding points, for higher concepts. To be the builders, where we can, of the archetypal frameworks thought up by the Logos.
This is true co-creation. To be aligned with the Divine, with Nature, allows one to receive, thus enabling them to move beyond the limitations imposed by Malkuth.
Malkuth is the first step on a journey back to the Ain Soph, back to no-thing. It is an essential step in our journey. As Dion Fortune writes,
“The Qabalah teaches that the body is the Temple of the Holy Spirit, and that unless we learn the lessons of Malkuth there can be no lasting progress beyond. The fact is that our first spiritual lessons come from those around us.
And if we cannot function effectively on the material level, learning from the day to day patterns which we have chosen for our incarnation, it is unlikely that we will be able to function effectively on a more refined spiritual plane. The ability to sense the importance of the ordinary is a special form of discrimination.”
submitted by captain_DA to lawofone [link] [comments]
Among the Cherokee, a special kind of respect was paid to lightning. The burnt wood from trees struck by lightning was sought after by shamans. The wood would be buried in soil to ensure a healthy crop and warriors were rubbed with the charred wood for strength, effectively being “charged with bolts of sacred fire”.
To the Cherokee and other groups, lightning was a dramatic display from the spiritual realm, and served as a reminder of the spiritual forces that pervade the natural world and influence human life.
Interestingly, the branching pattern observed in lightning strikes is mirrored across various natural phenomena in our world, with one of the most recognizable patterns being the network of branches in trees.
This striking similarity stems from a shared principle of growth and movement: both the electric charge of lightning and the tree limb navigate from a point of lower potential to one of higher potential, albeit in opposite directions—lightning moves from a high potential charge to a lower one, while a tree limb grows towards a zone with low potential, in this case, a shaded area, towards a zone of greater potential, or sunlight exposure.
This observation highlights a universal pattern of progression; each decision branching out like the limbs of a tree or the forks of a lightning bolt. Perhaps this progression is archetypal, instilled by the Logos as a concept, which is why it is so prevalent. When perceived from a broader perspective, our lives too unfold in a similar branching design, marked by choices and diverging paths that closely resemble the intricate patterns seen in trees and lightning.
This image of a tree and lighting serves to demonstrate that the realm we inhabit is full of metaphors pointing toward higher concepts. Matter is, as the author Walter Russel wrote, “merely the record of ideas and not the ideas themselves”.
Material objects are the shadow of a greater concept which is more nebulous and abstract. The idea reigns supreme, yet its manifestation is physical form. For instance, before we create anything in the physical, it begins first as an idea in the imagination.
Within the imagination, the concept is still nebulous and it has the opportunity to take many forms. It is not yet concrete and “real”. It is still in “potential”.
Once the concept is acted upon, and work is done to bring it into form, then suddenly it has a real-world impact. It is “real”. Yet, at the same time, it’s not real. It’s only the shadow of the concept itself.
This brings up an interesting question: which is superior? The idea or the form based on the idea?
Some would suggest that the point of art, for instance, is to convey concepts. Observing a masterpiece allows us to converse with concepts of a higher order, transcending the physicality of the art piece itself. It matters not what medium the art takes, what matters is the concept that is being conveyed.
This dynamic interplay between the ethereal and the tangible showcases how higher ideas manifest and how these manifestations, in turn, draw us closer to the divine.
As the author and occultist David Goddard writes in his book Tree of Sapphires,
“By the penetrative observations of the Microcosm, you receive intimations of the Macrocosm”.
Perhaps no spiritual tradition encapsulates this concept more distinctly than Qabalah.
Qabalah is a form of Jewish mysticism aimed at understanding the nature of God and the universe. It offers a framework for comprehending the relationships between the Divine, the cosmos, and humanity through a system of ten spheres (Sephiroth) and 22 paths that represent different aspects and levels of consciousness and reality.
The system is visually represented by the Tree of Life, which serves as a map illustrating how the Infinite One, or Ain Sof, interacts with the finite world. Its emanations are called Sephiroth, which are attributes or aspects of the Infinite One.
Holistically, the Tree of Life can be viewed as the process through which the Infinite One differentiates itself into physical reality, metaphorically representing the transition from 0 to 1. It also represents the path back towards unity, from the lower to the higher.
As David Goodard writes,
“It is the lighting flash from Kether at the top of the tree, down to Malkuth that shows the path of involution, or the One Life-Power descending, plane by plane, veiling itself in denser vibratory states.
The sequence of the lighting flash from Malkuth ascending to Kether is the way of evolution, termed the Path of the Return.”
It is the Path of the Return that we will be discussing - starting with the very last sphere on the tree: Malkuth
Malkuth
The Tree of Life is a visual metaphor for how the One differentiates itself into many. One way to study the tree is to see it as a system of triangles made up of various interconnected paths. These paths are described as Activating, Formative and Balancing.
The author Robert Wang in his book The Qabalistic Tarot writes,
“...each of the key triangles on the Tree refers to one part of the Soul: The Supernal Triangle is the Supreme Spiritual Self, the Ethical Triangle is the Higher Self, and the Astral Triangle is the Personality in incarnation.”
In addition, he writes “the core structure of each part of the Self is composed of three aspects, an Activating (Yod-Fire), a Formative (Heh-Water) and an energy which is Balancing (Vau-Air)”
Therefore, each sphere works with the other to form the whole. The only exception is the final sphere, Malkuth. Malkuth contains all three aspects and includes a fourth: “Heh” or “Earth”. Yod Heh Vau Heh, also known as the Tetragrammaton, or the “unprounceable name of God”. Malkuth is the solidified end result of the actions of the Yod Heh and Vau.
You might also liken these forces to the Hegelian dialectic of Thesis, Antithesis, and Synthesis.
The forces can also be thought of states of consciousness.
The Tree of Life is also divided into three Pillars. The left Pillar are considered “active” forces and the spheres on the right side of the Pillar are considered “formative” or “passive” forces. Within the Middle are the equalibrating forces, considered consciousness itself by Qabalaist.
To visualize this better, think of music played from a guitar. The string is the formative, or passive force, the tension and vibration of the string is the active force, yet without the balancing force of the musician, no music could be created. You would just have noise.
We should regonize that there is no true beginning and no true “end”. When one looks at the Tree, both the bottom, Malkuth, and the top, Kether are both the beginning and the end. The top of the Tree contains the sphere known as Ain Soph, which is God prior to any self-manifestation, existing in no-thing, or what Ra refers to “Intelligent Infinity”.
Therefore, as the light moves further from Kether, it gradually gets stepped down into lower and lower vibrations, filtered through the activating, formative and balancing forces of each triangle.
Malkuth is denest realm on the tree, the “final” destination of the light from the One. It is the what we call the physical universe, the world of form.
In the book The Mystical Qabalah, the author and mystic Dion Fortune writes this about Malkuth,
“It is the formative, concreting function of Malkuth which finally renders tangible and definite what was, upon the higher planes, intangible and indefinite, and this is its great service to manifestation and its characteristic power.”
Within Malkuth, the tangible is precise, and the abstract takes a backseat. Forms here acquire a defined outline, in contrast to the superior spheres where the form is fluid and undefined.
Malkuth is the grounding point of the Divine’s will, where the idea finally becomes manifest.
However, the process of grounding this energy requires the use of channels and links.
Dion Fortune also writes,
“The whole problem of Malkuth is a problem of channels and connecting links. The rest of the work is done by the mind on the subtler planes; the real difficulty lies in the transition from the subtle to the dense, for the subtle is so ill-equipped to work on the dense. This transition is effected by means of the magnetism of living things, whether organic or inorganic.”
The physical, being a dense realm, can be difficult to break through without the appropriate channels and magnetism of beings and objects existing in this realm.
Being immersed in matter, it can be easy to think that we are cut off from the Divine. And, while it can be difficult to hear at times, the subtle calling of Spirit is always transmitting information.
As we work on clearing the rocks and thorns that block the heart, it becomes easier to hear the call of Spirit and to form that connection to the higher realms.
The more we form the connection and listen to the higher callings of Spirit, the greater impact Spirit can have in Malkuth.
The conduit for this connection is, of course, you. All of us have the potential to be channels for the Divine. In fact, as wanderers, this is perhaps the main reason for incarnating on this planet.
To act as that grounding point for the Divine. This is the natural role of humanity. To be the embodiment of Spirit in the physical realm of Malkuth.
This is the act of being a co-creator of the Logos.
Recall that each Logos is responsible for setting up the archetypal framework of a particular system. Everything materializing in Malkuth is a direct offspring of these archetypical blueprints.
Take, for example, the form of the galaxy. Our galaxy adopts a "spiral" configuration which one can see throughout the physical universe. This shape happens to resonate deeply with narrative structures, notably the "Hero's Journey"—a seemingly universal storytelling structure that is found in almost all myths told across cultures and time.
It can be argued that the reason this storytelling structure is so universal is because it is archetypal. That is, it is not learned, but rather inherent in all of us, accessible by those sensitive enough to perceive within the Deep Mind.
The narrative arc of the hero's journey unfolds as follows: The protagonist starts with a certain limitation, be it a belief system or another type of restraint. Eventually, the call to adventure beckons, leading them to accept this quest.
This journey propels them through trials and tribulations, adversity, and shadowy depths, facilitating their growth and leading to the acquisition of vital wisdom. After triumphing over these challenges, the hero returns, ready to embark on a new cycle, equipped with newfound insights.
This narrative framework underscores the principle of continual growth. To evolve spiritually, one must journey beyond the familiar, confront their inner darkness, and from this confrontation, arise, reborn. However, like in real life, the process is never-ending.
If one were to conceptualize this structure visually, it would mirror the form of a spiral.
Since the spiral shape is so ubiquitous, and if we understand that the Divine imprints higher concepts into the physical, then it appears that this archetypal story structure could be a universal pattern, at least in our logos.
This raises an interesting thought: galaxies with alternative formations might operate under distinct archetypal systems, a reflection of the endless variety and complexity inherent in the cosmos. Perhaps a hint as to what those archetypal frameworks could be is found it the shape of their galaxies.
How often have we heard of individuals being suddenly "struck" by a bolt of "creative genius"? Numerous tales abound of artists, scientists, writers, and the like who have given birth to magnificent creations, only to profess that the origin of their "unique" ideas felt as though they were not entirely of their own making but were, in essence, "channeled" from an external source.
This phenomenon suggests a connection to a higher reservoir of knowledge and inspiration, indicating that profound concepts are omnipresent, awaiting discovery and expression in our world.
This is part of our role here in Malkuth. To be conduits, grounding points, for higher concepts. To be the builders, where we can, of the archetypal frameworks thought up by the Logos.
This is true co-creation. To be aligned with the Divine, with Nature, allows one to receive, thus enabling them to move beyond the limitations imposed by Malkuth.
Malkuth is the first step on a journey back to the Ain Soph, back to no-thing. It is an essential step in our journey. As Dion Fortune writes,
“The Qabalah teaches that the body is the Temple of the Holy Spirit, and that unless we learn the lessons of Malkuth there can be no lasting progress beyond. The fact is that our first spiritual lessons come from those around us.
And if we cannot function effectively on the material level, learning from the day to day patterns which we have chosen for our incarnation, it is unlikely that we will be able to function effectively on a more refined spiritual plane. The ability to sense the importance of the ordinary is a special form of discrimination.”
2024.05.15 00:03 Duffman_85 38 [M4F] Australia/online you don’t win friends with salad!
“I used to be with it, but then they changed what ‘it’ was, and now what I’m with isn’t it. And what’s ‘it’ seems weird and scary to me.”
Are you looking for casual chats? Do you send more than one word replies? Are you 30+? Do you prefer sweet or savoury? Have you ever fired two guns whilst jumping through the air? Have you ever fired one gun whilst jumping through the air?
I like to think I’m pretty easy going and get along with most people pretty easily, that said a few of my favourite topics are photography, travel, various sports, movies, music, tv etc. feel free to bring your own also.
I’ve been on here a while ago and made some good connections but then took a break but now I’m back as I’ve missed chatting and getting to know people from all over so don’t let the new account scare you off.
I’m not after anything in particular, just some lighthearted fun chats, not looking to date or meet in person, we can talk about the mundane to the fantastical and anywhere in between.
If any of this has piqued your interest please reach out and say g’day plus a little about you, I’d also love for you to tell me your fave Simpsons character so I know you’ve read the whole post.
submitted by Duffman_85 to R4R30Plus [link] [comments]
Are you looking for casual chats? Do you send more than one word replies? Are you 30+? Do you prefer sweet or savoury? Have you ever fired two guns whilst jumping through the air? Have you ever fired one gun whilst jumping through the air?
I like to think I’m pretty easy going and get along with most people pretty easily, that said a few of my favourite topics are photography, travel, various sports, movies, music, tv etc. feel free to bring your own also.
I’ve been on here a while ago and made some good connections but then took a break but now I’m back as I’ve missed chatting and getting to know people from all over so don’t let the new account scare you off.
I’m not after anything in particular, just some lighthearted fun chats, not looking to date or meet in person, we can talk about the mundane to the fantastical and anywhere in between.
If any of this has piqued your interest please reach out and say g’day plus a little about you, I’d also love for you to tell me your fave Simpsons character so I know you’ve read the whole post.
2024.05.15 00:02 mofroman Drake/Kendrick AI use - am I insane?
I didn't know where else to post this, a little background: I'm old, I haven't listened to much rap in let's say, 20 years, but this Kendrick/Drake beef is all over my feed so I got curious and went and did a little reading to see what it is all about and the thing that really jumped out at me in this entire thing is one of the Drake tracks using AI Tupac and AI Snoop.
I searched Reddit and the rest of the internet and the outrage about this feels...tepid. In fact, the reddit threads were mostly thinking that the track was lame for using AI (I agree) but not overly upset that Drake seemingly used other artist's voices without any permission in the first place.
Why aren't consumers and artists themselves completely up in arms about this? Are they and I'm just not searching the right places? I read one short interview with Snoop about this and his reaction was essentially, "meh."
If I was him I'd have been on the phone with my lawyers IMMEDIATELY (I don't have the first clue on any relationship between Drake and Snoop but even if theyre best friends I would still be like what the fuck). I did see Tupac's estate threatened a lawsuit pretty quickly but if this AI shit isn't nipped in the bud the entire music industry (among others) is going to suffer some major problems in the immediate future.
Did I miss the online uproar? Does anyone care? Help an old person understand!
submitted by mofroman to rap [link] [comments]
I searched Reddit and the rest of the internet and the outrage about this feels...tepid. In fact, the reddit threads were mostly thinking that the track was lame for using AI (I agree) but not overly upset that Drake seemingly used other artist's voices without any permission in the first place.
Why aren't consumers and artists themselves completely up in arms about this? Are they and I'm just not searching the right places? I read one short interview with Snoop about this and his reaction was essentially, "meh."
If I was him I'd have been on the phone with my lawyers IMMEDIATELY (I don't have the first clue on any relationship between Drake and Snoop but even if theyre best friends I would still be like what the fuck). I did see Tupac's estate threatened a lawsuit pretty quickly but if this AI shit isn't nipped in the bud the entire music industry (among others) is going to suffer some major problems in the immediate future.
Did I miss the online uproar? Does anyone care? Help an old person understand!
2024.05.15 00:02 e_hawthorne Emilie Autumn Did It Better: Mental Health Edition
Okay this is not specifically Taylor AND Travis, but I feel this sub would get where I am coming from.
Now I am not one to ever compare one individual's mental health conditions that may be with another person. Everyone has their own struggles and challenges they go through, even if the severity differs. However, in this situation, I would like to put my two cents in on a subject many of us already have started to discuss: Taylor's usage of mental illness, mental institutions, and just overall angst she has been harbouring since TTPD's announcement to present times. As others have pointed out before me, it has never been confirmed if Taylor has any medical condition or has any mental disorder. She did confirm back in 2019 though I believe, she has never gone to therapy as she sees her mom as the only therapist she ever could need (if it has changed since then, please let me know). To be honest, yes, it's not our place to know if she doesn't want to share, about anything involving herself, especially like mental health, as it's a personal subject for many, whether famous or not. Also I truly think therapy while super helpful for some, may not be the right for others in contrast. It genuinely depends on each individual on what they need and what works best for them. Alas, whatever we want to call Taylor is doing for the TTPD era with the usage and imagery of mental illness, personally I'm not only over it but disgusted by it.
For starters, we are led to think all this imagery and wordplay and overall presentation of mental illness and mental institutions and lobonomies etc are solely due to her broken heart over a former love (popular suggestion says it's for Matty Healy but some think it's still Joe and some think it's for other people completely or even other situations). We're left with solely her songs and her choices in words both in songs and in real life, to theorize what they could be alluding to. I have seen many Gaylors suggest these are influenced by the LGBTQIA+ was and have been treated in mainstream society. How, homosexuality was even listed an actual illness not so long ago unfortunately.
But for the sake of calling a spade a spade and being simplistic, I am just going to follow the popular belief that this era is just her choice of showing her reaction and feelings towards some ex-lover and feeling scorned by them, most likely it's Matty. Or least the grand majority of the songs seem to lean in his not so favour. That being said (and as someone who has been there with Taylor since Debut), she could have honestly chose a better direction. Mental illness isn't a joke to make people laugh at parties. It isn't a trend or the latest accessory to buy at the mall. It's not something you can just shake off and pretend it's done by the next album. It's real and it's really affects your every day life. Just as mental institutions are no joke. They're not fun playgrounds to meet potential besties at. It's literally a place that originally people were sent to against their will. Even in present times, some people are still sent to them against their will. Yes, some go now voluntarily, but it isn't always the case. I understand being heartbroken and something like ghosting can make one feel emotionally vulnerable and hurt on a multitude of levels. I just wouldn't justify making chronic word usage of "asylums", "madhouses", phrases like "they sent me away" or referencing coming straight from the hospital if she just meant it "symbolically". I get she could have easily meant Hollywood and stardom especially like she has experienced, is a crazy experience to endure, but in that case, it seems like her previous analogies of a circus works better without offending potential parties or people with actual experiences with mental institutions and/or mental illness. It reminds me of how several people say something like "I always wash my hands, I'm OCD" or "War time flashbacks, I got PTSD from *names a very underwhelming situation that disturb a person slightly*", It's careless and callous wording all around. The fact we have even seen some of Taylor's so-called fans start to make their own medical bracelets to play up this theme is disturbing in my opinion. Again mental illness isn't some necklace to show off like a diamond studded piece.
I'm not saying Taylor couldn't have felt maddened in a way by her experiences that inspired TTPD thus how she chose to display this era and such. In my own personal experience without going too much into it, I had my own ghosting experience a few years back that wasn't fun in any way, and it was with someone, who reassured me for months on end that they were going to stay and we'd always be in each other's lives so obviously my trust and faith were both shaken when I noticed one night, I got blocked from all their social media and they didn't answer any call or text I left. However, I didn't go around not only acting like a tortured Victorian woman, who was imprisoned against her own will in a sanitarium but marketing myself as one and even trying to trademark a term I clearly didn't create. Granted say Taylor hypothetically went through a whole bunch of worst case scenarios: loved ones dying, friends leaving her when she needed them the most, people she care for getting sick, potential bankruptcy, etc then fuck, I get her reason behind using all this theme and the imagery as well. But I am going to take the benefit of the doubt and say she really chose a serious topic and things associated with it, just because something went awry again with her and some person she dated unfortunately. And what makes it even more vulgar in my opinion is it's not even like her first break up. It's much more than her first rodeo at this game yet she chose to display all of her feelings for it this time in perhaps, one of the worst ways. She is being insensitive to the ones who actually have been in mental institutions, whether by choice or not, and/or are suffering from mental illness. Again maybe she has something too, maybe not but regardless, she seems tone-deaf to the bigger picture here, similar to her using soldier terminology despite never been at war or even in service.
Many musicians have used this imagery before as we've established but it doesn't make it any more right. Several artists in comparison have been public with their mental health situations and don't even choose to use this type of imagery for themselves. They'll mention it time from time, but it's definitely not treated like a personality trait from them. It's just an aspect of them but not the whole picture. The fact she's even referring to herself as "The Chairman of The Tortured Poets Department" sounds like the combination of one of the most pretentious and woe is me crock I have ever heard. We don't see Morrissey calling himself, "The Pope of Mope" (yes, the fans do but he doesn't) and I doubt we'd see Robert Smith call himself, "The King of Sad". Yet Taylor who has had what seemed like a well off childhood and many good things happen to her and never seemed to brand herself as anything less than cheery adjectives for more over a decade, it just sounds so off-putting now she's trying to play the tragic role like it's natural or genuine.
I find it important to note, one particular musician named Emilie Autumn, has been inspired by the Victorian era for her whole career and real life "tortured" writers , along with incorporating the whole asylum analogy long before Taylor, but in sheer contrast, it was documented she actually went to a psych ward in a book she published in 2009. In the book itself, she discusses what it was in both a fictional way and factual way of what she went through as well showcasing how women were treated there in present times compared with the 1800s hasn't changed that much. She wanted to write the book to empower women though and to rise above the turmoil and be stronger because of it. She was no victim here (nor trying to just use it "alt points"). She has since (and even before the book) been very open about her experiences with mental illness (she's openly bipolar and the abuse she's endured over the years, as well her songs show she's not afraid to tackle the harder subjects) and what's it really like to be in a psych ward. I feel Emilie Autumn accomplished making mental illness a subject we can understand and even relate to, without it feeling gimmicky or a cash grab until she comes up with another aesthetic. Again I'm not saying Taylor's life story has been nothing but peaches and cream though, I recognize it hasn't been. And again she isn't expected to tell us her entire medical history and every blemish she ever had, but I don't support nor think her going around at her concerts with her dancers dressed as nurses and doctors and her using mental institutions as settings when she has been so mum on the subject of mental health, whether hers or in general, is a good look especially if she's just doing it to songs about how a guy stopped pursuing her and they weren't even together for that long. It comes off disrespectful and even condescending to the ones, who really have mental conditions and we can't just shake it off with a dance number. I'm sorry she got hurt (whether she still is or was is debated), but it doesn't give her a free pass to use something as heavy as this as just an aesthetic and equally turning a blind eye when some of her fans think it's just a lighthearted thing too. I will never get over how so many are now using asylums so loosely, like "OMG this album makes me crazy, send me to an asylum next". That's fucked up to say the least. Ultimately, I just hope this phase changes fast, and hopefully, Taylor can heal from whatever she is or isn't singing about, and more people step in when an idea is just isn't a good one.
submitted by e_hawthorne to travisandtaylor [link] [comments]
Now I am not one to ever compare one individual's mental health conditions that may be with another person. Everyone has their own struggles and challenges they go through, even if the severity differs. However, in this situation, I would like to put my two cents in on a subject many of us already have started to discuss: Taylor's usage of mental illness, mental institutions, and just overall angst she has been harbouring since TTPD's announcement to present times. As others have pointed out before me, it has never been confirmed if Taylor has any medical condition or has any mental disorder. She did confirm back in 2019 though I believe, she has never gone to therapy as she sees her mom as the only therapist she ever could need (if it has changed since then, please let me know). To be honest, yes, it's not our place to know if she doesn't want to share, about anything involving herself, especially like mental health, as it's a personal subject for many, whether famous or not. Also I truly think therapy while super helpful for some, may not be the right for others in contrast. It genuinely depends on each individual on what they need and what works best for them. Alas, whatever we want to call Taylor is doing for the TTPD era with the usage and imagery of mental illness, personally I'm not only over it but disgusted by it.
For starters, we are led to think all this imagery and wordplay and overall presentation of mental illness and mental institutions and lobonomies etc are solely due to her broken heart over a former love (popular suggestion says it's for Matty Healy but some think it's still Joe and some think it's for other people completely or even other situations). We're left with solely her songs and her choices in words both in songs and in real life, to theorize what they could be alluding to. I have seen many Gaylors suggest these are influenced by the LGBTQIA+ was and have been treated in mainstream society. How, homosexuality was even listed an actual illness not so long ago unfortunately.
But for the sake of calling a spade a spade and being simplistic, I am just going to follow the popular belief that this era is just her choice of showing her reaction and feelings towards some ex-lover and feeling scorned by them, most likely it's Matty. Or least the grand majority of the songs seem to lean in his not so favour. That being said (and as someone who has been there with Taylor since Debut), she could have honestly chose a better direction. Mental illness isn't a joke to make people laugh at parties. It isn't a trend or the latest accessory to buy at the mall. It's not something you can just shake off and pretend it's done by the next album. It's real and it's really affects your every day life. Just as mental institutions are no joke. They're not fun playgrounds to meet potential besties at. It's literally a place that originally people were sent to against their will. Even in present times, some people are still sent to them against their will. Yes, some go now voluntarily, but it isn't always the case. I understand being heartbroken and something like ghosting can make one feel emotionally vulnerable and hurt on a multitude of levels. I just wouldn't justify making chronic word usage of "asylums", "madhouses", phrases like "they sent me away" or referencing coming straight from the hospital if she just meant it "symbolically". I get she could have easily meant Hollywood and stardom especially like she has experienced, is a crazy experience to endure, but in that case, it seems like her previous analogies of a circus works better without offending potential parties or people with actual experiences with mental institutions and/or mental illness. It reminds me of how several people say something like "I always wash my hands, I'm OCD" or "War time flashbacks, I got PTSD from *names a very underwhelming situation that disturb a person slightly*", It's careless and callous wording all around. The fact we have even seen some of Taylor's so-called fans start to make their own medical bracelets to play up this theme is disturbing in my opinion. Again mental illness isn't some necklace to show off like a diamond studded piece.
I'm not saying Taylor couldn't have felt maddened in a way by her experiences that inspired TTPD thus how she chose to display this era and such. In my own personal experience without going too much into it, I had my own ghosting experience a few years back that wasn't fun in any way, and it was with someone, who reassured me for months on end that they were going to stay and we'd always be in each other's lives so obviously my trust and faith were both shaken when I noticed one night, I got blocked from all their social media and they didn't answer any call or text I left. However, I didn't go around not only acting like a tortured Victorian woman, who was imprisoned against her own will in a sanitarium but marketing myself as one and even trying to trademark a term I clearly didn't create. Granted say Taylor hypothetically went through a whole bunch of worst case scenarios: loved ones dying, friends leaving her when she needed them the most, people she care for getting sick, potential bankruptcy, etc then fuck, I get her reason behind using all this theme and the imagery as well. But I am going to take the benefit of the doubt and say she really chose a serious topic and things associated with it, just because something went awry again with her and some person she dated unfortunately. And what makes it even more vulgar in my opinion is it's not even like her first break up. It's much more than her first rodeo at this game yet she chose to display all of her feelings for it this time in perhaps, one of the worst ways. She is being insensitive to the ones who actually have been in mental institutions, whether by choice or not, and/or are suffering from mental illness. Again maybe she has something too, maybe not but regardless, she seems tone-deaf to the bigger picture here, similar to her using soldier terminology despite never been at war or even in service.
Many musicians have used this imagery before as we've established but it doesn't make it any more right. Several artists in comparison have been public with their mental health situations and don't even choose to use this type of imagery for themselves. They'll mention it time from time, but it's definitely not treated like a personality trait from them. It's just an aspect of them but not the whole picture. The fact she's even referring to herself as "The Chairman of The Tortured Poets Department" sounds like the combination of one of the most pretentious and woe is me crock I have ever heard. We don't see Morrissey calling himself, "The Pope of Mope" (yes, the fans do but he doesn't) and I doubt we'd see Robert Smith call himself, "The King of Sad". Yet Taylor who has had what seemed like a well off childhood and many good things happen to her and never seemed to brand herself as anything less than cheery adjectives for more over a decade, it just sounds so off-putting now she's trying to play the tragic role like it's natural or genuine.
I find it important to note, one particular musician named Emilie Autumn, has been inspired by the Victorian era for her whole career and real life "tortured" writers , along with incorporating the whole asylum analogy long before Taylor, but in sheer contrast, it was documented she actually went to a psych ward in a book she published in 2009. In the book itself, she discusses what it was in both a fictional way and factual way of what she went through as well showcasing how women were treated there in present times compared with the 1800s hasn't changed that much. She wanted to write the book to empower women though and to rise above the turmoil and be stronger because of it. She was no victim here (nor trying to just use it "alt points"). She has since (and even before the book) been very open about her experiences with mental illness (she's openly bipolar and the abuse she's endured over the years, as well her songs show she's not afraid to tackle the harder subjects) and what's it really like to be in a psych ward. I feel Emilie Autumn accomplished making mental illness a subject we can understand and even relate to, without it feeling gimmicky or a cash grab until she comes up with another aesthetic. Again I'm not saying Taylor's life story has been nothing but peaches and cream though, I recognize it hasn't been. And again she isn't expected to tell us her entire medical history and every blemish she ever had, but I don't support nor think her going around at her concerts with her dancers dressed as nurses and doctors and her using mental institutions as settings when she has been so mum on the subject of mental health, whether hers or in general, is a good look especially if she's just doing it to songs about how a guy stopped pursuing her and they weren't even together for that long. It comes off disrespectful and even condescending to the ones, who really have mental conditions and we can't just shake it off with a dance number. I'm sorry she got hurt (whether she still is or was is debated), but it doesn't give her a free pass to use something as heavy as this as just an aesthetic and equally turning a blind eye when some of her fans think it's just a lighthearted thing too. I will never get over how so many are now using asylums so loosely, like "OMG this album makes me crazy, send me to an asylum next". That's fucked up to say the least. Ultimately, I just hope this phase changes fast, and hopefully, Taylor can heal from whatever she is or isn't singing about, and more people step in when an idea is just isn't a good one.
2024.05.15 00:01 Repulsive-Fly-5994 What’s a marriage without trust?
I’ve been married to my wife for 6 years. We dated for a year and I knew her for about 2 years prior to that. Also this is a throwaway. My wife frequents this sub from time to time.
The other day my wife, 32, and I, 35, had a conversation about trust. We have two children together, pregnant with our 3rd, and I trust her to the moon and back. With my life. She told me that despite how long we’ve been together, and our kids, she doesn’t fully trust me, about 85%-90% she said. I was a little surprised by this answer.
A little background, I’ve never cheated on my wife. I’ve actually never cheated on anyone. Not when we were dating, not when we were married. I’ve never given her a reason to not trust me. She has my phone password, email password, basically all of my social media account passwords as well.
She told me she doesn’t trust me partially because we have disagreements here and there, as well as the fact that she had a very hard past, where previous partners had cheated on her.
I do feel the distrust between my wife and I. And I feel as though it has created somewhat of a strain on our marriage. and our kids.
For example, in the fall, about 2 years ago, my brother was celebrating his 37th birthday at a pub/restaurant near his home. We live in the UK, so the drive there isn’t that bad. He lives about an hour or so from me, so when he initially asked me to come to his birthday event, I told my wife and she agreed to watch our (at the time) 4 year old, so I could go to his birthday outing. She was pregnant at the time as well. As the date approached closer, my brother shared the location for the evening. It was at a pretty fancy pub, with music, dancing, a restaurant, good food, pool and overall fun time. He already made the reservations as well.
Last minute, my wife told me she didn’t feel comfortable with me going. She said at pubs, you put yourself in an environment where you can be unfaithful, and she’d rather go together when she wasn’t pregnant. But the thing is, I wasn’t going to get hammered, or totally wasted. I was driving there and back. I was going to celebrate my brother’s birthday.
We got in a big argument about it and I just ended up staying home. Thought it as a bit much but moved on. Had our second child.
Fast forward a bit,at this point we’ve been married for about 4 1/2 going on 5 years. I get a message on twitter from my ex. Apologizing for everything, and just saying have a good life. I don’t respond, I blocked the ex, told my wife, and my wife was furious. She snatched my phone from me and demanded to look. I told her I didn’t save the messages, and swiftly deleted it when I blocked her. She started screaming at me, asking why I even use twitter in the first place, (I use twitter to keep up with some celebs) because she doesn’t have one, and I should just delete it. I ended up deleting twitter after that.
We moved on from this. Now she’s pregnant again.
So what do you think? Why does my wife treat me this way when I’ve given her no reason to distrust me? After two kids, and pregnant with our 3rd, I’ve given her the world, and somehow she still doesn’t trust me.
submitted by Repulsive-Fly-5994 to Marriage [link] [comments]
The other day my wife, 32, and I, 35, had a conversation about trust. We have two children together, pregnant with our 3rd, and I trust her to the moon and back. With my life. She told me that despite how long we’ve been together, and our kids, she doesn’t fully trust me, about 85%-90% she said. I was a little surprised by this answer.
A little background, I’ve never cheated on my wife. I’ve actually never cheated on anyone. Not when we were dating, not when we were married. I’ve never given her a reason to not trust me. She has my phone password, email password, basically all of my social media account passwords as well.
She told me she doesn’t trust me partially because we have disagreements here and there, as well as the fact that she had a very hard past, where previous partners had cheated on her.
I do feel the distrust between my wife and I. And I feel as though it has created somewhat of a strain on our marriage. and our kids.
For example, in the fall, about 2 years ago, my brother was celebrating his 37th birthday at a pub/restaurant near his home. We live in the UK, so the drive there isn’t that bad. He lives about an hour or so from me, so when he initially asked me to come to his birthday event, I told my wife and she agreed to watch our (at the time) 4 year old, so I could go to his birthday outing. She was pregnant at the time as well. As the date approached closer, my brother shared the location for the evening. It was at a pretty fancy pub, with music, dancing, a restaurant, good food, pool and overall fun time. He already made the reservations as well.
Last minute, my wife told me she didn’t feel comfortable with me going. She said at pubs, you put yourself in an environment where you can be unfaithful, and she’d rather go together when she wasn’t pregnant. But the thing is, I wasn’t going to get hammered, or totally wasted. I was driving there and back. I was going to celebrate my brother’s birthday.
We got in a big argument about it and I just ended up staying home. Thought it as a bit much but moved on. Had our second child.
Fast forward a bit,at this point we’ve been married for about 4 1/2 going on 5 years. I get a message on twitter from my ex. Apologizing for everything, and just saying have a good life. I don’t respond, I blocked the ex, told my wife, and my wife was furious. She snatched my phone from me and demanded to look. I told her I didn’t save the messages, and swiftly deleted it when I blocked her. She started screaming at me, asking why I even use twitter in the first place, (I use twitter to keep up with some celebs) because she doesn’t have one, and I should just delete it. I ended up deleting twitter after that.
We moved on from this. Now she’s pregnant again.
So what do you think? Why does my wife treat me this way when I’ve given her no reason to distrust me? After two kids, and pregnant with our 3rd, I’ve given her the world, and somehow she still doesn’t trust me.
2024.05.14 23:45 Longjumping_Area_944 Best of AI-generated music community Spotify-Playlist
The idea is to create a community and creator driven Spotify playlist with fair rules for everyone. So far, there is no real transparency on AI-generated content on Spotify. And while some despise it, many are curious to find it. So I want to create a sort of index playlist, which works by simple rules for everyone:
This to make sure that we always have room for new additions and everyone gets a fair chance. It also means the choice which songs are best are made on request of the creator in this reddit or just by Spotify statistics (most popular). There is no personal opinion of the playlist auditors involved. The criteria are purely technical.
If you request to be added, you will be.
I am very willing to invite people to share managing the playlist with me, if they promise to stick to the rules. The rules make this list easy to manage, since we don't have to discuss decisions or matters of taste. Content creators preferred.
Playlist auditors do not get a personal advantage besides being able to promote AI-generated music in general and create transparency about who's producing such.
First of all, please head over here and take a look:
https://open.spotify.com/playlist/3dVyZZTdyA6VUqSD3mmf7g?si=0e0d92be44324511
submitted by Longjumping_Area_944 to SunoAI [link] [comments]
- Every AI-content creator (no matter which tool they use exactly) can have their best song on the playlist.
- Creators with 10 or more songs can have their three best songs
- With 20 or more published songs you get to add your best five songs
This to make sure that we always have room for new additions and everyone gets a fair chance. It also means the choice which songs are best are made on request of the creator in this reddit or just by Spotify statistics (most popular). There is no personal opinion of the playlist auditors involved. The criteria are purely technical.
If you request to be added, you will be.
I am very willing to invite people to share managing the playlist with me, if they promise to stick to the rules. The rules make this list easy to manage, since we don't have to discuss decisions or matters of taste. Content creators preferred.
Playlist auditors do not get a personal advantage besides being able to promote AI-generated music in general and create transparency about who's producing such.
First of all, please head over here and take a look:
https://open.spotify.com/playlist/3dVyZZTdyA6VUqSD3mmf7g?si=0e0d92be44324511
2024.05.14 23:44 Longjumping_Area_944 Best of AI-generated music community Spotify-Playlist
The idea is to create a community and creator driven Spotify playlist with fair rules for everyone. So far, there is no real transparency on AI-generated content on Spotify. And while some despise it, many are curious to find it. So I want to create a sort of index playlist, which works by simple rules for everyone:
This to make sure that we always have room for new additions and everyone gets a fair chance. It also means the choice which songs are best are made on request of the creator in this reddit or just by Spotify statistics (most popular). There is no personal opinion of the playlist auditors involved. The criteria are purely technical.
If you request to be added, you will be.
I am very willing to invite people to share managing the playlist with me, if they promise to stick to the rules. The rules make this list easy to manage, since we don't have to discuss decisions or matters of taste. Content creators preferred.
Playlist auditors do not get a personal advantage besides being able to promote AI-generated music in general and create transparency about who's producing such.
First of all, please head over here and take a look:
https://open.spotify.com/playlist/3dVyZZTdyA6VUqSD3mmf7g?si=0e0d92be44324511
submitted by Longjumping_Area_944 to udiomusic [link] [comments]
- Every AI-content creator (no matter which tool they use exactly) can have their best song on the playlist.
- Creators with 10 or more songs can have their three best songs
- With 20 or more published songs you get to add your best five songs
This to make sure that we always have room for new additions and everyone gets a fair chance. It also means the choice which songs are best are made on request of the creator in this reddit or just by Spotify statistics (most popular). There is no personal opinion of the playlist auditors involved. The criteria are purely technical.
If you request to be added, you will be.
I am very willing to invite people to share managing the playlist with me, if they promise to stick to the rules. The rules make this list easy to manage, since we don't have to discuss decisions or matters of taste. Content creators preferred.
Playlist auditors do not get a personal advantage besides being able to promote AI-generated music in general and create transparency about who's producing such.
First of all, please head over here and take a look:
https://open.spotify.com/playlist/3dVyZZTdyA6VUqSD3mmf7g?si=0e0d92be44324511
2024.05.14 23:39 moonlighttyrant 21 [M4F] India/Anywhere - Feminine guy in search of love!
Hey there, hope you're having a wonderful day! I'm primarily looking for a monogamous role reversal relationship but I'm open to pretty much anything! Long-distance works for me and I'd be willing to relocate to you, I hate the country I'm currently in.
A few things that might be a deal breaker for you
I'm an atheist and I deal with spoilerphobia, OCD and PTSD. I'm also super privacy conscious which makes me uncomfortable talking here on reddit, I'm hoping we can move to a platform like Signal!
Appearance
I'm 5'6"/167cm, 50kgs/110lbs, I have dark brown eyes, long curly black hair, light skin, I wear glasses for myopia and astigmatism, and I lovee cross-dressing!
What I'm looking for
I'm hoping to find someone caring, protective and dominant. Someone who'd hold me and tell me everything will be okay. A sweet, kind human who has healthy moral and ethical values and stands up for what they believe in. Preferably someone who is also an atheist or agnostic. The quickest way to make me fall in love with you is to baby me ^^
More about me
I'm a homebody and have a bit of social anxiety. I spend most of my day in my room, playing pc games, watching youtube, staring at a wall, etc. I enjoy going out for late night walks and hanging out with my feline friends. I love informative videos and learning from them! I'm a lot into computers, cybersecurity and electronics. I like fixing things and understanding what makes them tick. I'm very allergic to locked down products like the iPhone, I love having root access over all of my devices. My favorite anime show is Blood+. As for music, I have an offline collection on my HDD. I love physical affection (hugs, cuddles, etc). And I'm a cat person!
Some random facts about me
I use Linux and play most of my games inside a Windows virtual machine with GPU passthrough. I use vanilla LineageOS 21.0 on my phone. I normally drink 4-6 litres of water a day and I use LibreWolf as my primary browser.
Well, I hope this reaches my person! You can be from anywhere on this space rock, time zones won't be an issue, I can sync my sleep schedule with yours! And if you decide to reach out, I request that you don't ghost me. If something doesn't work, I'd rather you let me know and we can part ways mutually :)
If you read all the way, here's a tasty cookie for you! 🍪
submitted by moonlighttyrant to r4r [link] [comments]
A few things that might be a deal breaker for you
I'm an atheist and I deal with spoilerphobia, OCD and PTSD. I'm also super privacy conscious which makes me uncomfortable talking here on reddit, I'm hoping we can move to a platform like Signal!
Appearance
I'm 5'6"/167cm, 50kgs/110lbs, I have dark brown eyes, long curly black hair, light skin, I wear glasses for myopia and astigmatism, and I lovee cross-dressing!
What I'm looking for
I'm hoping to find someone caring, protective and dominant. Someone who'd hold me and tell me everything will be okay. A sweet, kind human who has healthy moral and ethical values and stands up for what they believe in. Preferably someone who is also an atheist or agnostic. The quickest way to make me fall in love with you is to baby me ^^
More about me
I'm a homebody and have a bit of social anxiety. I spend most of my day in my room, playing pc games, watching youtube, staring at a wall, etc. I enjoy going out for late night walks and hanging out with my feline friends. I love informative videos and learning from them! I'm a lot into computers, cybersecurity and electronics. I like fixing things and understanding what makes them tick. I'm very allergic to locked down products like the iPhone, I love having root access over all of my devices. My favorite anime show is Blood+. As for music, I have an offline collection on my HDD. I love physical affection (hugs, cuddles, etc). And I'm a cat person!
Some random facts about me
I use Linux and play most of my games inside a Windows virtual machine with GPU passthrough. I use vanilla LineageOS 21.0 on my phone. I normally drink 4-6 litres of water a day and I use LibreWolf as my primary browser.
Well, I hope this reaches my person! You can be from anywhere on this space rock, time zones won't be an issue, I can sync my sleep schedule with yours! And if you decide to reach out, I request that you don't ghost me. If something doesn't work, I'd rather you let me know and we can part ways mutually :)
If you read all the way, here's a tasty cookie for you! 🍪
2024.05.14 23:37 Arbrand The Peach Factory
Living in a small southern town, you get used to the way things are. I grew up as a military brat, so my childhood memories are a blur of packing, unpacking, and getting settled. It had been seven years since we arrived, and nothing but the grace of God would make me move again. A few years ago, my father got orders to station at a base in the middle of the Mohave. I was only seventeen then, but after a few dozen screaming matches, I decided to strike out on my own a little early. I got a part-time job at the cafe, which was enough to rent a little run-down shack a couple of blocks from downtown. As far as I was concerned, I was living the dream—serving coffee a few hours a week and spending the rest of my time hanging out with friends, listening to music, and drinking.
That particular morning started the same as any other. I woke up around noon with a text from Mark to meet me at the cafe. Took me about two hours to get up and head over. The sun had just begun its descent as I pushed the door to the cafe open, the bell above tinkling softly. The sound bothered me a little bit, but I couldn’t tell why. It seemed to ring a little louder than I was expecting, and gave me this strange drilling sensation inside my head.
I ignored the feeling as the smell of slightly stale coffee and pastries washed over me. I saw Mark and Jamie already sat at our usual spot. Mark looked up as I approached, a grin spreading across his face. "Hey, Alex. Sarah should be here soon."
“So what's on the docket today?” I asked as I sat down, stealing a bear claw off Jamie's plate and taking a large bite before he had the chance to protest.
Mark’s excitement was almost palpable. He was always the one with the big ideas and crazy schemes, which I honestly appreciated. They got us into trouble more often than not, but it beat day drinking in the Walmart parking lot like everyone else our age.
"Alright, check this out," Mark said, his eyes gleaming with excitement. "I was talking to my cousin who works for the county. He told me about this old, abandoned food processing factory just outside of town. They used to can peaches there."
I gave him a skeptical look. "That’s your idea? Old, canned peaches?"
"No, idiot," he scoffed. "They left behind a ton of nitrates and phosphates. I’ve been doing some reading, and we can use them to make fireworks. I was up all night figuring it out and putting these together." He subtly opened his backpack to reveal at least a dozen PVC pipes fitted on both ends.
"Now that's what I’m talking about," I said, grinning.
Sarah walked in, catching the tail end of our conversation. "Sorry I’m late, I had a breakout and had to stop by the pharmacy. Upped my allergy meds. I fucking hate pollen," she said as I scooted over to make room for her on the bench.
"Is there anything you aren't allergic to?" I laughed.
She rolled her eyes, ignoring my question. "So, what's the plan for today?"
Mark, Jamie and I exchanged cheeky glances. "Well," I started, "let’s just hope you’re not allergic to peaches."
We finally managed to pry the side door of the factory off, which broke free from the hinges and smashed against the floor. Stepping inside, the air was thick and rancid as we bounced the beams of our flashlights around the packaging floor.
"We should split up," Mark suggested. "Alex, you and Sarah check out the storage rooms for the chemicals. Jamie and I will find the control room and see if we can get the power back on."
All of us nodded as we went our separate ways. Sarah and I wandered down the dark hallways, kicking open doors and looking for anything that looked vaguely like chemicals. The corridors were dark and damp, with black mold snaking along the walls like veins.
The first few rooms we checked were empty, filled only with dust and the remnants of long-abandoned equipment. Each door creaked as we pushed it open, revealing more decay and desolation.
As we moved further down the hallway, the mold seemed to become more aggressive, spreading in thick, dark patches along the walls and floors. The air grew heavier, making it harder to breathe. We kicked open another door, our flashlights revealing more of the same—nothing useful.
"This place is a bust," Sarah muttered,
"Let's keep looking," I replied, though I was starting to feel the same way. "There has to be something."
We continued down the corridor, our footsteps echoing in the silence. As we approached the end of the hall, something caught my eye. One door stood out, covered in black, creeping mold that seemed to pulse and writhe. Tendrils of fungus snaked out from the edges, reaching out into the hallway.
"Sarah, look at this," I said.
She turned to see what I was pointing at and her eyes widened. "That’s... different."
We approached the door cautiously as the tendrils moved and swayed.
With a deep breath, we each grabbed one side of the door and pulled. It resisted for a moment before giving way, the mold snapping and tearing as we forced it open. The smell that hit us was overpowering, a mix of rot and decay that made my eyes water.
Inside, our flashlights revealed a horrifying sight. At the back of the room sat several pallets with dozens of boxes of peaches each. But it was what grew from these boxes that will haunt my nightmares till my dying day.
The entire back wall was consumed by a towering fungal mass. Thick, fleshy stalks jutted out from the base, climbing nearly to the ceiling. The surface of the fungus glistened with a slimy, wet sheen, appearing almost like rotting flesh under our flashlight beams. Each stalk was covered in a mottled, sickly green and yellow hue, with patches of black mold that seemed to pulse in the dim light.
Interwoven within this horrific sight were bulbous growths, each one throbbing rhythmically, as if with a heartbeat of its own. They resembled obscene, overgrown tumors, ready to burst at the slightest touch. Long, sinewy tendrils extended from the main mass, creeping over the boxes and along the floor like the fingers of some malevolent creature, seeking out any life to ensnare.
The tendrils near the door twitched, slowly inching their way toward us as if aware of our presence. The air was thick with spores, glimmering in the light like tiny stars, each one a potential harbinger of decay and death.
"Oh my god," Sarah whispered, her voice barely audible over the sound of our own breathing. "What is that thing?"
We stood there, frozen in shock and disgust, before I slammed the door shut.
"Let's get the hell out of here," I said.
We hurried back down the corridor, our footsteps echoing in the oppressive silence. The lights in the facility flickered on, casting a blinding white light. I heard a bubbling, groaning noise emanate from behind the fungal door, sending a wave of nausea through my body.
We met back up with Mark and Jamie in the main area and quickly told them what we saw.
"Yo, that sounds sick," Jamie exclaimed. "We should blow it up. I found the chemicals in the control room and these bad boys are ready to go," he said, holding up a pipe bomb.
"Yeah," Mark agreed, his eyes alight with excitement. "We'd be doing the world a favor, getting rid of that thing."
Sarah shook her head, her face pale. "No way. I'm not doing this. That thing... It's not normal. We need to get out of here and call someone who knows what they're doing."
Jamie frowned. "Come on, Sarah. Don't be a buzzkill. This is a once-in-a-lifetime chance to do something epic."
"Epic?" Sarah snapped. "That thing is dangerous. We don't know what we're dealing with. I'm not risking my life for some stupid joke."
Mark stepped in with a grin. "Alright, let's all calm down. If you’re scared you can just let the men handle it.”
Sarah crossed her arms. "Fine, but I'm staying here."
"Suit yourself," Jamie said, shrugging. "But we're not leaving without taking care of that thing."
"Alright, let's do this," Mark said, looking at Jamie and me. "We'll be quick. Sarah, stay here and keep an eye out.”
The hallway looked completely different in the fluorescent lighting. I could see now that each vein of fungus emanated from that single door, like a spiral portal threatening to suck us in.
"Let's make this quick," I whispered, glancing back at Jamie and Mark. "We light the bomb, throw it in, and get the hell out of here."
Jamie nodded, holding the pipe bomb tightly in his hand. "Ready when you are."
We reached the door, and the tendrils of fungus seemed even more aggressive, writhing and pulsing as if aware of our presence. The air was thick with spores.
"On three," I whispered, gripping the edge of the door. "One... two... three."
We yanked the door open, the mold snapping and tearing as it gave way. The smell of rot and decay hit us again, making my eyes water. The monstrous fungal mass loomed before us, its bulbous growths throbbing rhythmically.
Jamie lit the fuse and threw the bomb as hard as he could inside. It struck one of the orbs, which burst, shooting a fine white mist into the air.
"Run!" I shouted, slamming the door shut. We turned and sprinted down the hallway. The explosion sounded behind us, the shockwave lifting me off my feet and sending me tumbling to the ground.
Living in a small southern town, you get used to the way things are. My parents were in the army, so we moved a lot, but now I'm staying put. I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a small headache.
I ignored it and slid into the seat across from Mark and Jamie. “So what's on the docket today?” I asked, stealing a doughnut off Jamie's plate.
“Going to go to an old peach factory and get some chemicals. I need to make some fireworks,” Mark replied, subtly revealing some pipe bombs in his bag.
Sarah walked in towards the tail end of our conversation and silently stood next to our table.
The three of us glanced at each other, unsure of how to proceed. “Sarah,” I finally started. “Are you ok?”
“Y-yeah,” she replied. “Are YOU guys feeling ok?”
We exchanged uneasy glances. “Yeah, we’re fine,” I said. After a moment, she shook her head and sat down as we continued our plans.
That evening, we broke into the peach factory. We found this disgusting, gigantic fungal growth coming out of some boxes of peaches and we blew it up with some pipe bombs.
The next day I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a small migraine.
I ignored it and slid into the seat across from Mark and Jamie. “So what's on the docket today?” I asked, stealing a maroon off Jamie's plate.
“Going to go to an old peach factory and get some chemicals. I need to make some fireworks,” Mark replied, subtly revealing some pipe bombs in his bag.
Sarah walked in towards the tail end of our conversation and silently stood next to our table.
The three of us glanced at each other, unsure of how to proceed. “Sarah,” I finally started. “Are you ok?”
“Y-yeah,” she replied. “Not really. Are YOU guys feeling Ok?”
We exchanged uneasy glances. “Yeah, we’re fine,” I said. After a moment, she shook her head and sat down as we continued our plans.
That evening, we broke into the peach factory. We found this disgusting, gigantic fungal growth coming out of some boxes of peaches and we blew it up with some pipe bombs.
The next day I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a piercing migraine.
I ignored it and slid into the seat across from Mark and Jamie. “So what's on the docket today?” I asked, stealing a bagel off Jamie's plate.
“Going to go to an old peach factory and get some chemicals. I need to make some fireworks,” Mark replied, subtly revealing some pipe bombs in his bag.
Sarah walked in towards the tail end of our conversation and silently stood next to our table.
The three of us glanced at each other, unsure of how to proceed. “Sarah,” I finally started. “Are you ok?”
“What's going on?” she asked, tears welling up in her eyes. “I’m scared.”
We exchanged uneasy glances. “It’s fine, Sarah. Just take a seat,” I said. After a moment, she shook her head and sat down as we continued our plans.
That evening, we broke into the peach factory. We found this disgusting, gigantic fungal growth coming out of some boxes of peaches and we blew it up with some pipe bombs.
The next day I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a splitting migraine.
As I slid into the seat across from Mark and Jamie, I noticed Sarah outside, fixated on a bird suspended in mid-flight. I went out to see her.
"Are you seeing this?" she asked, her voice tinged with astonishment.
"Yeah," I replied nonchalantly. "That happens all the time. Are you sure you're feeling okay?"
"What the hell do you mean, 'Am I feeling okay?'!" she screamed. "That bird is frozen mid-air, and you don't think anything weird is going on?"
Her yelling took me aback. I didn't understand her alarm, so I shrugged it off and joined Mark inside. As we began planning our nightly excursion to the peach factory, Sarah burst through the door, screaming, then vanished in a puff of smoke.
"That's odd," I mused, my brow furrowed in confusion before we shrugged it off and resumed our scheming.
The day after, I met Mark again at the cafe. This rhythm had become our existence: meetings by day, adventures by night at the old peach plant. That evening followed the familiar pattern; we reveled in the thrill of hurling pipe bombs into that small enclosed room.
This routine had completely engulfed our lives. Day after day at the cafe, night after night at the factory—it seemed as though this cycle was all we had ever known. Reflecting on it, I couldn't remember any other way of life.
However, one thing increasingly disturbed me—the ringing of the doorbell at the cafe's entrance. Each time I entered, the sound seemed sharper, more grating. Focusing on it brought a searing pain to my head, like a needle drilling through my skull. Yet, despite the agony, I found myself obsessing over it, the sound gnawing at the edges of my sanity.
One day, driven to the brink by this incessant ringing, I decided to confront it head-on. I stood by the door, letting the bell chime repeatedly. Each ring sliced through my mind, but I persisted, sweat beading on my forehead, teeth clenched in torment.
As the pain crescendoed, reality shattered. I woke to the blaring of a fire alarm, not the quaint doorbell I had imagined. The cafe was engulfed in chaos. The hallway was consumed by a sprawling fungal mass, its tendrils creeping along the walls.
In the dim, flickering light, I saw Jamie, or what was left of him. Half of his skull was missing, the fungus attached grotesquely to his exposed brain, pulsating with each eerie beat of his fading heart. Mark was there too, seemingly unharmed physically, but trapped in a delusion, his eyes glazed over, a smile playing on his lips as the fungus encased him.
Sarah lay collapsed by the fire alarm, her hand still on the lever. She had managed to pull it before succumbing to the spores that now clung to her body.
The tendrils that had enveloped me snapped violently, each break releasing a sickening crack that echoed through the eerie silence of the hallway. An outline of my body remained imprinted in the fungal mass, a mold from which I had desperately broken free.
Gritting my teeth against the pain and horror, I scrambled to Mark and Sarah. Mark was less entangled, lost in his fungal-induced stupor. I grabbed him under the arms, his body limp but alive, and dragged him across the floor. The fungus resisted, stretching like sinew before tearing away from him with wet, ripping sounds.
Sarah was heavier, her body weakened but still fighting. I clasped her wrists, pulling with all my strength. The fungus clung to her, tendrils winding up her arms like ivy. With a final, determined yank, the last of the tendrils snapped, freeing her. We left behind fragments of the monstrous growth clinging to her clothes.
Together, we staggered out into the night air, away from the suffocating enclosure. The cool air hit our faces, harsh yet cleansing. Behind us, the fire alarm continued to blare into the night. I fumbled with my phone, hands shaking, to dial the emergency number. The call went through, and within minutes, the sound of sirens cut through the stillness of the night, growing louder as help approached.
The next few days were a blur. I remember fading in and out of consciousness as nurses pumped antifungals directly into my IV, their faces blurring into the sterile environment. Once we were somewhat cognizant, the police wanted answers. One by one, we were interviewed, but we gave them nothing. I still don’t know what the exact penalty is for manufacturing explosives and using them to destroy a building, but I’m guessing it’s not community service. Jamie was still missing, and they hadn’t found any sign of him or his body. I tried to hide my tears as I knew he was already long gone.
After a few weeks, I was finally cleared for visitors and got to see Sarah again. She told me that after the explosion, she ran but couldn’t leave us behind. She came back, only to see us being consumed by the fungus. Try as she might, she wasn’t able to free us as she felt the oppressive spores take her under. She fought back and managed to pull the fire alarm before succumbing again. The doctors told her that her allergy medication gave her some resistance to the fungus; otherwise, she might have been a goner.
Mark was never the same. We never talked about what happened, and after trying once and him flipping out, I figured it was best to let sleeping dogs lie. That summer, he moved to upstate New York to work in his dad’s business. I haven’t seen him since. That fall, Sarah started college at Savannah State. I still call her every now and again, but it’s not like it used to be.
Despite all that happened, I’m not moving again. I’m happy here, and if it’s up to me, I’ll die in this little town. I still work at the cafe, as a manager now. On weekends, I come in and just sit at the booth we all used to share.
I still think about Jamie from time to time. I wonder if he's dead or still stuck in his delusion, picturing the four of us sitting at our table, talking, laughing, and passing the time. Sometimes, when the cafe is empty and the light is just right, I can almost see him there, his smile frozen in that moment before everything went wrong.
The cafe grows quieter each day, the hum of life fading into an eerie stillness. My skin feels different, as if the air itself whispers secrets I can't quite grasp. The itching that started as a minor annoyance has intensified, becoming a constant torment. I scratch at lesions that have begun to form on my arms and chest, red and raw, with patches of green spreading beneath the surface. I’ve started to wear long sleeves to cover my arms and a mask to hide my purpling lips.
Some nights, when closing, as I sit alone in the dim light of the cafe, the itching becomes unbearable. I claw at the lesions, feeling a dampness beneath my skin. Sometimes, when I cough, I could swear I see tiny spores hanging in the air, reminiscent of the bursting nodules growing on the stalks of the monster.
Occasionally, I hear the bell ring and the door open, but no one is there. I look outside into the empty night and see nothing. This went on for weeks, becoming more frequent. But one night, the door opened, and I saw Jamie standing there, the picture of health. I went to embrace him and noticed my lesions were gone too. It was almost as if we had never gone to the peach factory. It was suddenly morning, and the light shone through the cafe. For the first time in forever, we were happy. We talked about nothing, passing the time.
After what felt like hours, he told me it was time to go. But his mouth wasn’t moving—I felt like I could read his thoughts, and he could read mine. We stood up as I took one last look at the cafe and headed off with him, back to the peach factory.
As we walked, a strange calmness settled over me. I remember feeling that I wanted to ask if he had talked to Mark or Sarah, and wondered how they were doing. But deep down, somehow, I could feel their presence and I knew they were doing just fine. The sun was bright, the air crisp. The itching had vanished completely, replaced by an inexplicable craving for the sweetness of ripe peaches. Jamie and I shared a silent understanding, a bond deeper than any words could convey.
The factory loomed ahead, its doors wide open as if inviting us in. The familiar scent of peaches and something else—something earthy and ancient—filled the air. We stepped inside, side by side, feeling at home for the first time in ages.
The last thing I remember before the darkness took over was the feeling of the soft, warm peach flesh in my hand, and Jamie’s voice in my head saying, "Welcome home."
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That particular morning started the same as any other. I woke up around noon with a text from Mark to meet me at the cafe. Took me about two hours to get up and head over. The sun had just begun its descent as I pushed the door to the cafe open, the bell above tinkling softly. The sound bothered me a little bit, but I couldn’t tell why. It seemed to ring a little louder than I was expecting, and gave me this strange drilling sensation inside my head.
I ignored the feeling as the smell of slightly stale coffee and pastries washed over me. I saw Mark and Jamie already sat at our usual spot. Mark looked up as I approached, a grin spreading across his face. "Hey, Alex. Sarah should be here soon."
“So what's on the docket today?” I asked as I sat down, stealing a bear claw off Jamie's plate and taking a large bite before he had the chance to protest.
Mark’s excitement was almost palpable. He was always the one with the big ideas and crazy schemes, which I honestly appreciated. They got us into trouble more often than not, but it beat day drinking in the Walmart parking lot like everyone else our age.
"Alright, check this out," Mark said, his eyes gleaming with excitement. "I was talking to my cousin who works for the county. He told me about this old, abandoned food processing factory just outside of town. They used to can peaches there."
I gave him a skeptical look. "That’s your idea? Old, canned peaches?"
"No, idiot," he scoffed. "They left behind a ton of nitrates and phosphates. I’ve been doing some reading, and we can use them to make fireworks. I was up all night figuring it out and putting these together." He subtly opened his backpack to reveal at least a dozen PVC pipes fitted on both ends.
"Now that's what I’m talking about," I said, grinning.
Sarah walked in, catching the tail end of our conversation. "Sorry I’m late, I had a breakout and had to stop by the pharmacy. Upped my allergy meds. I fucking hate pollen," she said as I scooted over to make room for her on the bench.
"Is there anything you aren't allergic to?" I laughed.
She rolled her eyes, ignoring my question. "So, what's the plan for today?"
Mark, Jamie and I exchanged cheeky glances. "Well," I started, "let’s just hope you’re not allergic to peaches."
"We should split up," Mark suggested. "Alex, you and Sarah check out the storage rooms for the chemicals. Jamie and I will find the control room and see if we can get the power back on."
All of us nodded as we went our separate ways. Sarah and I wandered down the dark hallways, kicking open doors and looking for anything that looked vaguely like chemicals. The corridors were dark and damp, with black mold snaking along the walls like veins.
The first few rooms we checked were empty, filled only with dust and the remnants of long-abandoned equipment. Each door creaked as we pushed it open, revealing more decay and desolation.
As we moved further down the hallway, the mold seemed to become more aggressive, spreading in thick, dark patches along the walls and floors. The air grew heavier, making it harder to breathe. We kicked open another door, our flashlights revealing more of the same—nothing useful.
"This place is a bust," Sarah muttered,
"Let's keep looking," I replied, though I was starting to feel the same way. "There has to be something."
We continued down the corridor, our footsteps echoing in the silence. As we approached the end of the hall, something caught my eye. One door stood out, covered in black, creeping mold that seemed to pulse and writhe. Tendrils of fungus snaked out from the edges, reaching out into the hallway.
"Sarah, look at this," I said.
She turned to see what I was pointing at and her eyes widened. "That’s... different."
We approached the door cautiously as the tendrils moved and swayed.
With a deep breath, we each grabbed one side of the door and pulled. It resisted for a moment before giving way, the mold snapping and tearing as we forced it open. The smell that hit us was overpowering, a mix of rot and decay that made my eyes water.
Inside, our flashlights revealed a horrifying sight. At the back of the room sat several pallets with dozens of boxes of peaches each. But it was what grew from these boxes that will haunt my nightmares till my dying day.
The entire back wall was consumed by a towering fungal mass. Thick, fleshy stalks jutted out from the base, climbing nearly to the ceiling. The surface of the fungus glistened with a slimy, wet sheen, appearing almost like rotting flesh under our flashlight beams. Each stalk was covered in a mottled, sickly green and yellow hue, with patches of black mold that seemed to pulse in the dim light.
Interwoven within this horrific sight were bulbous growths, each one throbbing rhythmically, as if with a heartbeat of its own. They resembled obscene, overgrown tumors, ready to burst at the slightest touch. Long, sinewy tendrils extended from the main mass, creeping over the boxes and along the floor like the fingers of some malevolent creature, seeking out any life to ensnare.
The tendrils near the door twitched, slowly inching their way toward us as if aware of our presence. The air was thick with spores, glimmering in the light like tiny stars, each one a potential harbinger of decay and death.
"Oh my god," Sarah whispered, her voice barely audible over the sound of our own breathing. "What is that thing?"
We stood there, frozen in shock and disgust, before I slammed the door shut.
"Let's get the hell out of here," I said.
We hurried back down the corridor, our footsteps echoing in the oppressive silence. The lights in the facility flickered on, casting a blinding white light. I heard a bubbling, groaning noise emanate from behind the fungal door, sending a wave of nausea through my body.
We met back up with Mark and Jamie in the main area and quickly told them what we saw.
"Yo, that sounds sick," Jamie exclaimed. "We should blow it up. I found the chemicals in the control room and these bad boys are ready to go," he said, holding up a pipe bomb.
"Yeah," Mark agreed, his eyes alight with excitement. "We'd be doing the world a favor, getting rid of that thing."
Sarah shook her head, her face pale. "No way. I'm not doing this. That thing... It's not normal. We need to get out of here and call someone who knows what they're doing."
Jamie frowned. "Come on, Sarah. Don't be a buzzkill. This is a once-in-a-lifetime chance to do something epic."
"Epic?" Sarah snapped. "That thing is dangerous. We don't know what we're dealing with. I'm not risking my life for some stupid joke."
Mark stepped in with a grin. "Alright, let's all calm down. If you’re scared you can just let the men handle it.”
Sarah crossed her arms. "Fine, but I'm staying here."
"Suit yourself," Jamie said, shrugging. "But we're not leaving without taking care of that thing."
"Alright, let's do this," Mark said, looking at Jamie and me. "We'll be quick. Sarah, stay here and keep an eye out.”
The hallway looked completely different in the fluorescent lighting. I could see now that each vein of fungus emanated from that single door, like a spiral portal threatening to suck us in.
"Let's make this quick," I whispered, glancing back at Jamie and Mark. "We light the bomb, throw it in, and get the hell out of here."
Jamie nodded, holding the pipe bomb tightly in his hand. "Ready when you are."
We reached the door, and the tendrils of fungus seemed even more aggressive, writhing and pulsing as if aware of our presence. The air was thick with spores.
"On three," I whispered, gripping the edge of the door. "One... two... three."
We yanked the door open, the mold snapping and tearing as it gave way. The smell of rot and decay hit us again, making my eyes water. The monstrous fungal mass loomed before us, its bulbous growths throbbing rhythmically.
Jamie lit the fuse and threw the bomb as hard as he could inside. It struck one of the orbs, which burst, shooting a fine white mist into the air.
"Run!" I shouted, slamming the door shut. We turned and sprinted down the hallway. The explosion sounded behind us, the shockwave lifting me off my feet and sending me tumbling to the ground.
I ignored it and slid into the seat across from Mark and Jamie. “So what's on the docket today?” I asked, stealing a doughnut off Jamie's plate.
“Going to go to an old peach factory and get some chemicals. I need to make some fireworks,” Mark replied, subtly revealing some pipe bombs in his bag.
Sarah walked in towards the tail end of our conversation and silently stood next to our table.
The three of us glanced at each other, unsure of how to proceed. “Sarah,” I finally started. “Are you ok?”
“Y-yeah,” she replied. “Are YOU guys feeling ok?”
We exchanged uneasy glances. “Yeah, we’re fine,” I said. After a moment, she shook her head and sat down as we continued our plans.
That evening, we broke into the peach factory. We found this disgusting, gigantic fungal growth coming out of some boxes of peaches and we blew it up with some pipe bombs.
The next day I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a small migraine.
I ignored it and slid into the seat across from Mark and Jamie. “So what's on the docket today?” I asked, stealing a maroon off Jamie's plate.
“Going to go to an old peach factory and get some chemicals. I need to make some fireworks,” Mark replied, subtly revealing some pipe bombs in his bag.
Sarah walked in towards the tail end of our conversation and silently stood next to our table.
The three of us glanced at each other, unsure of how to proceed. “Sarah,” I finally started. “Are you ok?”
“Y-yeah,” she replied. “Not really. Are YOU guys feeling Ok?”
We exchanged uneasy glances. “Yeah, we’re fine,” I said. After a moment, she shook her head and sat down as we continued our plans.
That evening, we broke into the peach factory. We found this disgusting, gigantic fungal growth coming out of some boxes of peaches and we blew it up with some pipe bombs.
The next day I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a piercing migraine.
I ignored it and slid into the seat across from Mark and Jamie. “So what's on the docket today?” I asked, stealing a bagel off Jamie's plate.
“Going to go to an old peach factory and get some chemicals. I need to make some fireworks,” Mark replied, subtly revealing some pipe bombs in his bag.
Sarah walked in towards the tail end of our conversation and silently stood next to our table.
The three of us glanced at each other, unsure of how to proceed. “Sarah,” I finally started. “Are you ok?”
“What's going on?” she asked, tears welling up in her eyes. “I’m scared.”
We exchanged uneasy glances. “It’s fine, Sarah. Just take a seat,” I said. After a moment, she shook her head and sat down as we continued our plans.
That evening, we broke into the peach factory. We found this disgusting, gigantic fungal growth coming out of some boxes of peaches and we blew it up with some pipe bombs.
The next day I woke up around noon and got a text from Mark to meet at the cafe. The smell of slightly stale coffee and pastries greeted me as I arrived. The bell's ring seemed off, giving me a splitting migraine.
As I slid into the seat across from Mark and Jamie, I noticed Sarah outside, fixated on a bird suspended in mid-flight. I went out to see her.
"Are you seeing this?" she asked, her voice tinged with astonishment.
"Yeah," I replied nonchalantly. "That happens all the time. Are you sure you're feeling okay?"
"What the hell do you mean, 'Am I feeling okay?'!" she screamed. "That bird is frozen mid-air, and you don't think anything weird is going on?"
Her yelling took me aback. I didn't understand her alarm, so I shrugged it off and joined Mark inside. As we began planning our nightly excursion to the peach factory, Sarah burst through the door, screaming, then vanished in a puff of smoke.
"That's odd," I mused, my brow furrowed in confusion before we shrugged it off and resumed our scheming.
The day after, I met Mark again at the cafe. This rhythm had become our existence: meetings by day, adventures by night at the old peach plant. That evening followed the familiar pattern; we reveled in the thrill of hurling pipe bombs into that small enclosed room.
This routine had completely engulfed our lives. Day after day at the cafe, night after night at the factory—it seemed as though this cycle was all we had ever known. Reflecting on it, I couldn't remember any other way of life.
However, one thing increasingly disturbed me—the ringing of the doorbell at the cafe's entrance. Each time I entered, the sound seemed sharper, more grating. Focusing on it brought a searing pain to my head, like a needle drilling through my skull. Yet, despite the agony, I found myself obsessing over it, the sound gnawing at the edges of my sanity.
One day, driven to the brink by this incessant ringing, I decided to confront it head-on. I stood by the door, letting the bell chime repeatedly. Each ring sliced through my mind, but I persisted, sweat beading on my forehead, teeth clenched in torment.
As the pain crescendoed, reality shattered. I woke to the blaring of a fire alarm, not the quaint doorbell I had imagined. The cafe was engulfed in chaos. The hallway was consumed by a sprawling fungal mass, its tendrils creeping along the walls.
In the dim, flickering light, I saw Jamie, or what was left of him. Half of his skull was missing, the fungus attached grotesquely to his exposed brain, pulsating with each eerie beat of his fading heart. Mark was there too, seemingly unharmed physically, but trapped in a delusion, his eyes glazed over, a smile playing on his lips as the fungus encased him.
Sarah lay collapsed by the fire alarm, her hand still on the lever. She had managed to pull it before succumbing to the spores that now clung to her body.
The tendrils that had enveloped me snapped violently, each break releasing a sickening crack that echoed through the eerie silence of the hallway. An outline of my body remained imprinted in the fungal mass, a mold from which I had desperately broken free.
Gritting my teeth against the pain and horror, I scrambled to Mark and Sarah. Mark was less entangled, lost in his fungal-induced stupor. I grabbed him under the arms, his body limp but alive, and dragged him across the floor. The fungus resisted, stretching like sinew before tearing away from him with wet, ripping sounds.
Sarah was heavier, her body weakened but still fighting. I clasped her wrists, pulling with all my strength. The fungus clung to her, tendrils winding up her arms like ivy. With a final, determined yank, the last of the tendrils snapped, freeing her. We left behind fragments of the monstrous growth clinging to her clothes.
Together, we staggered out into the night air, away from the suffocating enclosure. The cool air hit our faces, harsh yet cleansing. Behind us, the fire alarm continued to blare into the night. I fumbled with my phone, hands shaking, to dial the emergency number. The call went through, and within minutes, the sound of sirens cut through the stillness of the night, growing louder as help approached.
The next few days were a blur. I remember fading in and out of consciousness as nurses pumped antifungals directly into my IV, their faces blurring into the sterile environment. Once we were somewhat cognizant, the police wanted answers. One by one, we were interviewed, but we gave them nothing. I still don’t know what the exact penalty is for manufacturing explosives and using them to destroy a building, but I’m guessing it’s not community service. Jamie was still missing, and they hadn’t found any sign of him or his body. I tried to hide my tears as I knew he was already long gone.
After a few weeks, I was finally cleared for visitors and got to see Sarah again. She told me that after the explosion, she ran but couldn’t leave us behind. She came back, only to see us being consumed by the fungus. Try as she might, she wasn’t able to free us as she felt the oppressive spores take her under. She fought back and managed to pull the fire alarm before succumbing again. The doctors told her that her allergy medication gave her some resistance to the fungus; otherwise, she might have been a goner.
Mark was never the same. We never talked about what happened, and after trying once and him flipping out, I figured it was best to let sleeping dogs lie. That summer, he moved to upstate New York to work in his dad’s business. I haven’t seen him since. That fall, Sarah started college at Savannah State. I still call her every now and again, but it’s not like it used to be.
Despite all that happened, I’m not moving again. I’m happy here, and if it’s up to me, I’ll die in this little town. I still work at the cafe, as a manager now. On weekends, I come in and just sit at the booth we all used to share.
I still think about Jamie from time to time. I wonder if he's dead or still stuck in his delusion, picturing the four of us sitting at our table, talking, laughing, and passing the time. Sometimes, when the cafe is empty and the light is just right, I can almost see him there, his smile frozen in that moment before everything went wrong.
The cafe grows quieter each day, the hum of life fading into an eerie stillness. My skin feels different, as if the air itself whispers secrets I can't quite grasp. The itching that started as a minor annoyance has intensified, becoming a constant torment. I scratch at lesions that have begun to form on my arms and chest, red and raw, with patches of green spreading beneath the surface. I’ve started to wear long sleeves to cover my arms and a mask to hide my purpling lips.
Some nights, when closing, as I sit alone in the dim light of the cafe, the itching becomes unbearable. I claw at the lesions, feeling a dampness beneath my skin. Sometimes, when I cough, I could swear I see tiny spores hanging in the air, reminiscent of the bursting nodules growing on the stalks of the monster.
Occasionally, I hear the bell ring and the door open, but no one is there. I look outside into the empty night and see nothing. This went on for weeks, becoming more frequent. But one night, the door opened, and I saw Jamie standing there, the picture of health. I went to embrace him and noticed my lesions were gone too. It was almost as if we had never gone to the peach factory. It was suddenly morning, and the light shone through the cafe. For the first time in forever, we were happy. We talked about nothing, passing the time.
After what felt like hours, he told me it was time to go. But his mouth wasn’t moving—I felt like I could read his thoughts, and he could read mine. We stood up as I took one last look at the cafe and headed off with him, back to the peach factory.
As we walked, a strange calmness settled over me. I remember feeling that I wanted to ask if he had talked to Mark or Sarah, and wondered how they were doing. But deep down, somehow, I could feel their presence and I knew they were doing just fine. The sun was bright, the air crisp. The itching had vanished completely, replaced by an inexplicable craving for the sweetness of ripe peaches. Jamie and I shared a silent understanding, a bond deeper than any words could convey.
The factory loomed ahead, its doors wide open as if inviting us in. The familiar scent of peaches and something else—something earthy and ancient—filled the air. We stepped inside, side by side, feeling at home for the first time in ages.
The last thing I remember before the darkness took over was the feeling of the soft, warm peach flesh in my hand, and Jamie’s voice in my head saying, "Welcome home."
2024.05.14 23:36 Emily_Dj122 Do you understand the meaning of this poem made by me?
Mystery charts, Ship trap,
Sagestive, dread, superstition,
Dank tropical palpable thick blackness on the yacht
You've good eyes moonless
Moist velvet Rio,
Amend rot big-game philosopher,
Fear realist huntees,
Reputation of Cannibals
Godforsaken sailor lore
Made this in school from random words I thought were different or pretty or unique and make a poem out of them but we get to use a few words to make it sound a little better. And I'm not sure the meaning my theory is soemthing about a philosopher in Rio on a yacht discovering the mystery of soemthing called Sailor lore. But do any of you see something different?
submitted by Emily_Dj122 to Poem [link] [comments]
Sagestive, dread, superstition,
Dank tropical palpable thick blackness on the yacht
You've good eyes moonless
Moist velvet Rio,
Amend rot big-game philosopher,
Fear realist huntees,
Reputation of Cannibals
Godforsaken sailor lore
Made this in school from random words I thought were different or pretty or unique and make a poem out of them but we get to use a few words to make it sound a little better. And I'm not sure the meaning my theory is soemthing about a philosopher in Rio on a yacht discovering the mystery of soemthing called Sailor lore. But do any of you see something different?
2024.05.14 23:31 surprisedkinder Childish Gambino's "This is America" is Actually a Drake, Jay Z and Diddy Diss
Before going into it, I want to mention how this post was inspired by three things. One was user u/HastyvonFuego2 and their post on going down the rabbit hole on the Kendrick sub last week. It was also inspired by Childish Gambino’s first album release in nearly 6 years where I have been sitting on this idea for a while but he inspired me to finally post this week like he did (never posted on Reddit at all before so be gentle if I am not doing it right)! I was also inspired by an interview Bino gave to GQ about breaking down his most iconic characters. In this interview he says how This is America started out as a Drake diss but then he realized the song was too hard for just Drake so he kept working on it. He also talks in this interview about how all culture is about compression. Which means that yes, This is America is about the gun violence and police issues in America, but compressed in this video is also more about where that culture comes from which he shows is from a small handful of rap moguls, namely Drake, Diddy and Jay-Z (bear with me on this long post, I think/hope it will be worth it). At the end I talk briefly about how Little Foot Big Foot might be in this same vein of cultural compression.
[Intro: Choir]
Yeah, yeah, yeah, yeah, yeah
Yeah, yeah, yeah, go, go away
The beginning of this song has no background music yet, which really gives it an ‘in the beginning’ feel. Then Gambino starts doing his dances with weird facial expressions. I will explain as we go through his video how those expressions and dance moves represent different famous rap moguls. One easy look to pick out right away is Jay-Z’s famous lip curl/growl look that Gambino gives with a head nod repeatedly. The colonial pants have been a hot topic, but since it’s only the pants that are colonial, Gambino is saying the bottom or basis for this violent culture in America is ultimately colonialism. The lyrics ‘Go Away’, are likely foreshadowing the rap moguls wanting other popular rap rivals to ‘go away’ or they will make them (aka murder them) for profit.
[Bridge: Childish Gambino & Young Thug]
We just wanna party
Party just for you
We just want the money
Money just for you (Yeah)
Usually you want money for yourself and to party for yourself, so this is a bit odd. But what Gambino is referring to is similar to these Diddy ‘freakoff parties’ we are hearing about where people who want to be famous are really partying for these rap moguls so they can get close to them. Where they suck up to them saying that they want to earn the mogul money from their songs.
I know you wanna party
Party just for free
Girl, you got me dancin' (Girl, you got me dancin')
Dance and shake the frame (Yeah)
Then this almost feels like the Diddy rebuttal where he’s like ya I know you want to party and you want to do it for free. Like Katt Williams says, “you gotta tell Diddy no”, it is never free to go to those parties. There are always consequences. When you are partying you are dancing, but shaking the frame could refer to how those boundaries/edges are being crossed, lines are blurred, etc.
Then in the video, the fellow who was playing the guitar gets shot and things turn dark from happy music. I believe that this guitar tune is meant to represent 2Pac and Nas’s song Thugz Mansion. It’s one of the original greats from ‘in the beginning’. Nas famously has always had major issues with Jay-Z too (More on why 2Pac and Nas later). It also represents how it was these moguls who murdered 2Pac like Jaguar Wright and Katt Williams keep saying. Where these murders only lead to more money and fame for the killers when the dead artists’ and their music are exploited more easily.
Also note that the gun gets taken away by a school kid after the shooting, more on this later as well.
[Verse 1: Childish Gambino, Young Thug, Blocboy JB & 21 Savage]
This is America (Skrrt, skrrt, woo)
Don't catch you slippin' now (Ayy)
Look how I'm livin' now
Police be trippin' now (Woo)
Yeah, this is America (Woo, ayy)
Guns in my area (Word, my area)
There is a song called Guns in My Area by Lil Weiner and Baby Chapox that paints a vivid picture of the everyday struggles and conflicts faced by those living in communities affected by gun violence. More compression of other songs and the American gun culture.
I got the strap (Ayy, ayy)
I gotta carry 'em
I am almost certain this line is referring to 2Pac’s song Changes. Throughout This is America, Gambino takes lines from Pac’s song: “They get jealous when they see you with your mobile phone” (referred to later in this a Celly, that’s tool) “That's the sound of my tool, you say it ain't cool, My mama didn't raise no fool”
“And as long as I stay black, I gotta stay strapped, And I never get to lay back” It seems like Gambino broke up these lyrics and scattered them throughout his song. This plays into the theme that everyone is using 2Pac and enriching themselves off of his image and music. I show below how this particular section of the video represents Diddy meaning that Diddy himself is exploiting his music (and alleging that Diddy killed Pac?). We could see this exploitation play out at length with how much Diddy milked the death of Biggie like in Every Breath You Take.
Yeah, yeah, I'ma go into this (Ugh)
Yeah, yeah, this is guerilla (Woo)
Yeah, yeah, I'ma go get the bag
The song Gorilla War by $uicideboy$ and Ramirez talks about getting a bag repeatedly in the course. Also in Otis with Kanye and Jay-Z their lyrics talk about going gorilla (I talk about this song more further down), so it could be referring to this as well. It seems like Gambino is trying to pull out lyrics from all across the rap culture and embed them in his song to highlight the ‘cultural compression’.
Yeah, yeah, I'm so cold like, yeah (Yeah)
I'm so dope like, yeah (Woo)
We gon' blow like, yeah (Straight up, uh)
I think that all of the school kids in the video represent all of the rappers that are signed with these big labels. Which is interesting because they are the ones facilitating the guns for the moguls in the video. You can see that the mogul is really focused on the kids and gets agitated and directs them to follow him whenever they stray off a bit like they are his pupils, or like he owns them. Then all of a sudden the camera comes into a scene where you can see more kids shooting a rap video and all shooting money from a Supreme gun. The camera zooms out almost to show you that this is the mogul’s whole rap empire they are looking over, all of their kids in one place (this empire already includes some chaos in the background). It’s subtle but hilarious, Gambino puts fricken chickens on the ground where the kids are filming the rap video. He is directly calling all of these rappers complete chickens for playing up this lifestyle and being the cause of so much chaos rather than coming out and telling somebody what’s really going on. Trying to get their money over everything else.
[Refrain: Choir & Childish Gambino]
Ooh-ooh-ooh-ooh-ooh, tell somebody
You go tell somebody
Grandma told me
Get your money, Black man (Get your— Black man)
This is where things start to get interesting. Gambino is literally saying, go tell somebody about this! We all know what’s happening, why don’t you go let people know how bad it is? But like Jaguar Wright said, who do you tell when these moguls have the cops and feds paid off? This video is literally Gambino putting it all out there in this extremely popular song for everyone to see but yet we still just see the dancing and the violent chaos of people and police in the streets and not the root cause that is hidden in plain sight.
The vast majority of those who reviewed this video until now think this scene represents the tragic church shooting in Charleston in 2015. I think it does, but we also have to look at this from an angle of compression.
The people in the choir are all of the people who are currently singing the rap mogul’s praises and who are focused on going and getting what’s owed to them, get their money (who are also profiting off of the dead fellows music since it goes back to the original tune). You can see that each choir member has a distinct look to them. Think about who you are hearing about now who is about to be implicated in these freak offs and evil deeds. Is that Will Smith in the back left corner!? The short bald fellow in the front left maybe Kevin Hart? Rick Ross or TD Jakes maybe the bigger guy towards the back right? When the camera zooms in on the choir right at first to show their faces, doesn’t the guy in the bottom middle look like an uncanny version of Jordan Peele? Or is that meant to be Cuba Gooding Jr? Then just like the guitar fellow at the beginning, bang. You may be singing Diddy’s praises now, but he will cut you down whenever he suddenly feels like it.
I think almost for sure this initial section of the music video is Gambino acting as Diddy, because right after he shoots the choir, he does the elbow pump/chicken dance. At 3:14 in Diddy’s video for P.E. 2000 he does the chicken dance (he is up first in the video and I think Gambino is trying to say here I first present to you the first public enemy of 3 in this song). That elbow dance signals that it was Diddy and this is the end of his section.
[Chorus: Childish Gambino, Young Thug, Slim Jxmmi & Quavo]
This is America (Woo, ayy)
Don't catch you slippin' now (Woo, woo, don't catch you slippin' now)
Don't catch you slippin' now (Ayy, woah)
Look what I'm whippin' now (Slime!)
There have been many accounts of celebrities being given fancy cars after suffering abuse at the hands of these moguls. So these lyrics are saying that you better not slip up and tell people what’s really going on. And if you don’t look at this sweet carecord deal/movie contract I am going to give you. Beiber told this story about Diddy wanting to give him a luxury car.
Now suddenly, the dance switches from the chicken dance to a sudden bicep flex to signal us that we have now moved on from Gambino representing Diddy to our next mogul.
[Verse 2: Childish Gambino, Quavo, Young Thug, 21 Savage & BlocBoy JB]
This next chunk of the video is all about Jay-Z. I think this is the case because he throws his arms up in a bicep flex just like Jay does in the Otis music video at 2:38. And it makes sense Gambino would pick a dance move from a video with a huge American flag in the background to fit the ‘This is America’ theme. Gambino is mocking him saying, who are you really, the pretty guy or this hard gangster like Gambino shows in his dancing. Also right before they pan to the kids on the balcony, Bino also does Jay-Z’s signature lip curl look a couple times so we know it’s him and to signal the end of his section.
Look how I'm geekin' out (Hey)
I'm so fitted (I'm so fitted, woo)
Jay-Z is famous for making the fitted Yankees cap famous, it’s his signature look. More signs this verse is about Jay.
I'm on Gucci (I'm on Gucci)
Jay-Z has been seen in full wallpaper Gucci sweat suits but could also be referring to Gucci Mane who he hung out with at Beyonce’s tour around the time this song was released.
I'm so pretty (Yeah, yeah, woo)
I'm gon' get it (Ayy, I'm gon' get it)
Watch me move (Blaow)
These lines are probably referring to Jay-Z having a hidden preference for men, especially with the way Gambino flicks his wrist in the video when he says I’m so pretty.
This a celly (Ha)
That's a tool (Yeah)
On my Kodak (Woo) Black
I think that “this a celly, that’s a tool” harkens back to 2Pac’s lyrics in Changes where he sings, “They get jealous when they see ya with your mobile phone” then shortly after that he sings about the sound of his tool, referring to shooting a gun. But Childish flips these lyrics on their head. He is saying that it’s really the phone that’s a tool to be using, not a gun. And pans up and shows (the school kids specifically) on the balcony filming everything going on below. He’s telling the kids/other rappers, use your phone as a tool, you can record these bad deeds when you get blackmailed into being at the freak off. That’s how you can kill them and their career, not with a gun. Go tell somebody! There is also the reference to Kodak which plays into the picture taking theme, but also because Kodak Black has been accused of assaulting a teenage girl in a hotel room. So we have a good idea of what Gambino suggests all the kids start filming and collecting evidence of.
Ooh, know that (Yeah, know that, hold on)
Get it (Woo, get it, get it)
Ooh, work it (21)
Now we are onto Drake’s part. In the video Gambino starts doing the BlocBoy JB dance called Shoot. Drake is known for doing these little viral dance moves like in Hotline Bling. But not only that, this dance is also used in the song that both BlocBoy JB and Drake collaborate on for their video Look Alive. It starts at 2:07 in the Look Alive video. So this is Drake’s dance to signal his part is now starting.
Note this is where the pale horse rides by also potentially saying that Drake is one of the horsemen of the apocalypse. Interestingly, Drake’s collab with BlocBoy JB was pretty much the apocalypse for BlocBoy’s career, who hasn’t had a hit since.
Hunnid bands, hunnid bands, hunnid bands (Hunnid bands)
Contraband, contraband, contraband (Contraband)
I got the plug in Oaxaca (Woah)
They gonna find you like "blocka" (Blaow)
Again, we know this is Drake’s section because his song 10 bands starts out by saying “10 bands, 50 bands, 100 bands” almost identical to Bino’s lyrics here. Also Blocka was famously used by Biggie in his song Gimme the Loot which could be referring to Biggie's demise like Pac’s and making money from his death. Everything in this industry originates from pushing drugs, which has been alleged through the trafficking that Diddy, Jay-Z and Drake do through their private jets likely connected to their bosses, the Clive Davises and Lucian Grainges of the world. This escalates rap beefs and the whole culture to the next level where murder is often a consequence for young rappers in their prime when international drug lord money is involved.
An interesting point is this is the only time where Childish was about to shoot someone in the video, but where he didn’t have a school kid either handing him the gun or taking it away carefully from him. (Maybe also a diss at Drake that even though he acts hard he doesn’t shoot, he gets his horseman of the apocalypse to do his dirty deeds for him instead perhaps?). This is the beginning of the end for the rap mogul as he no longer has his kids doing his bidding for him. A simple message to show how the violence can be stopped, that these shootings can end when the kids stop enabling them. So then as soon as he can’t react in that moment and shoot someone his anger is forced to chill out, as shown by smoking a J, and to go back to exploiting the dead man’s music instead. If you don’t put a gun in someone’s hand when they are heated, those feelings too shall pass - kinda feel.
[Refrain: Choir, Childish Gambino, & Young Thug]
Ooh-ooh-ooh-ooh-ooh, tell somebody
America, I just checked my following list, and
You mothafuckas owe me
Whose voice does that sound like!? It sounds a lot like Diddy to me, public enemy #1. This is basically saying that the moguls are the ones who we all owe it to for all of this glorified gun violence in America. That we owe them way more follows and likes for what a massive influence they have had on the violence and chaos we see in America today.
Grandma told me
Get your money, Black man (Black man)
(1, 2, 3—get down)
In Moneybagg Yo’s song 1, 2, 3, he also has a line that says “1, 2, 3, let’s go!” in a similar vein.
But something interesting I came across was Nas’s song Get Down where they use a sample from James Brown's “The Boss” that sounds extremely similar to the way Gambino screams “Get Down!” Which would fit well if the guitar singer from the beginning is meant to be Nas and Pac doing Thugz Mansion.
Also make sure you check out Nas’s song Get Down so that you can hear how much Jay-Z outright copied this song for The Story of OJ. From the musical structure with the piano and interwoven samples right down to the theme reiterated by the sample at the end of Nas’s song: “If that’s how our people are gonna get down, how are we ever gonna get up?”
SZA
Finally to wrap up the video, I have been stumped for a long time as to why SZA is randomly at the end of this video sitting on one of the cars. But I think I finally know why and it reconfirms that this last scene is all about Drake. If you watch Drake’s music video for Worst Behavior (not very Canadian of him to spell behaviour that way I might add) you will see Drake rapping and dancing with a few cars surrounding him and one of those cars has other rappers making cameos in it. In Gambino’s video SZA represents that car with a famous cameo. I think this is further confirmed when the black edges of the video start closing inwards at the end of This is America, the exact same way that Worst Behavior ends. So why SZA as the cameo then? Cause it reminds people that Drake is a p*do.
This is from an article in the Rolling Stone: In 2020, Drake revealed publicly that he and SZA had dated over a decade ago, well before she was an established artist (her earliest music goes back to around 2012; her critical breakthrough, Ctrl, came in 2017). On 21 Savage’s “Mr. Right Now,” Drake rapped about a newer fling who was a fan of SZA’s: “Yeah, said she wanna fuck to some SZA, wait / ‘Cause I used to date SZA back in ’08 / If you cool with it, baby, she can still play.” A few days later, SZA responded, corroborating Drake’s claim with a slight correction: they dated in 2009, when both would have been over 18. Since SZA would not have turned 18 until late 2008, she wanted to set the record straight. “in this case a year of poetic rap license mattered 🥴lol I think he jus innocently rhymed 08 w wait [sic],” she tweeted. “I just didn’t want anybody thinking anything underage or creepy was happening . Completely innocent . Lifetimes ago . [sic]”
If you have to specifically say something isn’t creepy and distance yourself from it being lifetimes ago, it usually is creepy. Drake would’ve been 22 when she was 17. Metro Boomin also happens to be on the Mr. Right Now track. He is currently in trouble for resurfaced old tweets showing how Metro used to tweet disgusting things about what he wanted to do to underage girls. Interestingly, Metro Boomin is also now beefing with Drake.
Drake doing his dance on the car of the original musician’s music seems to be accusing Drake directly of stealing 2Pac’s music. Orlando Brown recently said the cryptic statement that “Drake is Pac” which likely means he stole 2Pac’s approach/style/audience after his death. Gambino did some good foreshadowing here too with the recent AI release Drake put out of 2Pac.
This dance scene also signals that the Drake section is now over.
[Outro: Young Thug]
You just a black man in this world
You just a barcode, ayy
You just a black man in this world
Drivin' expensive foreigns, ayy
You just a big dawg, yeah
I kenneled him in the backyard
No, probably ain't life to a dog
For a big dog
The outro lyrics speak to how these gatekeepers keep black men down and control them with things like being forced to wear a dress to become famous or to submit to homosexual/p*do acts.. In the video, as I mentioned above, the black edges close in on Drake’s dancing scene in This is America. But they don’t completely close and end things like they do in the Worst Behavior video. Instead, in Gambino’s video, the camera pans to show the mogul running for his life with Young Thug’s lyrics almost like a quiet echo in the background. He isn’t running from the cops though, he’s running from the kids and from the public. When I mentioned earlier that the kids not handing over the last gun before Drake’s scene signalled the beginning of the end for the moguls, this is that conclusion. Where it is showing that if all the kids come together to stop enabling and rather expose the moguls, people will be chasing these bastards down once we realize what has been going on behind the curtain. Then the song that Young Thug is singing can just be a quiet echo of the way things were in the past.
If you don’t think Gambino would be this deep and that I went too far down the rabbit hole, do a Google search on the calculations that he came up with for why he sings about loving until 3005 in his song. He seems to go real deep with his lyrics. So a big question this leaves us with is, what did Childish Gambino witness in the rap industry? His whole rap career plays out like he is trying to avoid industry norms.
Even in Sweatpants, he has lyrics like:
No hands like soccer teams and y'all fuck boys like Socrates
You niggas ain't coppin' these, niggas ain't lookin' like me (Nah)
Nah, I ain't checkin' I.D. (Nah), but I bounce 'em with no problem
Seems like he is trying to make it really clear across his catalogue of music that he isn’t a p*do but that other rappers are. Where he is saying that he doesn’t need to ID his potential partners because he can tell they are obviously too young and that’s not hard to do.
Tell 'em, Problem (Problem!)
I'm winnin', yeah, yeah, I'm winnin' (What?)...
Rich kid, asshole, paint me as a villain
So who was trying to paint him as a villain, Drake? And that’s why the diss was originally meant for him?
Don't be mad 'cause I'm doing me better than you doing you…
Better than you doing you
Fuck it, what you gon' do? (What?!)
He’s taunting the other rappers cause he knows they can’t say shit if they are creeps. He has the same sentiment in Bonfire “It’s a bonfire, turn the lights out, I’m burning everything you mother fuckers talk about.”
Childish Gambino has always refrained from talking about the meaning of This is America whenever he is asked, and I can only assume that all of this is why.
Little Foot Big Foot
Now with his new release, Little Foot Big Foot and applying cultural compression to it, it has me wondering if he is referring to Megan Thee Stallion and the Nicki beef? People like Nicki (calling Megan Big Foot) have been claiming for some time she wasn’t even shot in the foot by Tory Lanez. There were many people laughing and making fun of Megan over getting shot. Which could be an interesting story for Childish to tell to represent how crazy this violent culture has gotten that people just laugh and blame the victim now when you get shot. Also a good metaphor for things like ‘shooting yourself in the foot’ for not having a lawyer look over potentially predatory industry contracts like in the beginning of his video. That you want to get in the cool kids club so bad you overlook it. Not as sure on this one though since the song just came out and I have only heard it a few times.
One last thing that is really interesting, there have been tons of artists on podcasts like Shay Shay talking about the strings these ultra rich moguls can pull. Like buying awards or gatekeeping people from being in the industry at all. There was even a story, I think maybe it was Gene Deal who told it, that when Killer Mike won at the grammys that Jay-Z was so angry he made sure to mess up his night by getting him locked up as soon as he left the awards stage. These moguls are extremely powerful and have an incredible amount of sway in the world/industry. If you check out Gambino’s profile on Youtube, his old music videos keep getting taken down, like Bonfire for example is just gone. Fans have been having to upload the videos themselves. There is a reply to a comment, on one of the fan uploaded vids, from Gambino’s account himself when someone asks why the videos are being taken down. His account just replies “Noone knows why :(“ Seems a bit odd all things considered and like maybe he has been at the mercy of these gatekeepers for going against the system.
I am so curious to know what the rest of you think about all of this!
submitted by surprisedkinder to donaldglover [link] [comments]
[Intro: Choir]
Yeah, yeah, yeah, yeah, yeah
Yeah, yeah, yeah, go, go away
The beginning of this song has no background music yet, which really gives it an ‘in the beginning’ feel. Then Gambino starts doing his dances with weird facial expressions. I will explain as we go through his video how those expressions and dance moves represent different famous rap moguls. One easy look to pick out right away is Jay-Z’s famous lip curl/growl look that Gambino gives with a head nod repeatedly. The colonial pants have been a hot topic, but since it’s only the pants that are colonial, Gambino is saying the bottom or basis for this violent culture in America is ultimately colonialism. The lyrics ‘Go Away’, are likely foreshadowing the rap moguls wanting other popular rap rivals to ‘go away’ or they will make them (aka murder them) for profit.
[Bridge: Childish Gambino & Young Thug]
We just wanna party
Party just for you
We just want the money
Money just for you (Yeah)
Usually you want money for yourself and to party for yourself, so this is a bit odd. But what Gambino is referring to is similar to these Diddy ‘freakoff parties’ we are hearing about where people who want to be famous are really partying for these rap moguls so they can get close to them. Where they suck up to them saying that they want to earn the mogul money from their songs.
I know you wanna party
Party just for free
Girl, you got me dancin' (Girl, you got me dancin')
Dance and shake the frame (Yeah)
Then this almost feels like the Diddy rebuttal where he’s like ya I know you want to party and you want to do it for free. Like Katt Williams says, “you gotta tell Diddy no”, it is never free to go to those parties. There are always consequences. When you are partying you are dancing, but shaking the frame could refer to how those boundaries/edges are being crossed, lines are blurred, etc.
Then in the video, the fellow who was playing the guitar gets shot and things turn dark from happy music. I believe that this guitar tune is meant to represent 2Pac and Nas’s song Thugz Mansion. It’s one of the original greats from ‘in the beginning’. Nas famously has always had major issues with Jay-Z too (More on why 2Pac and Nas later). It also represents how it was these moguls who murdered 2Pac like Jaguar Wright and Katt Williams keep saying. Where these murders only lead to more money and fame for the killers when the dead artists’ and their music are exploited more easily.
Also note that the gun gets taken away by a school kid after the shooting, more on this later as well.
[Verse 1: Childish Gambino, Young Thug, Blocboy JB & 21 Savage]
This is America (Skrrt, skrrt, woo)
Don't catch you slippin' now (Ayy)
Look how I'm livin' now
Police be trippin' now (Woo)
Yeah, this is America (Woo, ayy)
Guns in my area (Word, my area)
There is a song called Guns in My Area by Lil Weiner and Baby Chapox that paints a vivid picture of the everyday struggles and conflicts faced by those living in communities affected by gun violence. More compression of other songs and the American gun culture.
I got the strap (Ayy, ayy)
I gotta carry 'em
I am almost certain this line is referring to 2Pac’s song Changes. Throughout This is America, Gambino takes lines from Pac’s song: “They get jealous when they see you with your mobile phone” (referred to later in this a Celly, that’s tool) “That's the sound of my tool, you say it ain't cool, My mama didn't raise no fool”
“And as long as I stay black, I gotta stay strapped, And I never get to lay back” It seems like Gambino broke up these lyrics and scattered them throughout his song. This plays into the theme that everyone is using 2Pac and enriching themselves off of his image and music. I show below how this particular section of the video represents Diddy meaning that Diddy himself is exploiting his music (and alleging that Diddy killed Pac?). We could see this exploitation play out at length with how much Diddy milked the death of Biggie like in Every Breath You Take.
Yeah, yeah, I'ma go into this (Ugh)
Yeah, yeah, this is guerilla (Woo)
Yeah, yeah, I'ma go get the bag
The song Gorilla War by $uicideboy$ and Ramirez talks about getting a bag repeatedly in the course. Also in Otis with Kanye and Jay-Z their lyrics talk about going gorilla (I talk about this song more further down), so it could be referring to this as well. It seems like Gambino is trying to pull out lyrics from all across the rap culture and embed them in his song to highlight the ‘cultural compression’.
Yeah, yeah, I'm so cold like, yeah (Yeah)
I'm so dope like, yeah (Woo)
We gon' blow like, yeah (Straight up, uh)
I think that all of the school kids in the video represent all of the rappers that are signed with these big labels. Which is interesting because they are the ones facilitating the guns for the moguls in the video. You can see that the mogul is really focused on the kids and gets agitated and directs them to follow him whenever they stray off a bit like they are his pupils, or like he owns them. Then all of a sudden the camera comes into a scene where you can see more kids shooting a rap video and all shooting money from a Supreme gun. The camera zooms out almost to show you that this is the mogul’s whole rap empire they are looking over, all of their kids in one place (this empire already includes some chaos in the background). It’s subtle but hilarious, Gambino puts fricken chickens on the ground where the kids are filming the rap video. He is directly calling all of these rappers complete chickens for playing up this lifestyle and being the cause of so much chaos rather than coming out and telling somebody what’s really going on. Trying to get their money over everything else.
[Refrain: Choir & Childish Gambino]
Ooh-ooh-ooh-ooh-ooh, tell somebody
You go tell somebody
Grandma told me
Get your money, Black man (Get your— Black man)
This is where things start to get interesting. Gambino is literally saying, go tell somebody about this! We all know what’s happening, why don’t you go let people know how bad it is? But like Jaguar Wright said, who do you tell when these moguls have the cops and feds paid off? This video is literally Gambino putting it all out there in this extremely popular song for everyone to see but yet we still just see the dancing and the violent chaos of people and police in the streets and not the root cause that is hidden in plain sight.
The vast majority of those who reviewed this video until now think this scene represents the tragic church shooting in Charleston in 2015. I think it does, but we also have to look at this from an angle of compression.
The people in the choir are all of the people who are currently singing the rap mogul’s praises and who are focused on going and getting what’s owed to them, get their money (who are also profiting off of the dead fellows music since it goes back to the original tune). You can see that each choir member has a distinct look to them. Think about who you are hearing about now who is about to be implicated in these freak offs and evil deeds. Is that Will Smith in the back left corner!? The short bald fellow in the front left maybe Kevin Hart? Rick Ross or TD Jakes maybe the bigger guy towards the back right? When the camera zooms in on the choir right at first to show their faces, doesn’t the guy in the bottom middle look like an uncanny version of Jordan Peele? Or is that meant to be Cuba Gooding Jr? Then just like the guitar fellow at the beginning, bang. You may be singing Diddy’s praises now, but he will cut you down whenever he suddenly feels like it.
I think almost for sure this initial section of the music video is Gambino acting as Diddy, because right after he shoots the choir, he does the elbow pump/chicken dance. At 3:14 in Diddy’s video for P.E. 2000 he does the chicken dance (he is up first in the video and I think Gambino is trying to say here I first present to you the first public enemy of 3 in this song). That elbow dance signals that it was Diddy and this is the end of his section.
[Chorus: Childish Gambino, Young Thug, Slim Jxmmi & Quavo]
This is America (Woo, ayy)
Don't catch you slippin' now (Woo, woo, don't catch you slippin' now)
Don't catch you slippin' now (Ayy, woah)
Look what I'm whippin' now (Slime!)
There have been many accounts of celebrities being given fancy cars after suffering abuse at the hands of these moguls. So these lyrics are saying that you better not slip up and tell people what’s really going on. And if you don’t look at this sweet carecord deal/movie contract I am going to give you. Beiber told this story about Diddy wanting to give him a luxury car.
Now suddenly, the dance switches from the chicken dance to a sudden bicep flex to signal us that we have now moved on from Gambino representing Diddy to our next mogul.
[Verse 2: Childish Gambino, Quavo, Young Thug, 21 Savage & BlocBoy JB]
This next chunk of the video is all about Jay-Z. I think this is the case because he throws his arms up in a bicep flex just like Jay does in the Otis music video at 2:38. And it makes sense Gambino would pick a dance move from a video with a huge American flag in the background to fit the ‘This is America’ theme. Gambino is mocking him saying, who are you really, the pretty guy or this hard gangster like Gambino shows in his dancing. Also right before they pan to the kids on the balcony, Bino also does Jay-Z’s signature lip curl look a couple times so we know it’s him and to signal the end of his section.
Look how I'm geekin' out (Hey)
I'm so fitted (I'm so fitted, woo)
Jay-Z is famous for making the fitted Yankees cap famous, it’s his signature look. More signs this verse is about Jay.
I'm on Gucci (I'm on Gucci)
Jay-Z has been seen in full wallpaper Gucci sweat suits but could also be referring to Gucci Mane who he hung out with at Beyonce’s tour around the time this song was released.
I'm so pretty (Yeah, yeah, woo)
I'm gon' get it (Ayy, I'm gon' get it)
Watch me move (Blaow)
These lines are probably referring to Jay-Z having a hidden preference for men, especially with the way Gambino flicks his wrist in the video when he says I’m so pretty.
This a celly (Ha)
That's a tool (Yeah)
On my Kodak (Woo) Black
I think that “this a celly, that’s a tool” harkens back to 2Pac’s lyrics in Changes where he sings, “They get jealous when they see ya with your mobile phone” then shortly after that he sings about the sound of his tool, referring to shooting a gun. But Childish flips these lyrics on their head. He is saying that it’s really the phone that’s a tool to be using, not a gun. And pans up and shows (the school kids specifically) on the balcony filming everything going on below. He’s telling the kids/other rappers, use your phone as a tool, you can record these bad deeds when you get blackmailed into being at the freak off. That’s how you can kill them and their career, not with a gun. Go tell somebody! There is also the reference to Kodak which plays into the picture taking theme, but also because Kodak Black has been accused of assaulting a teenage girl in a hotel room. So we have a good idea of what Gambino suggests all the kids start filming and collecting evidence of.
Ooh, know that (Yeah, know that, hold on)
Get it (Woo, get it, get it)
Ooh, work it (21)
Now we are onto Drake’s part. In the video Gambino starts doing the BlocBoy JB dance called Shoot. Drake is known for doing these little viral dance moves like in Hotline Bling. But not only that, this dance is also used in the song that both BlocBoy JB and Drake collaborate on for their video Look Alive. It starts at 2:07 in the Look Alive video. So this is Drake’s dance to signal his part is now starting.
Note this is where the pale horse rides by also potentially saying that Drake is one of the horsemen of the apocalypse. Interestingly, Drake’s collab with BlocBoy JB was pretty much the apocalypse for BlocBoy’s career, who hasn’t had a hit since.
Hunnid bands, hunnid bands, hunnid bands (Hunnid bands)
Contraband, contraband, contraband (Contraband)
I got the plug in Oaxaca (Woah)
They gonna find you like "blocka" (Blaow)
Again, we know this is Drake’s section because his song 10 bands starts out by saying “10 bands, 50 bands, 100 bands” almost identical to Bino’s lyrics here. Also Blocka was famously used by Biggie in his song Gimme the Loot which could be referring to Biggie's demise like Pac’s and making money from his death. Everything in this industry originates from pushing drugs, which has been alleged through the trafficking that Diddy, Jay-Z and Drake do through their private jets likely connected to their bosses, the Clive Davises and Lucian Grainges of the world. This escalates rap beefs and the whole culture to the next level where murder is often a consequence for young rappers in their prime when international drug lord money is involved.
An interesting point is this is the only time where Childish was about to shoot someone in the video, but where he didn’t have a school kid either handing him the gun or taking it away carefully from him. (Maybe also a diss at Drake that even though he acts hard he doesn’t shoot, he gets his horseman of the apocalypse to do his dirty deeds for him instead perhaps?). This is the beginning of the end for the rap mogul as he no longer has his kids doing his bidding for him. A simple message to show how the violence can be stopped, that these shootings can end when the kids stop enabling them. So then as soon as he can’t react in that moment and shoot someone his anger is forced to chill out, as shown by smoking a J, and to go back to exploiting the dead man’s music instead. If you don’t put a gun in someone’s hand when they are heated, those feelings too shall pass - kinda feel.
[Refrain: Choir, Childish Gambino, & Young Thug]
Ooh-ooh-ooh-ooh-ooh, tell somebody
America, I just checked my following list, and
You mothafuckas owe me
Whose voice does that sound like!? It sounds a lot like Diddy to me, public enemy #1. This is basically saying that the moguls are the ones who we all owe it to for all of this glorified gun violence in America. That we owe them way more follows and likes for what a massive influence they have had on the violence and chaos we see in America today.
Grandma told me
Get your money, Black man (Black man)
(1, 2, 3—get down)
In Moneybagg Yo’s song 1, 2, 3, he also has a line that says “1, 2, 3, let’s go!” in a similar vein.
But something interesting I came across was Nas’s song Get Down where they use a sample from James Brown's “The Boss” that sounds extremely similar to the way Gambino screams “Get Down!” Which would fit well if the guitar singer from the beginning is meant to be Nas and Pac doing Thugz Mansion.
Also make sure you check out Nas’s song Get Down so that you can hear how much Jay-Z outright copied this song for The Story of OJ. From the musical structure with the piano and interwoven samples right down to the theme reiterated by the sample at the end of Nas’s song: “If that’s how our people are gonna get down, how are we ever gonna get up?”
SZA
Finally to wrap up the video, I have been stumped for a long time as to why SZA is randomly at the end of this video sitting on one of the cars. But I think I finally know why and it reconfirms that this last scene is all about Drake. If you watch Drake’s music video for Worst Behavior (not very Canadian of him to spell behaviour that way I might add) you will see Drake rapping and dancing with a few cars surrounding him and one of those cars has other rappers making cameos in it. In Gambino’s video SZA represents that car with a famous cameo. I think this is further confirmed when the black edges of the video start closing inwards at the end of This is America, the exact same way that Worst Behavior ends. So why SZA as the cameo then? Cause it reminds people that Drake is a p*do.
This is from an article in the Rolling Stone: In 2020, Drake revealed publicly that he and SZA had dated over a decade ago, well before she was an established artist (her earliest music goes back to around 2012; her critical breakthrough, Ctrl, came in 2017). On 21 Savage’s “Mr. Right Now,” Drake rapped about a newer fling who was a fan of SZA’s: “Yeah, said she wanna fuck to some SZA, wait / ‘Cause I used to date SZA back in ’08 / If you cool with it, baby, she can still play.” A few days later, SZA responded, corroborating Drake’s claim with a slight correction: they dated in 2009, when both would have been over 18. Since SZA would not have turned 18 until late 2008, she wanted to set the record straight. “in this case a year of poetic rap license mattered 🥴lol I think he jus innocently rhymed 08 w wait [sic],” she tweeted. “I just didn’t want anybody thinking anything underage or creepy was happening . Completely innocent . Lifetimes ago . [sic]”
If you have to specifically say something isn’t creepy and distance yourself from it being lifetimes ago, it usually is creepy. Drake would’ve been 22 when she was 17. Metro Boomin also happens to be on the Mr. Right Now track. He is currently in trouble for resurfaced old tweets showing how Metro used to tweet disgusting things about what he wanted to do to underage girls. Interestingly, Metro Boomin is also now beefing with Drake.
Drake doing his dance on the car of the original musician’s music seems to be accusing Drake directly of stealing 2Pac’s music. Orlando Brown recently said the cryptic statement that “Drake is Pac” which likely means he stole 2Pac’s approach/style/audience after his death. Gambino did some good foreshadowing here too with the recent AI release Drake put out of 2Pac.
This dance scene also signals that the Drake section is now over.
[Outro: Young Thug]
You just a black man in this world
You just a barcode, ayy
You just a black man in this world
Drivin' expensive foreigns, ayy
You just a big dawg, yeah
I kenneled him in the backyard
No, probably ain't life to a dog
For a big dog
The outro lyrics speak to how these gatekeepers keep black men down and control them with things like being forced to wear a dress to become famous or to submit to homosexual/p*do acts.. In the video, as I mentioned above, the black edges close in on Drake’s dancing scene in This is America. But they don’t completely close and end things like they do in the Worst Behavior video. Instead, in Gambino’s video, the camera pans to show the mogul running for his life with Young Thug’s lyrics almost like a quiet echo in the background. He isn’t running from the cops though, he’s running from the kids and from the public. When I mentioned earlier that the kids not handing over the last gun before Drake’s scene signalled the beginning of the end for the moguls, this is that conclusion. Where it is showing that if all the kids come together to stop enabling and rather expose the moguls, people will be chasing these bastards down once we realize what has been going on behind the curtain. Then the song that Young Thug is singing can just be a quiet echo of the way things were in the past.
If you don’t think Gambino would be this deep and that I went too far down the rabbit hole, do a Google search on the calculations that he came up with for why he sings about loving until 3005 in his song. He seems to go real deep with his lyrics. So a big question this leaves us with is, what did Childish Gambino witness in the rap industry? His whole rap career plays out like he is trying to avoid industry norms.
Even in Sweatpants, he has lyrics like:
No hands like soccer teams and y'all fuck boys like Socrates
You niggas ain't coppin' these, niggas ain't lookin' like me (Nah)
Nah, I ain't checkin' I.D. (Nah), but I bounce 'em with no problem
Seems like he is trying to make it really clear across his catalogue of music that he isn’t a p*do but that other rappers are. Where he is saying that he doesn’t need to ID his potential partners because he can tell they are obviously too young and that’s not hard to do.
Tell 'em, Problem (Problem!)
I'm winnin', yeah, yeah, I'm winnin' (What?)...
Rich kid, asshole, paint me as a villain
So who was trying to paint him as a villain, Drake? And that’s why the diss was originally meant for him?
Don't be mad 'cause I'm doing me better than you doing you…
Better than you doing you
Fuck it, what you gon' do? (What?!)
He’s taunting the other rappers cause he knows they can’t say shit if they are creeps. He has the same sentiment in Bonfire “It’s a bonfire, turn the lights out, I’m burning everything you mother fuckers talk about.”
Childish Gambino has always refrained from talking about the meaning of This is America whenever he is asked, and I can only assume that all of this is why.
Little Foot Big Foot
Now with his new release, Little Foot Big Foot and applying cultural compression to it, it has me wondering if he is referring to Megan Thee Stallion and the Nicki beef? People like Nicki (calling Megan Big Foot) have been claiming for some time she wasn’t even shot in the foot by Tory Lanez. There were many people laughing and making fun of Megan over getting shot. Which could be an interesting story for Childish to tell to represent how crazy this violent culture has gotten that people just laugh and blame the victim now when you get shot. Also a good metaphor for things like ‘shooting yourself in the foot’ for not having a lawyer look over potentially predatory industry contracts like in the beginning of his video. That you want to get in the cool kids club so bad you overlook it. Not as sure on this one though since the song just came out and I have only heard it a few times.
One last thing that is really interesting, there have been tons of artists on podcasts like Shay Shay talking about the strings these ultra rich moguls can pull. Like buying awards or gatekeeping people from being in the industry at all. There was even a story, I think maybe it was Gene Deal who told it, that when Killer Mike won at the grammys that Jay-Z was so angry he made sure to mess up his night by getting him locked up as soon as he left the awards stage. These moguls are extremely powerful and have an incredible amount of sway in the world/industry. If you check out Gambino’s profile on Youtube, his old music videos keep getting taken down, like Bonfire for example is just gone. Fans have been having to upload the videos themselves. There is a reply to a comment, on one of the fan uploaded vids, from Gambino’s account himself when someone asks why the videos are being taken down. His account just replies “Noone knows why :(“ Seems a bit odd all things considered and like maybe he has been at the mercy of these gatekeepers for going against the system.
I am so curious to know what the rest of you think about all of this!
2024.05.14 23:24 Legitimate-Deer5174 LF healer duo or bestie for fun gaming adventures 🍀
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I’m 33 years old and from Sweden. Inbetween jobs right now, but am a programmer. I enjoy music, shows, anime, cute things, shopping, travelling, coffee, drinks, 420, psychedelics, and more. Besides gaming we could get high and talk about life, watch some good show or anime, and just beat life’s challenges together.
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submitted by Legitimate-Deer5174 to MakeNewFriendsHere [link] [comments]
I’m looking for someone to game with and befriend. I used to play a lot of WoW and want to get back into it (especially Classic) with someone. If you’re new to it I’ll teach you. Also open to other games, I play Diablo, Overwatch, Risk of Rain 2, Civ 6, Lethal Company, Baldur’s Gate 3, etc. So I’m sure we can find something to play together.
I’m 33 years old and from Sweden. Inbetween jobs right now, but am a programmer. I enjoy music, shows, anime, cute things, shopping, travelling, coffee, drinks, 420, psychedelics, and more. Besides gaming we could get high and talk about life, watch some good show or anime, and just beat life’s challenges together.
If this all sounds cool then DM me and let’s have a conversation about future adventures. Feel free to tell me a bit about yourself or ask me questions if there’s anything you’re curious about.
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submitted by Large_Scene3565 to Statisticshelpers_ [link] [comments]
WhatsApp: +1 (213) 594-5657
Call: +1 727 456 9641
Website: hiraedu. com
Email: [info@hiraedu](mailto:info@hiraedu). com
ACADEMIC TASKS MY TEAM AND I CAN COMPLETE:
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- Full Courses: Final rates for full class help depend all the foregoing plus: total number of hw, quizzes, exams, discussion posts, and other academic tasks left that need to be completed, total number of weeks or modules left in the class to complete, and whether there is required multi factor authentication for logging in like Duo Push or text passcode.
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- Rationale for My Rates: I sincerely believe my rates are more than fair considering my education, skills, native born U.S. resident status, legitimacy, and the substantial amount of value, stress relief, and saved time & energy I’d be providing you in exchange for my valuable, irretrievable time, energy, and effort.
- Disclaimer About Rates: Completing someone else's exam, essay, or homework assignment is obviously NOT something you can just freely ask anyone to do, especially on the internet. Therefore, such help should be well-compensated. Services that are reliable and deliver high-quality results are difficult to find and are very high in demand. Thus, I expect to be compensated fairly for all the value, stress relief, and saved time & energy my services provide. However, I may be willing to negotiate rates if necessary.
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- Full Class Help Rates: $595 – $2495 USD
- Exam & Test Help Rates: $150 – $350 USD
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At the risk of sounding arrogant, I consider myself to be at least marginally more intelligent (both academically & socially) than the average person. Therefore, if I ever decided to suddenly risk prison time, risk my reputation, and risk enduring the wrath of modern-day “cancel culture” by scamming people out of their money:
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Contact Details for Hiraedu Helper:
WhatsApp: +1 (213) 594-5657
Call: +1 727 456 9641
Website: hiraedu. com
Email: [info@hiraedu](mailto:info@hiraedu). com
CONCLUSION:
- My Mission: Thank you for taking the time to read my Reddit post. I take what I do very seriously and I always strive to get the highest possible grades for all students who entrust me with their coursework.
- Closing Words: Please feel free to reach out to me if you're sincerely interested in having help you with your school work. I am available via text, email, and call almost 24/7/365.
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2024.05.14 23:19 Abject_Garden_1782 Dealing with those thoughts that don’t leave you alone…
Hey all. I’ve been going through a bit of a stresssful/overwhelming time which triggers my cPTSD symptoms. I’m wondering if anyone has advice on how to counteract the negative/angry train of thoughts that gets strong when this happens. I recognize these thoughts and feelings now for what they are but keeping them from affecting my mood and therefore the people around me is tricky.
The inner dialogue is aggrevating and very distracting(the cptsd is coupled with adhd). Currently I use some imagery, breathing breaks, cold water on my face, and I’ve recently added a soft bracelet that reminds me “feelings are temporary” and “you are good.” Struggling though with my mood and my interactions with other people. I have family coming in to visit this weekend and I’m a little worried about my state of mind.
Wondering if anyone more seasoned than me has found other affective tools to deal with mood/presence/anger.
submitted by Abject_Garden_1782 to CPTSD [link] [comments]
The inner dialogue is aggrevating and very distracting(the cptsd is coupled with adhd). Currently I use some imagery, breathing breaks, cold water on my face, and I’ve recently added a soft bracelet that reminds me “feelings are temporary” and “you are good.” Struggling though with my mood and my interactions with other people. I have family coming in to visit this weekend and I’m a little worried about my state of mind.
Wondering if anyone more seasoned than me has found other affective tools to deal with mood/presence/anger.
2024.05.14 23:19 FabuliciousFruitLoop One year in
I would like to add an encouragement post. I am at my 1-year anniversary this week.
As far as I can figure out I have POTS, MCAS, CFS. My recent gut screen was actually pretty good except for a couple of aspects that need correcting.
I was bed/ chairbound for about 3 months. I couldn’t cope with any noisy sensory stimulation; no TV, radio, music. I literally just sat like a potato for weeks. In that time I had unintentional extended fasting where I just couldn’t stand to eat or drink for 2 or 3 days at a time. If I tried to use the stairs at home, there was crawling and resting involved, so I avoided trying to do that. I couldn’t really maintain my personal hygiene very well. My cognitive function was badly affected. Short term memory loss, on one occasion I didn’t recognise my own sister. Unable to read anything more than a couple of sentences or follow a conversation. Unable to interact with more than one person at a time.
After 6 months I was improved enough to try returning to work. I restarted at 4 hours per week. I could not drive at this point. At first I thought I was going to have to drop from a management role to a data entry clerk because my skills were significantly altered.
It is now 6 months later. I work 26-30 hours per week. I crash about 2 or 3 days per month; I’m still learning pacing but in the past month have got much, much better at this. My symptoms for everything except POTS are very significantly reduced. I still score “significantly impacted” on the different scales I am being monitored on, but compared to where I was, in material terms I am much more able. I can now drive for 30 minutes several times per week. I am holding about 50% of my previous work duties at this point. My cognitive function is dramatically better. I can lead a group meeting without crashing, for example.
Today, I had a joyous moment. I took my dog to a park I have not visited for a year. I have not been there because of an incline involved. I did a short walk with her. It was OK.
Every month I get slightly better. I have done a bunch of things to try and aid this. Thank goodness for this subreddit; it has given me the keys, signposted every single thing I’ve tried out, some of which I’m convinced are pivotal for me. I’m not writing a list because I can’t really say for sure - what has done what? Nobody is monitoring me except me. Maybe none of it worked and it was just time. Maybe I’m right, some things were crucial.
I know there are people early on in their journey looking for hope here. I would like to speak up and say I’m very much better. I am starting to contemplate the next forward steps. To all the people still profoundly debilitated: I think of you a lot. I speak about you in my paid work as a community builder. I’m so sorry that this gradual improvement I am describing has not happened for you. It sucks.
submitted by FabuliciousFruitLoop to covidlonghaulers [link] [comments]
As far as I can figure out I have POTS, MCAS, CFS. My recent gut screen was actually pretty good except for a couple of aspects that need correcting.
I was bed/ chairbound for about 3 months. I couldn’t cope with any noisy sensory stimulation; no TV, radio, music. I literally just sat like a potato for weeks. In that time I had unintentional extended fasting where I just couldn’t stand to eat or drink for 2 or 3 days at a time. If I tried to use the stairs at home, there was crawling and resting involved, so I avoided trying to do that. I couldn’t really maintain my personal hygiene very well. My cognitive function was badly affected. Short term memory loss, on one occasion I didn’t recognise my own sister. Unable to read anything more than a couple of sentences or follow a conversation. Unable to interact with more than one person at a time.
After 6 months I was improved enough to try returning to work. I restarted at 4 hours per week. I could not drive at this point. At first I thought I was going to have to drop from a management role to a data entry clerk because my skills were significantly altered.
It is now 6 months later. I work 26-30 hours per week. I crash about 2 or 3 days per month; I’m still learning pacing but in the past month have got much, much better at this. My symptoms for everything except POTS are very significantly reduced. I still score “significantly impacted” on the different scales I am being monitored on, but compared to where I was, in material terms I am much more able. I can now drive for 30 minutes several times per week. I am holding about 50% of my previous work duties at this point. My cognitive function is dramatically better. I can lead a group meeting without crashing, for example.
Today, I had a joyous moment. I took my dog to a park I have not visited for a year. I have not been there because of an incline involved. I did a short walk with her. It was OK.
Every month I get slightly better. I have done a bunch of things to try and aid this. Thank goodness for this subreddit; it has given me the keys, signposted every single thing I’ve tried out, some of which I’m convinced are pivotal for me. I’m not writing a list because I can’t really say for sure - what has done what? Nobody is monitoring me except me. Maybe none of it worked and it was just time. Maybe I’m right, some things were crucial.
I know there are people early on in their journey looking for hope here. I would like to speak up and say I’m very much better. I am starting to contemplate the next forward steps. To all the people still profoundly debilitated: I think of you a lot. I speak about you in my paid work as a community builder. I’m so sorry that this gradual improvement I am describing has not happened for you. It sucks.
2024.05.14 23:18 Kindly_Ad_6690 First time watcher. So impressed - My so far review (Up to S3)
I started this series about a week ago. My friend and I both watch an animated show called Invincible which we both love. He told me if I’m really into animated shows to check out Attack on Titan. I’ve really only watched 2 other anime before; Naruto & Death Note. Ig you can say I haven’t really dug deep into anime. But after watching this so far, it’s clear this is a must watch show even to non-anime viewers. It’s really not hard to get into. For me, it’s always really hard for me to get into any new show, thinking nothing can really meet my expectations. But whenever I do get into something that does it for me, I instantly become obsessed with it and feel the need to binge it all. Been binging aot every night and currently near the end of season 3. (Just watched the episode where they enter the cellar)
There’s so much to say why I think its a masterpiece, but il keep this piece as brief as I can. And I’m aware what I have to say here has probably been said numerous times before. So il try to avoid that.
———————————————————————————
I can imagine a lot of non-anime watchers might mistake anime as a genre of its own, not realizing they are categorized in themes of drama, comedy, sports…. Just like any other show. Here are the several themes I classify with AOT: Action, drama, dystopian, political/war, mystery.
The emphasis on War & Politics is a big one for me. They do it so well characterizing war. What a soldier does. What it does to a soldier. The large scale impacts. Also the importance of following orders, trusting your teammates and them putting their trust in you. Also a lot of sacrifice. So many people die for their collective goal of humanities freedom. It’s inspiring. Naruto does this a bit too with the whole thing about working well with your team, following command, ect. But AOT just goes way further with it and really makes it a larger part of the shows identity.
In season 1 when joining the scouts; Erwin asks those joining: “If you were ordered to die, would you do it?”. - That sentence plays huge importance for the story moving froward, and one could argue the situations some soldiers are faced with IRL when in a squad in real major war.
The world of AOT is so dark & gloomy you can get away with adding horror to one of its themes. This dark, gloomy vibe is a large part of the shows’ popular identity. It’s not only dystopian, but it’s also very anti-fascist. The characters are constantly striving for their collective goal of driving humanity towards freedom.
Another thing that makes the show pop out is obviously the Titans themselves. The idea of the titans is so cool because their scale is so wide compared to that of a regular human. Killing them is no easy feat and a titan battle has the main characters odds stacked 10:1. Their power scale makes most people scared shitless, give up and lose hope. And when the main characters do get to win, it just makes it that much more satisfying. (This is much more outlined in the beginning of the show obviously) This is where a lot of the dark gloominess in the show comes from.
Even after season 1 when its more common to see the characters effortlessly kill titans, the odds continue to get stacked against them but it doesn’t get boring at all. The show just evolves and the characters are provoked in more interesting ways.
In terms of the characters; they’re all masterful. My favourite characters right now are Levi, Mikes, and Armin (ESPECIALLY Armin after S3 EP17-18). The characters are all good and you really feel for not just the “good” characters.
The show’s obviously not afraid to kill off characters. In every battle, people die. You can say there are both more important, and lesser important characters dying in these scenes, but none of them ever feel like filler characters. They all feel like they mattered in death. Even the lesser important guys have meaning and you really feel it when these people have to sacrifice themselves for everyone else.
Even the antagonist characters eventually don’t seem like real bad guys. I’m obviously still routing for Eren and the other good guys but you begin to see the show is showing you why the bad guys aren’t bad in their own situations. Having not finished the show yet, there’s still a lot uncovered on why certain antagonists are doing what they’re doing, but it’s clear they have a strong reason for their actions and they really believe their actions are what’s perhaps best for everyone.
The runtime is more or less perfect. 4 seasons, 80-something episodes, 20 minutes each. It’s a perfect amount of time for anyone to get into. And more importantly, there’s NO filler content taking away value from the runtime. Literally 0 filler episodes. The pacing’s pretty good and they try to keep it on the faster side in order to drive the events forward, which I like.
The Plot Twists: Seems to be the biggest reason as to why people say the show’s so good. AOT does plot twists like no other. There’s quite a few “betrayals”, and moments of surprise and they come so unexpected. After seeing how they handle plot twists in this show, I’m seeing a problem in how other shows direct theirs. It’s too common for other shows to foreshadow their plot twists slightly too much, or use blatant flashbacks to allude to what’s coming. If you’re someone who already watches a lot of good shows you can already kind of predict what major things are about to unfold slightly before it happens.
Don’t get me wrong, AOT has many flashbacks too obviously (like in many anime), but they’re used pretty well for the most part. They also have minor foreshadowings too you can say but they’re very very faint and also used correctly.
For where I’m at in the series, I’m obviously referring to in Season 2, where Reiner & Berthold reveal themselves as titans. The way it was done really gives me chills. When they start talking to Eren and reveal themselves, it’s done so faintly and non-dramatic that you kinda miss it. It’s like I clearly heard what they’re saying but it just didn’t register in my mind because of the nature of the directing. They make it so their conversation is “Background Talk” rather than a dramatic reveal. No fancy music or anything like that. Really just gave an eerie vibe to it. I had to replay that scene like 3 times to understand what was going on. Then of course after their undramatic reveal; they use a flashback to explain their characters a bit further (notice how the flashback is used AFTER the reveal not before); and THEN they go to their transformation. It is only in this transformation scene that they saved for the dramatic suspense to be unleashed. Maybe I’m looking to much into the writing but I just think the nature of that plot twist was handled very well. (And of course there’s the minor foreshadowing of Berthold chomping on his hand while the castle is falling. It’s an obvious titan-shifter move, but I think it was handled right).
The action scenes are very well blended in with the dramatic parts to its credit. A common occurrence I see with good action shows is they’re good BECAUSE its more than just action. And other action shows might get undermined for not having enough of it, maybe being covered, or perhaps outshined by the more emotional scenes. I have no problem with this myself in AOT. Even in parts of the story where action is scarce for a bit I have no complaints. Perhaps my perception of this is different than others because I’m able to binge it all at once while many others had to wait up to 10 full years between seasons and parts of seasons to see all the action.
Like I said, the power scale of the titans are really the meat & potatoes of the battles being what they are. The battle strategy is really cool to get into, and how they’re going to outdo their titan opponents (Armin as a character really adds to this for me).
The battles are one thing but the fighting itself is a whole other. The actual combat and the animation of it gets the adrenaline pumping. The whole concept of the ODM gear is genius. Using gas powered grappling hooks to leap throughout their environment like a speeding bullet, and zing around everywhere to take down the titans looks like such an adrenaline rush. It gives me adrenaline just watching them, and hearing the sounds of the gear. Its iconic really. Just the idea of it. Also really fits well with the 19th century setting, the technology being where it is.
Ig I have nothing more to say about the animation. Everyone knows its top tier, along with the gore. Nothing really extra I have to add about it, it’s self explanatory. Ofc can’t forget about the OST as well, just like the ODM gear; it’s iconic, adrenaline-pumping. ‘Nuff said.
———————————————————————————
Unfortunately I already spoiled myself with a big plot twist for season 4. Whenever I get into a show like this it’s always so tempting for me to look at reviews of the show to reinforce why it’s so good, or do the character quizzes, or look at memes related to the show. That being said its too easy to spoil yourself with this.
I saw what the “final boss” looks like. (His head basically, and who it is). Really wish I didn’t see that yet, but it’s literally so hard to not get spoiled I tried my best. My friend warned me how easy the spoilers go. Told me I can’t google the show, search it on YouTube, ect. Anytime I type the shows name I’m risking anything coming up. I also know that 80% of humanity is wiped out from this “event/person”. Found that out the hard way. Other than that I’m spoiler free. I really wish I didn’t see any of that but it’s my fault ultimately and here I am. I probably shouldn’t be going on this subreddit to begin with. I’m lowering my eyes just going on this sub to post this. Not looking at anything else on this sub, not even daring to scroll to other posts. But with how far I’ve gotten in the series I really can’t hold it in and just really want to let out my thoughts so far on the show on here. Please keep the comments spoiler free for me. Just had to unload and discuss a little with you guys.
submitted by Kindly_Ad_6690 to attackontitan [link] [comments]
There’s so much to say why I think its a masterpiece, but il keep this piece as brief as I can. And I’m aware what I have to say here has probably been said numerous times before. So il try to avoid that.
———————————————————————————
I can imagine a lot of non-anime watchers might mistake anime as a genre of its own, not realizing they are categorized in themes of drama, comedy, sports…. Just like any other show. Here are the several themes I classify with AOT: Action, drama, dystopian, political/war, mystery.
The emphasis on War & Politics is a big one for me. They do it so well characterizing war. What a soldier does. What it does to a soldier. The large scale impacts. Also the importance of following orders, trusting your teammates and them putting their trust in you. Also a lot of sacrifice. So many people die for their collective goal of humanities freedom. It’s inspiring. Naruto does this a bit too with the whole thing about working well with your team, following command, ect. But AOT just goes way further with it and really makes it a larger part of the shows identity.
In season 1 when joining the scouts; Erwin asks those joining: “If you were ordered to die, would you do it?”. - That sentence plays huge importance for the story moving froward, and one could argue the situations some soldiers are faced with IRL when in a squad in real major war.
The world of AOT is so dark & gloomy you can get away with adding horror to one of its themes. This dark, gloomy vibe is a large part of the shows’ popular identity. It’s not only dystopian, but it’s also very anti-fascist. The characters are constantly striving for their collective goal of driving humanity towards freedom.
Another thing that makes the show pop out is obviously the Titans themselves. The idea of the titans is so cool because their scale is so wide compared to that of a regular human. Killing them is no easy feat and a titan battle has the main characters odds stacked 10:1. Their power scale makes most people scared shitless, give up and lose hope. And when the main characters do get to win, it just makes it that much more satisfying. (This is much more outlined in the beginning of the show obviously) This is where a lot of the dark gloominess in the show comes from.
Even after season 1 when its more common to see the characters effortlessly kill titans, the odds continue to get stacked against them but it doesn’t get boring at all. The show just evolves and the characters are provoked in more interesting ways.
In terms of the characters; they’re all masterful. My favourite characters right now are Levi, Mikes, and Armin (ESPECIALLY Armin after S3 EP17-18). The characters are all good and you really feel for not just the “good” characters.
The show’s obviously not afraid to kill off characters. In every battle, people die. You can say there are both more important, and lesser important characters dying in these scenes, but none of them ever feel like filler characters. They all feel like they mattered in death. Even the lesser important guys have meaning and you really feel it when these people have to sacrifice themselves for everyone else.
Even the antagonist characters eventually don’t seem like real bad guys. I’m obviously still routing for Eren and the other good guys but you begin to see the show is showing you why the bad guys aren’t bad in their own situations. Having not finished the show yet, there’s still a lot uncovered on why certain antagonists are doing what they’re doing, but it’s clear they have a strong reason for their actions and they really believe their actions are what’s perhaps best for everyone.
The runtime is more or less perfect. 4 seasons, 80-something episodes, 20 minutes each. It’s a perfect amount of time for anyone to get into. And more importantly, there’s NO filler content taking away value from the runtime. Literally 0 filler episodes. The pacing’s pretty good and they try to keep it on the faster side in order to drive the events forward, which I like.
The Plot Twists: Seems to be the biggest reason as to why people say the show’s so good. AOT does plot twists like no other. There’s quite a few “betrayals”, and moments of surprise and they come so unexpected. After seeing how they handle plot twists in this show, I’m seeing a problem in how other shows direct theirs. It’s too common for other shows to foreshadow their plot twists slightly too much, or use blatant flashbacks to allude to what’s coming. If you’re someone who already watches a lot of good shows you can already kind of predict what major things are about to unfold slightly before it happens.
Don’t get me wrong, AOT has many flashbacks too obviously (like in many anime), but they’re used pretty well for the most part. They also have minor foreshadowings too you can say but they’re very very faint and also used correctly.
For where I’m at in the series, I’m obviously referring to in Season 2, where Reiner & Berthold reveal themselves as titans. The way it was done really gives me chills. When they start talking to Eren and reveal themselves, it’s done so faintly and non-dramatic that you kinda miss it. It’s like I clearly heard what they’re saying but it just didn’t register in my mind because of the nature of the directing. They make it so their conversation is “Background Talk” rather than a dramatic reveal. No fancy music or anything like that. Really just gave an eerie vibe to it. I had to replay that scene like 3 times to understand what was going on. Then of course after their undramatic reveal; they use a flashback to explain their characters a bit further (notice how the flashback is used AFTER the reveal not before); and THEN they go to their transformation. It is only in this transformation scene that they saved for the dramatic suspense to be unleashed. Maybe I’m looking to much into the writing but I just think the nature of that plot twist was handled very well. (And of course there’s the minor foreshadowing of Berthold chomping on his hand while the castle is falling. It’s an obvious titan-shifter move, but I think it was handled right).
The action scenes are very well blended in with the dramatic parts to its credit. A common occurrence I see with good action shows is they’re good BECAUSE its more than just action. And other action shows might get undermined for not having enough of it, maybe being covered, or perhaps outshined by the more emotional scenes. I have no problem with this myself in AOT. Even in parts of the story where action is scarce for a bit I have no complaints. Perhaps my perception of this is different than others because I’m able to binge it all at once while many others had to wait up to 10 full years between seasons and parts of seasons to see all the action.
Like I said, the power scale of the titans are really the meat & potatoes of the battles being what they are. The battle strategy is really cool to get into, and how they’re going to outdo their titan opponents (Armin as a character really adds to this for me).
The battles are one thing but the fighting itself is a whole other. The actual combat and the animation of it gets the adrenaline pumping. The whole concept of the ODM gear is genius. Using gas powered grappling hooks to leap throughout their environment like a speeding bullet, and zing around everywhere to take down the titans looks like such an adrenaline rush. It gives me adrenaline just watching them, and hearing the sounds of the gear. Its iconic really. Just the idea of it. Also really fits well with the 19th century setting, the technology being where it is.
Ig I have nothing more to say about the animation. Everyone knows its top tier, along with the gore. Nothing really extra I have to add about it, it’s self explanatory. Ofc can’t forget about the OST as well, just like the ODM gear; it’s iconic, adrenaline-pumping. ‘Nuff said.
———————————————————————————
Unfortunately I already spoiled myself with a big plot twist for season 4. Whenever I get into a show like this it’s always so tempting for me to look at reviews of the show to reinforce why it’s so good, or do the character quizzes, or look at memes related to the show. That being said its too easy to spoil yourself with this.
I saw what the “final boss” looks like. (His head basically, and who it is). Really wish I didn’t see that yet, but it’s literally so hard to not get spoiled I tried my best. My friend warned me how easy the spoilers go. Told me I can’t google the show, search it on YouTube, ect. Anytime I type the shows name I’m risking anything coming up. I also know that 80% of humanity is wiped out from this “event/person”. Found that out the hard way. Other than that I’m spoiler free. I really wish I didn’t see any of that but it’s my fault ultimately and here I am. I probably shouldn’t be going on this subreddit to begin with. I’m lowering my eyes just going on this sub to post this. Not looking at anything else on this sub, not even daring to scroll to other posts. But with how far I’ve gotten in the series I really can’t hold it in and just really want to let out my thoughts so far on the show on here. Please keep the comments spoiler free for me. Just had to unload and discuss a little with you guys.
2024.05.14 23:17 callmesteeb33 Combo amp recommendation $200-400
Title says it all I’m looking for a combo in that price range. Used or new preferably used. Solid state or tube don’t really have a preference although I’m assuming solid state for this price. I don’t need effects built in as I have a bunch of pedals I just sold my orange th30 and speaker so I was looking at the crush 35. I only play at home so it doesn’t need to be super loud or anything gig worthy. I play different styles of music punk,metal,blues but I have lots of pedals so clean tone is what I care about most. Thanks for any help and suggestions. I haven’t looked at amps in this range for a while so idk what decent or not.
submitted by callmesteeb33 to GuitarAmps [link] [comments]
2024.05.14 23:12 BothNose3423 Just ordered my first MacBook
I’m very excited to pick up my very first MacBook Air. I have been using HP laptops for years, but everything else that I own is in the Apple ecosystem. I’m hoping that the interface with Microsoft 365 will be just as slick, and that I will have no problems crossing over to the ‘other side.’ Ha! I have been staring at MacBooks until my eyes crossed, and weighing the best available deals.
I think I came across a pretty great clearance offer from BestBuy and that is what I decided on today… I hope I did well, anyway. I found a brand new 15” MacBook Air M2 16gb w/ 1TB storage for $1499. That was a lot to swallow, but when I compared it to others all basically starting at $1100 I figured it was worth it to spring for the other $400 to have a better performing unit with gobs of storage that I can fill up with all of my family photos and videos from my phone… And lots and lots of music, of course.
Did I screw that up, or is that a good price? I thought with the configuration and fact that this model just dropped last year, it will last me and I will get my money’s worth out of it. Thoughts?
Also- if you have one, what do you absolutely love and/or not love about it? Is it simple to transfer files from windows? Is it like moving data from one phone to another when you upgrade? I’m just FULL of questions today. 😅
submitted by BothNose3423 to macbookair [link] [comments]
I think I came across a pretty great clearance offer from BestBuy and that is what I decided on today… I hope I did well, anyway. I found a brand new 15” MacBook Air M2 16gb w/ 1TB storage for $1499. That was a lot to swallow, but when I compared it to others all basically starting at $1100 I figured it was worth it to spring for the other $400 to have a better performing unit with gobs of storage that I can fill up with all of my family photos and videos from my phone… And lots and lots of music, of course.
Did I screw that up, or is that a good price? I thought with the configuration and fact that this model just dropped last year, it will last me and I will get my money’s worth out of it. Thoughts?
Also- if you have one, what do you absolutely love and/or not love about it? Is it simple to transfer files from windows? Is it like moving data from one phone to another when you upgrade? I’m just FULL of questions today. 😅
2024.05.14 23:12 basicboi224 August needs to accept the fact that Destiny's content is fundamentally slop
And that's fine but I feel spun around after watching a minute long intro with blockbuster music in the background and crazy filters and then proceeding to watch a gnome ramble about random stuff for an hour.
He should take a page out of Library of Letourneau (Northernlion fan account) and jump right into the content but still provide useful context on-screen.
Also please stop it with the soyfaces in the thumbnails it insults the audience's intelligence
submitted by basicboi224 to Destiny [link] [comments]
He should take a page out of Library of Letourneau (Northernlion fan account) and jump right into the content but still provide useful context on-screen.
Also please stop it with the soyfaces in the thumbnails it insults the audience's intelligence
2024.05.14 23:09 ok89ok Sennheiser hd 800 s Usage
Hey everybody,
I dont know many things about headphones. Recently i ve got this headphone as a gift. I believe its a top tier machine but dont know how to use it.
My friends got me this so that I can play electro guitar with extra clear sound. I dont know how to use this on my guitar setup.
I can also use this on my PC while gaming and listening music and since I dont have an extra sound card and my mobo shouldnt be enough for this headphone; what adapter should I purchase to use my headphone on my PC? I might sound very noob cause I am on this matter.
Help would be appreciated.
submitted by ok89ok to headphones [link] [comments]
I dont know many things about headphones. Recently i ve got this headphone as a gift. I believe its a top tier machine but dont know how to use it.
My friends got me this so that I can play electro guitar with extra clear sound. I dont know how to use this on my guitar setup.
I can also use this on my PC while gaming and listening music and since I dont have an extra sound card and my mobo shouldnt be enough for this headphone; what adapter should I purchase to use my headphone on my PC? I might sound very noob cause I am on this matter.
Help would be appreciated.
2024.05.14 23:09 jzeigs $500-$700 setup advice
I plan to have a setup of two speakers, a sub, and if needed(I can buy it but won’t be part of my budget) I will get an amp. This will connect to a desktop and laptop and be used for music and movies. I have no idea what to really look for, I’ve been interested in headphones in the past but never really thought about speakers until now and I don’t know what I’m doing. Does anyone have some personal suggestions on some neutral speakers for around 300-500? And a sub for 100-200? If there are speakers that are good enough that I don’t need a sub, only issue being they’re $700 or something, that’s fine as well. Any advice on how to make my experience with just two speakers and sub better would also be greatly appreciated! :)
Unfortunately Best Buy(US, IL) is my only option here as I can save a very good amount due to rewards.
submitted by jzeigs to StereoAdvice [link] [comments]
Unfortunately Best Buy(US, IL) is my only option here as I can save a very good amount due to rewards.