I have a small group of friends who although are good people, I'm finding myself thinking, what if over time we just drift apart? I think it's inevitable with certain people. But I just wanted to put this out there. I remember months ago I had coffee with an old high school friend who's currently unemployed and still living at home and as we were talking about various different subjects it kind of just hit me, like that scene from Seinfeld where Jerry goes off on a tangent with George and says things like "What are we doing? What kind of lives are these? We're not men". This is how I felt and I actually expressed this to him and said WTF are we doing? We meet up every week, do the exact thing, have coffee and talk about random things. And although that's okay once in a while, for me working straight 9 to 5 every day and this is what the highlight of my weekend is supposed to be? I'm in my 30s now and I just find the stuff we talk about was funny like ten years ago and now I just don't feel like doing the same shit or talking about the same shit anymore. My other friends are similar, unemployed and "trying to figure it out". Even if we do something different as a group activity, the feeling is still the same. I'm not trying to put them in a bad light. They are good guys and they've had different struggles (e.g. substance abuse, abusive relationships, family issues, etc.). In some ways they are more mature than I am. But part of me just can't help but feel this way. Every time we meet up it's either getting that feeling of being stuck on the past and wanting to move on or being reminded of the same individual problems they express seem to never get resolved. Another example is one friend who although has a job, a car, his own place and is a fine functioning adult in society, always brings up how lonely he is and how hard dating is for him. I'm not perfect either but I try to offer some insight but every time I meet up with him it's always the same thing and nothing ever seems to change. I know times are tough and I try to support these guys as best I can but when it's the same song being sung eventually you just don't wanna listen anymore. I'm not saying we aren't friends anymore but I feel like I need to start finding other people to surround myself with which has resulted in me distancing myself a bit. Dating is difficult but seems like even friendships are hard to create and maintain as time goes forward. Anyway I've rambled long enough. I just wanted to express this feeling of although im grateful I have some friends to talk to i also feel sort of tired of this feeling of nothing ever changing and all the days are the same. What I have been doing more lately is going to newer places. I just joined a martial arts gym and looking at events to go to in the community to hopefully make new connections. Can anyone else relate? I'm lonely and I wanna move forward and like I said these guys are great but they're just a reminder of the past and feels like nothing will ever change so sadly we might have to part ways eventually. I learned that this is what life is ultimately. People come and go. A great analogy I heard is someone compared to driving on the highway. Some people will drive with you for 1 mile before getting off at the next exit, others maybe 20 miles before they get off, some rare few might drive with you until the very end.

Those of you familiar with Star Wars lore will know that one of the fundamental aspects of the Sith Code is passion, the first two lines literally consist of:
“There is no peace, there is only passion”
“Through passion, I gain strength”
Yet, the overwhelming majority of the Sith we see don’t really seem to have any sort of real passions or interests other than just wanting power or tormenting others.
The only instances in canon I can think of with a Sith having actual interests are Momin and Palpatine (and in the case of the latter, most of that comes from supplemental material or Word of God statements), and only in Momin’s case is it actually narratively-relevant.
Even in Legends, it’s not much better, with the only instances of Sith having other actual interests being Palpatine (once again, most of it from supplemental material), Plagueis, and Darth Vectivus (and we never actually see Vectivus in person).
As for why I think it’d be a good idea, there are two big reasons:

1. It’d be a nice change of pace for the Sith.

As I mentioned before, almost every major Sith we’ve seen generally follows the same general playbook of being a megalomaniac who seeks power for its own sake and seeks to destroy the Jedi so they can rule the galaxy, or something along those lines. And honestly, I think at this point it’s starting to get a bit old. Having Sith with goals like using the Dark Side to create various works of art or further enhance their current creative endeavors without trying to conquer the galaxy and not caring about the Jedi would be a nice change of pace. And there are a ton of things you could do with the concept.
To give some examples off the top of my head:

1. Like with Momin previously, you could have Sith who indulge in all sorts of mad-art like creating statues and sculptures made from the bodies of their victims.
2. You could have Sith musicians who torture people to hear and listen to the sounds of their screams as inspiration for their next musical piece.
3. A Sith Author who instigates conflicts, wars, and intrigue in order to gain inspiration for their next book.

And a whole bunch of other options relating to each creative field.

1. It’d be a good way to have genuinely non-malicious Sith without breaking the lore.

From what I’ve seen, one of the biggest points of contention in the Star Wars fandom is the idea of having good or non-evil Sith. For people who’re opposed to the idea, they say that the Dark Side is inherently corrupting and causes people to forget whatever their original motivations are in favor of whatever their current obsession is.
With the case I mentioned above, you can avoid that issue by having Sith who have completely been consumed by their obsession, it’s just that because they’re focused solely on their art of whatever other creative endeavor they’re engaged in, they don’t end up hurting anyone because they just don’t care to do so, or they’ve found a way to indulge in it without involving harming others.
To use an example off the top of my head: You could have a Sith musician or singer who uses the Dark Side to amplify their music or singing to induce far greater emotion than they’d otherwise be able to, or who just listens to the “voice” of the Dark Side as inspiration for their next song.
And there are probably a bunch of others ways a potential Sith Artist could utilize the Dark Side in relatively non-harmful ways.

Example:
Do you like Maroon 5? I've been a fan of theirs since their very first album, Songs About Jane. However, their particular brand of funk infused rock didn't quite mesh with Adam Levine's sublime falsetto. It wasn't until 2011's "Moves Like Jagger", which polished and refined their sound to perfection, that they really came into their own commercially and artistically. From then on they had a string of hits, exploring the varied nuances of love and relationships in a way not seen since The Beatles. But it wasn't until 2018 that they reached their peak with what I believe to be their undisputed masterpiece, "Girls Like You". It's here that Levine gives a heartfelt declaration of commitment and determination. It's a message beautifully conveyed, a culmination of everything that the band had been building up to at that point.

You can read Part 1 here.

Interlude: Two Promises

Japanese	Romaji	English
あなたしか見えないの	anata shika mienai no	I can only see you.
あなたしか見えないの	anata shika mienai no	I can only see you.
なんであなたしか見えないの？	nande anata shika mienai no?	...why can I only see you?

Feeling absolutely terrible, Subject A remarks without much thought, “You have everything that everyone else doesn’t have.” (The emphasis is the author’s, and is used in mostly the same way throughout the book when Subject A uses みんな “everyone” to refer to the five versions of her friend.) The moment those words leave her mouth, Subject A immediately realizes that she is blaming Four again as well as the fruitlessness of doing so. She is disappointed in herself for saying it. However, of course, Four doesn’t know the other versions of herself and thinks “everyone” refers to the people around them in this world, so she starts listing her own faults. Regretting what she said, Subject A apologizes and tells Four to disregard those words.
Subject A personally considers talking about other worlds to be taboo, but she ends up doing it again. “I still haven’t been to that beach,” she mutters, referring to a promise she made with Three to go together. It has been Four’s world for so long, Subject A hasn’t had the chance to meet Three. Four comments that she and her classmates had also talked about wanting to go to the beach, but she had to take on some student committee work. Hearing Four’s promise leaves a bad taste in Subject A’s mouth.

あたしもきみと海に行くって、約束したんだけどな。 皆あなたを愛している。 皆あなたばかりを求める。 みんなあなたとおんなじなのに。 なんであなたしか見えないの？
Even though I also promised to go to the beach with you [Three, while also seeing Three and Four as the same person]. Everyone loves you. Everyone wants only you. Even though everyone else [the versions other than Four] is the same person as you. Why can I/everyone only see you? (p. 80, emphasis is the author’s)

Chorus 2: Catchy

Japanese	Romaji	English
あなたしか見えないの	anata shika mienai no	I can only see you.
蠱毒巣食った呪ひ言	kodoku sukutta noroigoto	Words cursed in a venomous pit.[1]
此方は気にせずお幸せに	kochira wa ki ni sezu oshiawase ni	(*) Please be happy and don't worry about me.
嗚呼、堕ちていく	aa, ochite iku	Aah, I'm falling in...

(Note from original translator) [1] The wording used here is really interesting- "蠱毒" is a method of making poison where many venomous animals are trapped in a single vessel and are forced to eat each other until a single survivor emerges.
Subject A calls Four キャッチー (“catchy”). Both of them aren’t really sure what that means. Subject A thinks she was being cynical or sarcastic saying that. Four guesses that it means “popular” or “well-received”. It’s very clear that 呪ひ言 (noroigoto, curse) here refers to the word “catchy” itself. It’s referenced in the song Catchy !? here:

唯、何時かのあの子の呪いが / 焼き付いている It’s just, at some point that girl’s curse / Was etched into my brain… (TL by teary eyes, with edits by khattikeri and Violet)

And in the chapter linked to Catchy !? as well:

何時しかわたしに「呪いの言葉」を贈ったあの子。 That girl who, at some point, gifted me [Four] the “curse”. (p. 14) [TL Note: The first-person pronoun わたし is used exclusively by Four. The speaker in this chapter is the one who chooses between the versions, and whose first-person pronoun is recorded only as ■.]

Adding on to the original song translator Kaz’s note [1], 蠱毒 (kodoku) is an ancient poisonous magic with some recorded use in Japan’s Nara period (710-784 or 794) and appearing in Japanese folklore. r-906 also uses the classical Japanese_rule) writing style 呪ひ言 as opposed to modern 呪い言. These probably emphasize that Subject A’s emotions towards Four, the other versions and the person choosing between them have been brewing for a long time.
I also saw a Japanese comment on the song noting that 蠱毒巣食った is a homophone of 孤独救った (kodoku sukutta, "saved from loneliness"). Subject A does complain during narration about feeling lonely because there’s no way she could tell anyone about the five worlds and five versions of her friend (p. 65), so dropping those cryptic comments to Four about "everyone else" and calling her "catchy" could be a way of alleviating her loneliness, even if done unconsciously, or even if only for a little while.
Staring straight into Four’s eyes, Subject A adds that even though Four always receives lots of attention from everyone, she strives to and manages to respond to all the attention. Subject A begins to say, “Even if I didn’t exist, you…” probably intending to say Four wouldn’t be any less happier. This is linked to the third line of the lyrics, which uses unnaturally formal or polite words as Subject A puts a barrier between the two of them again.

Chorus 3: Consolation

Japanese	Romaji	English
あなたしか見えないの	anata shika mienai no	I can only see you.
有象無象のひとりなら	uzoumuzou no hitori nara	(*) Since I’m just another face in the crowd,
あなたの「特別」に成れたのね！	anata no "tokubetsu" ni nareta no ne!	(*) I’ve become "special" to you!
嗚呼、素敵だわ	aa, suteki da wa	(*) Aah, isn’t that wonderful?
クセになっちゃうわ	kuse ni nacchau wa	Oh, I could get addicted to this.
目も当てられないわ	me mo aterarenai wa	I can't stand watching this.

Four interrupts by joking, “Oh, what’s this? So you’re jealous? How adorable!” and pats Subject A’s head. For the first time today, Subject A bursts out laughing. It reminds Four of how the two of them used to play around. Four consoles Subject A,

「大丈夫だよ。自分がいなくても、なんて言わないで。確かにわたし結構友達多い自覚はあるし、色々と頼られたりするけど、みんな等しく友達なんだから。もちろんきみもね」 “It’s okay. Don’t say things like ‘even if you didn’t exist’. Certainly I know that I have quite a lot of friends, and they depend on me in many ways, but it’s because everyone is equally precious to me as friends. You too, of course.” (p. 81)

Subject A thinks about Four’s words.

数年前の切なる願いは叶わなかった。やはりそうだった。 あなたにとって全ての友達は等しく「特別」なのだ。あたしも含めて。 だからこんなどうしようもないあたしも見離さず会いに来てくれたんでしょう？
My fervent wish from years ago [to be “special” to you] didn’t come true. Just as I thought. After all, all your friends are equally “special” to you. Including me. That’s why, even though I’m so hopeless, you didn’t abandon me and came to meet me, right? (p. 82)

Subject A realizes that although she isn’t more important as a friend than others, she's still extremely precious to Four. The last line in the text above suggests that she's grateful and happy about that. Nonetheless, she feels hopelessly pathetic and lonely due to her wish not coming true and having wrongfully blamed and resented Four.
目も当てられない literally describes “something one cannot look at”, and is usually used to refer to a tragedy or disaster that one cannot endure watching. In this case, like how Subject A can’t stand watching herself. On the other hand, in line with the literal meaning, as Four invites Subject A to come to her classroom whenever she likes, promises to talk more with her and leaves, Subject A also thinks that Four is dazzling (眩しい, p. 83). In other words, so bright that Subject A can’t look at her.

ああ、なんて眩しいのだろう。 この一点のかげりもない清らかな眩しさはまるで―― Ah, how dazzling. This clear, dazzling brightness, without so much as a single shadow, is just like― (p. 83)

It's not stated explicitly, but due to the repeated use of the phrase 一点のかげりもない, it's clear that Subject A compares Four to the full moon with a completely unobstructed view.

一点のかげりもない満月は、眩しすぎて少し苦手だ。 The full moon, not obscured by even a single cloud, is so dazzling it's slightly difficult to bear. (p. 68)

I don't know what disliking the bright full moon is supposed to say about Subject A. It could just be that Subject A hadn't made up with Four at the time of p. 68, and the full moon reminds Subject A of her. The slideshow-like paper in the music video does state that Four's motif is the full moon. The other versions' motifs are other phases of the moon.

Miscellaneous Thoughts

The English title diaLOG is a pun using the Japanese title. 会話 (kaiwa) means "dialogue" in the sense of "conversation" while 記録 (kiroku) means "log" in the sense of "record". By the way, "dialogue" and "dialog" are different spellings of the same word, but "dialogue" is the preferred spelling when used to mean "conversation" in both British and American English, whereas "dialog" is used primarily in computing contexts like in "dialog box".
I mentioned this as a reply to a comment on Part 1, but it seems strange to me that Four specifically is depicted to scribble over the projector showing the other versions of herself while laughing and delighted at herself in the music video. Four is just a version that gets chosen and doesn't know that the other versions exist. Subject A did blame Four in the past though, so maybe the scene is showing what Subject A used to think.
Hatsune Miku is the main vocal playing the role of Subject A, while the five CeVIO AI Musical Isotopes sing the backup vocals and act as the five versions. COKO harmonizes and sings backup almost throughout all choruses/sabi, taking on the biggest role both in terms of duration and importance. In contrast, KAFU, SEKAI, RIME and HARU only get two or three lines to sing, so COKO outshines her fellow Musical Isotopes just like Four outshines her other versions.

Afterword

Thank you for reading my longwinded analysis! I love the song and book. Maybe too much, since I lost sleep one night hyperfixating on this song and how it relates to the book, so this has been my way of getting it out of my system.
Again, feel free to comment your own thoughts, including your own interpretations and parts you want clarified.

Welcome back to the show, “Bonkers Beach Boys Concerts”. On this episode, we’re gonna talk about the Seattle performance from 1983. Quality wise, the show is fine with decent audio and the video quality being fine, if a little fuzzy. Now lets start at the beginning, mainly because there are so many noticeable things from beginning to end. First of all, during the long ass car introduction, we see Landy (who later makes an appearance while Carl’s singing “What You Do To Me”), and it looks like Dennis and Mike showcase how much tension was between them when Dennis went over to the mic and asked the crowd if they were ready, resulting in Carl having to intervene so they don’t fight each other again. And speaking of Dennis, as said in the Reagan performance, seeing him at this stage knowing he would be dead at the end of the year is just depressing. He looks way older than he was, and when you could hear his voice, he just sounds awful. Plus while his drumming is fine, it just doesn’t sound as good as it used to. We also see Brian playing with the band, and it looks like Billy Hinsche is telling Brian what song is next at points, Dennis stripping to his underwear, and Mike doing his usual shtick, and doing a weird rendition of Imagine, which doesn’t fit his voice. Like his voice can work for some ballads, but this is an example where he should’ve let Carl, Al, or even Bruce sing it. Other moments that stood out include Al looking mad having to sing Wouldn’t It Be Nice, after Brian stops singing, Mike having a lot of energy during Fun Fun Fun, Bruce playing saxophone during Barbara Ann, and Brian dancing during Runaway, which is a kinda adorable. As for positives, I give the other musicians, Bruce and Al credit for trying their best. And like I said with my drummers post, Mike Kowalski deserves some credit drumming with Dennis during this point. Plus, Carl like always gives a great performance, with him making sure nothing bad happens, and seeing him perform stuff from Youngblood. Plus the smile he gives after his solo for to Fun Fun Fun is just adorable. All in all, a fascinatingly bizarre and bonkers show from this period, and you can just feel how much tension there was between everyone on stage. There’s a lot more I could say, but words can’t describe how messy this performance is.

Alice LeCour wrote a Fox News opinion piece recently on the "dark side of true crime." Which for me is ironic in that LeCour, in my opinion, represents one of the dangers. I find her podcast "The Prosecutors" with Brett Talley to be misleading and riddled with bad information, made even worse by their claims of having a high level of legal expertise. In my opinion they represent some of the worst True Crime coverage has to offer. But that aside, the issue she raises has legitimacy.
From a Reddit piece on The Prosecutors:
To what extent are they "The Prosecutors" ...

Alice LaCour seems legit - she's prosecuted (but rarely, if ever, led) a few cases in her young career but a significant part of her work for the DoJ was in civil law, not criminal law. She left the civil branch during a 2019 case where Judge Jesse Fuller (USDC, SD of NY) described the DoJ case as "patently deficient" and was (I must stress this point in her defense) exempt from being reprimanded.
Brett Talley is more fascinating. His experience in prosecution is very, very recent (at most three years and seemingly always as third assistant to LaCour). In 2017 he made headlines by being nominated as a judge by President Trump despite literally trying a grand total of ZERO CASES. He is one very few lawyers (just three in four decades) to receive the dubious distinction of being rebuked by the Bar Association for being "not qualified". He has also been found in the past to have failed to reveal obvious conflicts of interest (seemingly forgetting whom he was married to, to cite the most spectacular example). He has, however, some experience as a speechwriter and also written three horror novels. Clearly passionate about social causes, he issued a "call to arms" in support of the NRA on social media in the wake of the Sandy Hook massacre.
PS I am writing this mainly because I would guess that their observations about even the basics of law are patently wrong about 25% of the time.

Here is LeCour's primary thesis:

But true crime has a dark side. Thoughtful creators can build a loyal and large listener base, but for some, resisting the siren song of shock journalism and quick audience growth is simply too enticing to ignore. Driven by sensationalism, conspiracy theories, and irrationality, these creators appeal to our deepest fears and our latent distrust of the justice system. The consequences are all around us.

LeCour goes on to list her concerns with three specific cases: Richard Allen, Karen Read & Bryan Kohberger. Having followed all three of these cases online, I see pros and cons to the social media coverage on these cases.
Curious to know what others think the pros and cons are of social media coverage of these cases.

• Is it helping people better understand our criminal justice system?
• Does it promise to make civilians more informed jurors?
• Or is it all just the usual crazy angry chatter and conspiracy theories that have always cluttered the internet?

Hello, if anyone here has some free time to review my task 2 writing it would be really helpful to me and I would appreciate it a lot.
Here is the statement:

It is commonly believed that nowadays main factors that affect a child's development are media, pop culture and friends. A different point of view is that a family plays the most significant role. Discuss both views and give your opinion.

My writing:
It is argued by many that media, friends, and pop culture impact kids' development the most. However, detractors argue that family impact the kids' development more. After thoroughly considering both viewpoints, I firmly believe that friends and media affect the kids' development more than their parents.
Firstly, some people think media, friends, and pop culture are main influences to children's development. To elaborate, nowadays media are easier to access than ever. Smartphones and tablets are given to kids since young age, they can view various types of media through the internet, including but not limited to songs, movies, news, tv shows, and even political contents. These media undoubtedly affect the children's mindset. Furthermore, they can message and call their friends in a matter of seconds. This conveniency let children spend more time with their friends. For example, they can have a gaming session with their friends while chatting in a call, discussion various topics.
Secondly, others say that family is the most important factor to children's development. To explain, children learn from their parents since they were born. They tend to have similar mindset to their parents. For examples, if parents teach their kids about money management, the kids will likely spend their money wisely and know how to invest that money.
After careful consideration of both opinions, I am strongly convinced that friends and media are the most significant contributors to children's development. While it is true that children learn a lot of things from their family, they spend more time consuming media and talking with their friends

Good day and pardon me, but I think this could be a paramount thing that is being overlooked, especially being that it is referred to as the "spiritual eye" in the Complete and Annotated edition (CE). They sound like the same thing to me, even that of the single eye, biblically speaking. How else is light going to dawn on our minds or our bodies and being going to be filled with light?
The CE says that the spiritual eyes in us allow us to see with true vision which is synonymous to the real world. While still illusion, it is yet a pristine reflection of reality. After fully entering it, we are just a step away from Heaven. This sounds like the last step in the reawakening of knowledge taken by God. How is God going to take the last step when we haven't even made the first step of opening our spiritual/mind's eye?
This is a course in miracles, so why are we not keen on the idea that "The spiritual eye is the mechanism of miracles"? The CE says that this eye perceives the creations of God and perceives totally rather than selectively. That sounds like God's Answer to me, synonymous to the Holy Spirit ... the means by which the Atonement heals until the whole mind returns to creating. (https://acim.org/acim/en/s/90#2:5 T-5.II.2:5)
It sounds like we need to first develop the natural perception of spiritual sight which is where miracles are seen ... in light, of the mind's eye. Any perceptions coming from the body are all false, but the perceptions coming from the spiritual eye are true. So essentially, this entails shifting our awareness from the lowest level of (physical) perception to the highest level of (spiritual) perception, which is something that ... can be trained to do so increasingly. (https://acim.org/acim/en/s/852#7:5 C-1.7:5)
---
Something to note is that the CE equates the false and unreal as being synonymous to darkness. Big implications here. On the flip side of all that is that the true and real are synonymous with light. That sounds synonymous to me saying "The light of the mind's eye is real and can't be threatened. Nothing not seen in light exists. Herein lies the vision of Christ and peace of God." I take that to mean the world of form and anything sensed by the body is nothing but darkness, meaninglessness, and fear, while the world of spirit and anything seen by the mind's eye is nothing but light, meaning, and love. Does this view not give new light to the workbook lessons and the text, making more sense out of them, and providing a much needed "bridge of return" from time to eternity? I give examples and more commentary in the comment section.
I don't know, just kind of venting here; it just seems impossible trying to imagine myself as existent non-consciousness, like if something exists and there's no consciousness to observe it, does it really exist? Like really, what am I trying to do here after all these years and not seeing the spark of light? That too, I feel is part of the process of Atonement, being another term for the activation of our individually aware and equally whole mind's eye.
If you but see the little spark you will learn of the greater light, for the Rays are there unseen. Perceiving the spark will heal, but knowing the light will create. Yet in the returning the little light must be acknowledged first, for the separation was a descent from magnitude to littleness. But the spark is still as pure as the Great Light, because it is the remaining call of creation. Put all your faith in it, and God Himself will answer you. (https://acim.org/acim/en/s/142#8:3-7 T-10.IV.8:3-7)
The dark companions, the dark way, are all illusions. Turn toward the light, for the little spark in you is part of a light so great that it can sweep you out of all darkness forever. (https://acim.org/acim/en/s/148#5:5-6 T-11.III.5:5-6)
---
So there it could possibly be ... this little light of mine ... the fruit of Atonement ... the spark of my Mind's Eye (ME) ... that unintended pun. I may have to let it shine, because it is a way of truly knowing ME or myself as God knows me. This may very well be the missing ingredient no one is talking about that "must be acknowledged first" to reach the peace of God as it exists in this healing and miraculous light, as opposed to any mistaken sense of peace in an illusory and dark world that doesn't exist.
Sorry if that hit kinda hard. The Course actually hits harder 😅. But it also enlightens!
God Bless and In God We Rest! 🤍

Has anyone else had anything else like this happen? I’ve been using HX products for probably 5 years now. I got a Stomp XL this past September and have gigged and recorded with it with no issue up until 2 weeks ago when this started happening.
For example this song was recorded with the identical signal chain: https://open.spotify.com/track/0s3QU3s96QhK3klxCu9pat?si=BDaLpswSSZy7OA1nvpbtrQ&context=spotify%3Aalbum%3A756cDoRjQdnEvouTZyHHhZ
It seems to be sparked by 2 things, low end and staccato. When I turn my bass knob all the way it goes away, and when I play legato or let notes bleed into each other it doesn’t happen it’s most consistent in frets 5 - 8.
This happens regardless of the patch I use and regardless of the bass but does not happen if the stomp is removed from the equation.
Things I have tried: New Cables Different basses Different speakers/cabs Different Power Sources Firmware update Factory Reset Different Headphones New batteries
I opened a ticket with Line 6 and talked with my friend who worked at Fractal and they both had the same reply “never heard anything like it”

This discussion will examine the possible personality disorders and mental health issues that may be present in the public persona of Ariana Grande. I will explore the symptoms, causes, and effects of these conditions, as well as any evidence that may indicate their presence in Grande's life and behavior.
(But the way , just because I assume that she has them, it does not excuse her actions towards other people)
The discussion will focus on five potential diagnoses:
•Narcissistic Personality Disorder (NPD),
•Borderline Personality Disorder (BPD),
•Histrionic Personality Disorder (HPD),
•Substance abuse disorder (SAD)
•Orthorexia nervosa.
-------------------------------------------♡-----------------------------------------------------
Narcissistic Personality Disorder (NPD):
Narcissistic Personality Disorder (NPD) is a mental health condition characterized by an inflated sense of self-importance, a lack of empathy for others, and chronic patterns of grandiosity, manipulation, and self-centered behavior. In many ways, this diagnosis has often been discussed in connection with Grande's persona.
Grande has often been criticized for her perceived vanity, attention-seeking behavior, and lack of empathy for others. Some argue that her numerous cosmetic procedures, constant self-promotion, and public feuds with other celebrities are symptoms of NPD. (Including the way how she treats people who don't lick her ass at all and are being honest with her)
One example of Grande stealing someone's man would be her involvement with the Broadway actor Ethan Slater, who is currently married and has a baby son. Grande became involved with Slater after they met on the set of the Wicked movie back in the December of 2022 when lilly around the time gave birth to her baby son. Slater reportedly left his wife eventually in June (with the confirmation of dalton's sister that she left dalton the day when she went out with Ethan and her male friend) and child to pursue a relationship with Grande, raising controversy and shock amongst their fans.
This situation became a major topic of public discussion, with many criticizing Grande for her role in sabotaging Slater's marriage and family. Some also accused her of being manipulative and insincere in the way she handled the situation.
[Apparently 2 of her friends (Cynthia and Victoria) are known homewreckers and due to that, she never hold herself accountable for it.]
To further elaborate on this example, Grande's involvement with Slater has been criticized for several reasons. Firstly, she actively pursued a relationship with a married man, which can be seen as a clear violation of moral and ethical boundaries. She never denied the rumours , nor did she confirm them, which it speculated that she doesn't care about the public's opinions, at all.
Overall, this incident has been seen as a prime example of Grande's alleged NPD, as it demonstrates her willingness to prioritize her own desires over the well-being of others.
Borderline Personality Disorder (BPD):
Next on the list is Borderline Personality Disorder (BPD). Individuals with BPD often struggle with intense, unstable emotions and relationships. They may have difficulty controlling their impulses, experience a fear of abandonment, and engage in harmful behaviors such as substance abuse and self-harm.
Grande has been linked to BPD due to her emotional instability, impulsivity, and self-destructive behaviors. For example, she has a history of entering and ending relationships rapidly, has been seen engaging in risky behaviors such as substance abuse, and has publicly spoken about struggles with depression and anxiety.
Some fans and critics have pointed out that Grande's numerous tattoos, many of which are tributes to her ex-boyfriends or former relationships, may be a reflection of her impulsivity and unstable emotions. They argue that these tattoos represent a temporary obsession or infatuation, rather than a genuine expression of affection.
Grande's rapid shifts in relationships have led to speculation that she may struggle with BPD. She has dated high-profile celebrities such as Big Sean, Mac Miller, and Pete Davidson, and has often been criticized for moving on quickly from one relationship to another. Some speculate that these rapid changes may be a result of her difficulty with emotional regulation and a fear of abandonment.
In addition to her relationship history, some of Grande's lyrics also seem to hint at potential BPD symptoms. For example, her song "thank u, next" contains lyrics about her past relationships and the lessons she has learned from them. The song's title and repeated mantra of "thank u, next" seem to reflect her difficulty with emotional regulation and impulsivity.
Histrionic Personality Disorder (HPD):
Next on our list is Histrionic Personality Disorder (HPD), a mental health condition characterized by excessive emotionality, attention-seeking behavior, and a need for approval from others. Individuals with HPD often use exaggerated emotional expressions and seductive behavior to gain attention and validation.
Grande has been linked to HPD due to her tendency towards dramatic emotionality and attention-seeking behavior. Her public image, marked by extravagant outfits and bold fashion choices, has often been interpreted as a means of gaining attention and validation for herself. Grande is also known for her use of social media to connect with fans and create a public persona that is highly sexualized and seductive.
Her involvement in high-profile relationships and public feuds with other celebrities, as well as her tendency to be the center of attention, can also be seen as symptoms of HPD. Some critics have also pointed out that Grande's multiple cosmetic procedures may be an attempt to maintain her youthful appearance and appeal.
Grande's public persona has often been characterized as narcissistic and attention-seeking, and she has often been accused of being manipulative and self-centered. Some critics have suggested that her behavior may stem from a need for adoration and validation, which are hallmark traits of HPD.
Substance abuse disorder (SAD) :
We move on now to Substance Abuse Disorder (SAD), a condition characterized by the repeated use of substances despite negative consequences. Individuals with SAD may experience a variety of physical and psychological symptoms, including cravings, tolerance, and withdrawal. Substance abuse can include alcohol, drugs, prescription medications, and other mind-altering substances.
Grande has been open about her struggles with substance abuse in the past, particularly with alcohol and drugs. She has spoken about using these substances as a way to cope with stress, anxiety, and emotional difficulties. Grande's former boyfriend, Mac Miller, died of an accidental overdose in 2018, which had a visible effect on her mental health. Grande has publicly expressed her grief and guilt over Miller's death and has hinted at struggles with addiction and recovery.
[Multiple blind items had been written about , that ariana has a long history of doing drugs , hiding it from the public]
Orthorexia nervosa:
Finally on our list is Orthorexia nervosa, an eating disorder characterized by an obsession with healthy eating and a fear of impure or unhealthy food. Individuals with orthorexia nervosa may have a restrictive diet and a preoccupation with eating only certain types of food, often restricting entire food groups. They may believe that their diet is a key component of their identity and may feel a sense of moral superiority over those who do not follow their eating habits.
Grande has long been scrutinized for her thin frame and weight, with many criticizing her for promoting unhealthy body standards through her weight loss. For example, Grande has repeatedly stated that she maintains a vegan diet for ethical reasons and has been criticized for promoting healthy eating on her social media accounts to her young fans.
Grande's recent music videos "yes, and?", "Boy is mine" and multiple instagram photos and TV appearances has fueled speculation about her eating habits and health. Some critics have pointed out that Grande appears excessively thin in the video and that her appearance may be the result of a restrictive diet and/or excessive exercise. Grande has been criticized for body-checking, a behavior common among individuals with orthorexia, in the music video.
Grande's eating habits and weight have also been discussed in connection with her fashion choices and public persona. Grande is often seen wearing revealing and form-fitting clothes, and some critics have suggested that her fashion choices may be influenced by her preoccupation with body image and control over her diet. Grande has been criticized for promoting unrealistic body standards and potentially triggering disordered eating behaviors in her young fans.
~This was my opinion about ariana.~

The specific lead (not even sure if it’s a lead) I’m referring to is the one used on both the first (0:27) and second (1:49) drop in first song of his Club Space Miami set.
I’ve noticed he uses leads similar to this one in a lot of his remixes/edits. Another example is the lead used in his Crazy in Love Edit. Is this style of lead from another genre, or is it still considered tech house? What is the name/style of this lead, and where can I find packs with them/how can I make this sound in Serum?
Edit: The Crazy in Love edit can be found here, and you can hear the lead at 2:28.

What do you think of established bands in their style using AI-generated covers or stock photos instead of hiring an artist to develop original artwork? For example, the band A Skylit Drive, which released a song using artwork from a free stock image bank.

Looking for strange and unique sax playing techniques and styles.
Some examples I know of:
Alabaster DePlume plays out the corner of his mouth and has a gorgeous stuttering vibrato that sounds very unique - I’d love if anyone has some tips on how to achieve his sound.
https://youtu.be/x_jazL3-qF0?si=Ika38YR4hTWoaLk1
Derek Brown plays beatbox sax, making use of his tongue, jaw and cheeks to create percussive sounds on saxophone allowing him to accompany himself in his songs.
https://youtu.be/23I8OtXCs3o?si=ormI-SJFr4LU2Zwe
Ben Hartman plays saxophones for Old Time Relijun has some pretty mental noise type saxophone playing too (skip to 3 mins in for an example)
https://youtu.be/QdGud-KdpTM?si=I9yU9PNgud9pPYpQ

So first of all, I can already tell Dark Times is a potential classic and will stay heavy in my rotation for two reasons:

1. My favorite track has flipped several times - all of them feel so solid and have their own amazing parts that I go back and forth on. No skips, fr.
2. I’ve listened to the album through already so many times that songs played “loose” feel like they’re missing something. I definitely partially credit this to the excellent work Vince and his producers have done to blend transitions (listen to the ST and it's clear he's been working on that for a few projects), it makes the album fit together so perfectly. The transition from Children’s Song to Shame on the Devil is probably the best example, but he does it on all of them (a different commenter even pointed out the smooth transition between RPBMH and DT - that's a rabbit hole for later)

Anyways, with that said, anyone have Nothing Matters grow on them? At first I was a little unsure with his aloof delivery of the hook, but this track has slowly just become my favorite on the album. The production, the bars/delivery, the hook, and particularly the feature performance. I love how she adds so much emotion and energy to the words and I get mad goosebumps when I hear it. Anyone else? Got a Dark Times sleeper pick yourself?
Edit: talking about transitions on the self-title, play it from the top and feel the transition from “ARE YOU WITH THAT?” to “LAW OF AVERAGES”. That shit is so smooth. These were two of my most-played songs from 2021 because I would always queue them together. Basically, Vince’s ability to create sonic cohesion between tracks makes them better as a whole and add that much more to his full projects.

I recently started listening to his material a bit more and I feel like some of his lyrics (especially some stuff from My Favourite Faded Fantasy) might have come directly from Scott's pen. The Greatest Bastard for example reads to me like it could be in Midnight Organ Fight or Pedestrian Verse.
Musically they're a bit different, especially if you consider studio versions - but live there are some overlaps with the acoustic ones that both have done. Plus, the banter and little backgrounds to the songs does remind me of Scott a bit too.
Is he popular among FR fans? Or am I the only one seeing the overlap?

Welcome to the second and final day of the reveal for the 2024 Popheads Rate Olympics mini-rate! We, your hosts (u/bigbigbee and jay) are so happy to see you again.
Today, we will reveal the top half of our songs (#20 - #1), including our bronze, gold, and silver medalists!
The reveal will start at 1:00 PM EST (about 1 hour from now)! Come join us in Queup to watch the eliminations live (plus some fun shitposts and interludes) with everyone else! Or you can follow the reveal right in this thread, where we will posts songs as they are eliminated, including the song's score, controversy score* banners, and rate graphs.
\The controversy score = a measure of how spread out the scores are. For example, a song with scores of 10 and 1 will have the same average score as a song with two 5.5s, but the former has a higher "controversy". For stat nerds, this is the standard deviation.*

VOTE FOR SONGENALITY (most robbed song)!

https://docs.google.com/forms/d/e/1FAIpQLSfypjBQbG8l1ri4exn4hy8s0_vH98GPUhZxUEd7BjFvzUr9aA/viewform
If you voted yesterday but didn't put your username in, please vote again - we had an issue with the first google form! If you don't remember if you did, just vote again; I'll remove any duplicate responses (and go with your most recent response if it changed).
Songeniality will be revealed right before the Top 5 and voting will close at Top 10 or so.

Stats

• Participants: 104 athletes
• Average Score: 7.583
• Average Controversy: 2.298

Songs Remaining

• ABBA - Voulez-Vous
• APRIL - Oh! My Mistake
• BLACKstreet (ft. Dr. Dre, Queen Pen) - No Diggity
• Britney Spears - Womanizer
• Carly Rae Jepsen - Fever
• CHVRCHES - Asking for a Friend
• George Michael - Freedom! 90
• The Goo Goo Dolls - Iris
• Jamiroquai - Virtual Insanity
• Jay Sean - Down
• Jolin Tsai - Honey Trap (美人計)
• Kendrick Lamar (ft. Jay Rock) - Money Trees
• Kesha - Take It Off
• Lady Gaga - Judas
• LOONA - LOONATIC
• MARINA - Bubblegum Bitch
• MARINA - How to Be a Heartbreaker
• Mark Kealiʻi Hoʻomalu, Chorus [Lilo & Stitch] - Hawaiian Roller Coaster Ride
• Mitski - Washing Machine Heart
• The Veronicas - Untouched

Not that anyone at this gives a single flying fuck but I did this so I’m posting it. I have included all works from the main 13 albums and singles excluding
The b Side of yellow submarine as no actual beatle plays on it
Those German covers as they really aren’t so different from the original and I didn’t see the point
Unreleased material such as ultra deluxe or whatever the fuck and the l unreleased stuff from anthology (excluding the 3 last Beatles songs)
There’s a couple of unpopular opinions here so don’t go too hard on me I love them all in my own way,
214:WILD HONEY PIE: To be clear I don’t dislike the idea of the song, but I just think it’s a huge middle finger to the album. I can’t help but laugh at it as it is a mockery of Paul McCartney by Paul McCartney. I can’t help but think it’s what John thinks his little jaudy ditties sound like. However I think it’s horrible to have to listen to I’m not angry at it, just disappointed. It really could’ve been a good parody song, as it however. I think it’s a filler interlude.
213: BOYS: The original version is leagues better, and when it comes to the Beatles that’s saying something. I can’t think of anything that justifies the existence of this song. The only redeeming aspect is it’s refreshing to hear ringo sing sometimes, he does a fine job of it.
212: A TASTE OF HONEY Trashy song too sweet and pissy for me (for a great lack of a better term) Paul sounds bad on this, the whole thing sounds trashy. Drivel
211: P.S I LOVE YOU Does nothing for me.
210: SUN KING Oh a hot take. Or is it, I won’t count the medley itself as no one else seems to but if so I respect it way more than it’s placed. It’s a bit trippy but not to an extent of intriguing me. The translation to mr mustard is great but I’m not ranking that. On its own, In My Opinion, bad
209: PLEASE PLEASE ME Has everything that I dislike about the early work, especially the harmonica, fine singing but could’ve been synced better.
208: THIS BOY Forgettable and boring to me
207: SEXY SADIE fascinating song but not particularly good or interesting in my opinion. The stories of who’s it about however are worth looking into.
206: ASK ME WHY Might it have something to do with love. As you might tell I’m not big on please please me. This one blends in with the rest of the album
205: CHAINS Not an awful song but it’s not overly good. George’s vocals haven’t gotten great yet so he still could use some work. Perfectly bland song
204: DO YOU WANT TO KNOW A SECRET I am aware this song has a relatively large fan base but this is not for me at all. Sorry
203: THE END First off the “Oh Yeah! All Right!” Are indeed iconic. Everyone’s playing their heart out. Some of Ringos best work. But I don’t know, it doesn’t punch me like I think it should. I like this, but I should love it, and I don’t.
202: GOLDEN SLUMBERS Too repetitive for me to get into. This is the only Beatles song that could’ve been shorter. That’ll be ironic as I pretty much think every Beatles song is too short except this one.
201: ROLL OVER BEETHOVEN Berry did it better
200: ANOTHER GIRL I didn’t think anything of it at all to be honest.
199: TELL ME WHAT YOU SEE Fine, not that good, but fine
198: YOU KNOW MY NAME (LOOK UP THE NUMBER) They’re taking the absolute piss. I’m glad this exists but I don’t want to listen to it.
197: BIRTHDAY It’s a birthday song, you know, typical white album. Fine.
196: FLYING This is such a fucking vibe, not much after you’ve heard it the once but still, not bad at all for a mostly instrumental song
195: WHEN I GET HOME It wasn’t that bad, and it wasn’t that good
194: I WANNA BE YOUR MAN Eh
193: THINGS WE SAID TODAY Better but we’re not THE BEATLES yet
192: IM HAPPY JUST TO DANCE WITH YOU Somewhat memorable, kinda boring, not shit
191: ITS ONLY LOVE I’ve heard worse
190: I CALL YOUR NAME Not much to say about these particular songs, they aren’t shit but they’re not at that quality of good, these are the awkward songs.
189: REVOLUTION 1 I originally heard it on the white album and thought “wow that was really mid” the I heard the original single and I thought “wow they really fucked that song” still noice lyrics
188: JULIA Calm ass song. A lot of people love this song to bits but I just don’t relate to it that much, with age I expect to like this song more
187: ALL TOGETHER NOW I guess it’s fine
186: DON’T BOTHER ME It’s just meh
185: HOLD ME TIGHT Still meh
184: DIG IT I like this but it’s so short and non sensical I can’t put it any higher
183: I SAW HER STANDING THERE I like this, but it’s still a bit too sappy
182: BLUE JAY WAY This is a weird ass song. Very George. It has those uppy downy lyrics, there’s a lot to like here but also a fair few things that I don’t like, like the lyrics could have been more defined and worked on, and it could use some more power in the vocals
181: I SHOULD HAVE KNOWN BETTER Karmas a bitch
180: THE NIGHT BEFORE This one has better production but the same blandness that culminates in old Beatles music
179: WAIT There’s going to be enough hot takes on this list anyway so I will contain my feelings on rubber soul. Let’s just say the Beatles evolutions had a middle ground from lovey dovey 60s bops to the psychedelic rock they’re know for. That middle ground is rubber soul, not a bad album, but like the stage from a child to an adult, kinda messed up. This album has some re great moments. But it also has wait, which isn’t bad, but it’s not everything you would want from this particular album.
178: CRY BABY CRY It’s good, idk what else to say not Beatles good but I wouldn’t skip it
177: LOVE ME DO This song just makes you feel happy, nothing else
176: KANSAS CITY/HEY-HEY-HEY-HEY It was ok but I can tell this track wasn’t over fixated on
175: I NEED YOU You can tell it’s an older Beatles
174: DIZZY MISS LIZZY I know there’s a recent dislike for this one but it never fails to make me smile. It’s so fucking chaotic I love it, it does have its production flaws but John is singing his heart out. This is what I want from a Beatles cover track
173: IVE JUST SEEN A FACE Charming enough song
172: TICKET TO RIDE A classic I’m sure. Really has a nice groove and what it lacks in lyrics makes up for in sound.
171: ONLY A NORTHERN SONG I agree with the rest of the group that if this was on Sargent peppers it would be the worst track. However that’s not to take away from it. It’s a charming piece, it has all the elements of Harrison but overall it is only a northern song
170: SOMETHING Damn here’s the first one I might not survive. People who were on the fence before will probably switch to the ‘eh, fuck this guy’ field. I don’t dislike the song, it’s a good song, it’s a great love song but it’s a very expected feet. Every line while sung with excellence is very conventional, it’s tropey. Perhaps it’s too far to call it cheesey. And don’t get me wrong I love the simple cheesey songs a lot (just wait till you see where I put silver hammer). But this one just doesn’t strike a nerve for me. I did think the same thing about strawberry fields forever for a while before listening to it more so maybe it’ll crawl up the ranks someday but overall I think it’s a nice love song that has some great production but after that it’s overshadowed by the rest of the album.
169: ALL MY LOVING Yeah, it’s a classic, who couldn’t like it
168: MOTHER NATURES SON This one has a huge fanbase as well. It’s a good song, great use of imagery and metaphors. Doesn’t do much after that in terms of production and the way it’s sang, just a nice song to chill to in my opinion.
167: ALL I’VE GOT TO DO Again, short, sweet song
166: YOU NEVER GIVE ME YOUR MONEY Yeah this one’s interesting. It goes through a fair amount of genres for one song. On one hand its structure is something of a mess, however it still is a good listen, it’s cute in the best sense. The fact that it’s about Allen Kline is also funny if not a little saddening
165: IT WONT BE LONG Wasn’t long, still nice
164: ANY TIME AT ALL Just another comfrey Beatles song
163: YOU’VE GOT TO HIDE YOUR LOVE AWAY Although I think this song is a little overrated not bad
162: DEAR PRUDENCE I know I like this song a lot less than others do. It takes a while to get going but when it hits that euphoric moment you know I’m talking about it’s bliss, but the first half kinda dull
161: BECAUSE A little oddity on the Abby road medley that’s just, I don’t know, conflicting. If it where longer maybe I could decide if I liked it or not but for now it stays here
160: THANK YOU GIRL Sweet little song that gives you a warm feeling
159: LONG LONG LONG At this point in the white album that’s what I was thinking. It’s not bad but it could’ve been longer (no pun intended) and released as a single with the right editing. George Martin could make it work I’m sure
158: I WILL Here’s how I feel. I always like it when I hear it, but forget what it sounds like 2 seconds after.
157: IF I FELL Cheesy but still pretty catchy
156: AND I LOVE HER This is nice also
155: LITTLE CHILD Though the lyrics in 2024 sound a little ‘noncey’ that’s part of the reason why it sticks out to me. It always gives me a chuckle. Little child… the way he says “I’m so sad and LoNeLy” is so cartoony and I like it.
154: ILL GET YOU Yeah, good, fine, acceptable
153: BACK IN THE U.S.S.R This is why the Beatles beat the beach boys for me this. Classic song that probably had America tugging at there collars, just genius
152: ITS ALL TOO MUCH Again this isn’t bad, am I blown away, not necessarily. But this is a bop
151: THERES A PLACE I like this quite nice I think
150: A HARD DAYS NIGHT A lot of people love it, I just think it’s fine, good song I guess
149: ILL CRY INSTEAD These are the songs that are well produced but lyrically forgettable. This is one of ‘em
148: EVERY LITTLE THING I really like Beatles for sale, it’s so fun, it’s a fun album. Every little thing isn’t badly written but I listen for the music. George is good on this, ringos subtly great. Just wholesome
147: EVERYBODY’S TRYING TO BE MY BABY A song of its time, and quite and tie tapper if you ask me
146: WORDS OF LOVE A pleasant song for any day
145: DAY TRIPPER Nice melody, ok lyrics, good enough song
144:BEING FOR THE BENEFIT OF MR KITE When I first heard this song I didn’t listen to the lyrics, the ones I did catch lead me to believe that it was some sort of political song with mr k being some sort of satirical caricature. Upon second listen I realised it’s just a song about a circus performer putting on a show, I can interpret some lyrics as a reference to some political nature but I think it really boils down to a circus song. It’s giving me a sense of stereotypical Halloween music you’d hear with the way the rhythm goes up and down frequently in the same line. Just a fun little jingle. Also I believe if Paul had wrote it John would have hated it, many probably do hate it. What does everyone have against whimsy?
143: CANT BYE ME LOVE Cliché yes, catchy yes, enjoyable yes
142: THINK FOR YOURSELF Fine little song with not much to write about
141: FREE AS A BIRD I am quite conflicted on the 3 last Beatles songs. They are mostly John Lennon demos rather than Beatles mixes. I was of two minds including them but I thought I may as well because they are interesting to talk about. I don’t think these are as cash cow despicable as some would argue. A lot work has clearly been done to preserve them and restore them. It’s hard to look at this song on its own basis. On its own it’s pleasant, but overall I do not really know why they bothered to release it as a Beatles track, it feels very unbeatles to me but as I say I don’t dislike it, I’m just not sure on where I stand on its purpose
140: REAL LOVE I have the exact same opinion on this one I just like the song better
139: MAGGIE MAY I just think love the accents alright. How long is it 50 seconds? For the life of me I’ll never get why they didn’t make their songs longer. I fancy me chances with this one
138: DEVIL IN HER HEART Solid cover of a very good song
137: PIGGIES This one’s kinda weird. We all get the piggies are elite pricks but the way George pronounces dirt just sells me on it. Good effort, could’ve been longer.
136: EIGHT DAYS A WEEK I like it, don’t love it, it’s what you expect but it does deliver in that regard
135: HELP! Iconic, reasonably catchy, just wholesome man
134:IF I NEEDED SOMEONE Rubber soul being kind of quirky comes through softly but noticeably here
133: MEAN MR MUSTARD This song just flows man. I love the lyrics, like the instruments and how they bounce off each other. Just the right amount of absurdity. If only it were longer…
132: HELLO GOODBYE Classic, I do like this one, but you know I always forget how much until I listen to it again
131: LONG TALL SALLY A lot of people hate this one but I think it’s fine
130: TWIST AND SHOUT COMEONCOMEONCOMEONCOMEONCOMEOWWN
129: ILL BE BACK Yeah, not bad, not bad at all, rather good actually
128: TELL ME WHY Classes Beatles getting it right
127: TILL THERE WAS YOU You know, maybe with the Beatles gets too much hate
126: OLD BROWN SHOE Not one of George’s best and the mixing is jarring but the lyrics are very nice
125: FROM ME TO YOU Just a sweet song, nothing wrong with that
124: SHES A WOMAN Not much to unpack, Paul is good in this though
123: MICHELLE Everyone loves Michelle. It’s a dainty song that isn’t that great, but good, it’s just so quaint
122:THE WORD The n word. No love of course. Maximum corniness but still a treat to hear, Lennon sings it believably
121: WHAT GOES ON How eloquent, idfk
120: BAD BOY Now junior, behave yourself! I just needed to hear Lennon say that and I was hooked. Weird to release a cover as a single but I won’t complain
119 : FIXING A HOLE Fun psychedelia, bring the family
118: MATCHBOX Just a song on the struggles of life, Beatles style
117: ONE AFTER 909 Chaotic song that gets the blood flowing. Also regrettably relatable
116: GETTING BETTER The charm is in the McCartney Lennon dynamic. Paul says it’s getting better everyday. John says it can’t get much worse. Doesn’t that sum up those two quiet well. Just so vibrant. This era had so much colour.
115: FOR YOU BLUE Solid song, ain’t bad at all
114: ACT NATURALLY I like this song a lot. Ringo fits well for it, it’s playful, just so pleasing
113: I DONT WANT TO SPOIL THE PARTY Another underrated song from Beatles for sale.
112: BABY ITS YOU This is fun
111: MONEY (THATS WHAT I WANT) Good cover, maybe not as good as the original but you can just feel the mayhem going on through the speakers
110: YOU WONT SEE ME Mmhm, mmhm, yup, that’s some nice music
109: YOU LIKE ME TOO MUCH A playful, goofy ass song that has some great lines and a pretty fine beat
108: YOUR MOTHER SHOULD KNOW Heartwarming, just, heartwarming
107: YOU CANT DO THAT Not perfect but undeniably based
106: NOT A SECOND TIME A great story mixed with some simply beautiful descriptions making up a song that hits different form other songs of the similar nature
105: SLOW DOWN It’s the bluddy beetles mate, whatja expect
104: YOU’RE GOING TO LOOSE THAT GIRL The character in this story is such a dick but I just can’t help vibing with him. He’s such a cnt that he says he gonna steal the guys girl right to the guys face. That’s hilarious and I really like it
103: GOOD MORNING GOOD MORNING Gets too much hate for what it is
102: RAIN I don’t know what it is about rain that grabs me but every time I listen I just get drawn in, it’s very clean
101: MAGICAL MYSTERY TOUR ROLLUP ROLLUP. God I think this is so vibrant, so colourful, just really cool, great harmony, overshadowed by the rest of the album
100: MISERY Misery stuck with me, unexpectedly based for a first album
99: YES IT IS Yeah yeah yeah this one’s pretty good yeah
98: CARRY THAT WEIGHT I just sing this all the time randomly. It’s to the point, honest, fun. I don’t know what accents they’re singing in this time but it’s great. Not much of a lullaby though.
97: WHY DONT WE DO IT IN THE ROAD This one just makes me happy. I know it’s kind of filler but the way Paul increasingly hypes things up in his vocals make me smile. Big fan of this, thing
96:HONEY DONT I liked this a lot the first time I heard it and frankly I still do
95: IN MY LIFE When rubber soul gets it right it can end up like this song. And that’s a good thing
94: NOWHERE MAN Lyrically enchanting, some hot instrumentation. Production ok and a more memorable song from rubber soul
93: I FEEL FINE Yup this is fine
92: YESTERDAY A song you think is overplayed until you listen and it’s just so good. A real highlight from the early years, my favourite from help, a somber melody that is sang flawlessly by Paul
91: LOVELY RITA A song of a somewhat unlikely love that is different enough from the Beatles other love songs to stand out
90: WHILE MY GUITAR GENTLY WEEPS Why is it so low I hear you scream. Well to be honest FOR ME the verses while lyrically interesting don’t stand out in my mind. Obviously the chorus is incredible but it’s just as the rest of the verses which mind you are still good that bring it down for me. A song not really my thing till the chorus hits but still the fact that it’s there makes it worth the listen
89: HER MAJESTY Yes, I prefer this over while my guitar gently weeps. Moving on, I think this is a fun, tongue in cheek song that I always thought implied he was talking about money. Think about it, her majesty is on all the bank notes, she certainly doesn’t have a lot to say in that case, price changes from day to day. Paul loves it but to get it he has to get a belly full of wine to make it… think about it.
88: SHE CAME IN THROUGH THE BATHROOM WINDOW Ah, this one. The intrigue of the contrast of the chorus and the verses. One of my favourite from the medley
87: YOU REALLY GOT A HOLD ON ME With the Beatles being underrated again
86: TOMORROW NEVER KNOWS Look, I don’t dislike this song, it’s just a bit messy for me. There’s a lot going on and I like that but ultimately the trippy style is done better in other songs like day in the life. But I do like that George Martin on the piano isn’t half bad, he’s one of twelve fifth Beatles I hear
85: HERE COMES THE SUN I like George I swear. This song is really good and I like it but I just wouldn’t listen to it as much as some higher ones below. The changing of the seasons to describe a relationship isn’t new but it fit’s really well here I think.
84: IM SO TIRED Would be higher if it were longer, good, very good, too short
83: POLYTHENE PAM The fucking accents. Love the weird ass story of the gender ambiguous Pam and her drag persona as in a polythene bag. Just a fun character song
82: DOCTOR ROBERT My least favourite from revolver but still charming enough
81: WHAT YOUR DOING Just good
80: BLACKBIRD I really like this. I want to love it, but it’s so goddamn short man. Oh well what we got is still great
79: DONT PASS ME BY Weird, goofy, sung by ringo. A real gem of a song off the white album.
78: ROCK AND ROLL MUSIC A cover almost better than the original berry’s. Almost is still a hard feet to reach.
77: IM LOOKING THROUGH YOU The loss of a love has been done many times by these guys but this is one of there best
76: WITH A LITTLE HELP FROM MY FRIENDS The lyrics are kinda mid in my opinion but hearing ringo sing always has its perks
75: IVE GOT A FEELING Very good song, production a little iffy but not horrible, I think let it be is given too much shit for that
74: GOOD NIGHT They subverted my expectations with this one. What a way to end such a large album, I think this one is cute and light and just very sweet. Whispering is somewhat creepy though.
73: WITHIN YOU WITHOUT YOU We all know they were on a lot of serious shit during this era but goddamn the lsd vibes mixed with the Indian sitar sound is really fucking unique. And I like it, don’t love it but still
72: IM DOWN V good
71: THE INNER LIGHT V nice
70: BABYS IN BLACK This one strikes a nerve with me, a hood premise, John sings it well. A treat
69: ILL FOLLOW THE SUN Never got why people disliked this one. I had a theory that the guy in it is dead and he’s going away from his girl, you know, towards the Sun
68: RUN FOR YOUR LIFE More than inspired by Elvis but I can’t complain its a banger
67: PLEASE MR POSTMAN This is well suited for John to sing. I prefer this over the original maybe that’s controversial to say I don’t know. It’s great
66 : GLASS ONION The rocking beat is what hooks me at this one to be honest, the references are cool but a bit pointless
65: MARTHA MY DEAR Who doesn’t love dogs, just heartwarming. Just pure joy
64: IM A LOSER God this album doesn’t get enough love
63: MR MOONLIGHT I heard people disliked this one but John is really suited for this one. I do indeed prefer it to its counterpart
62: LOVE YOU TO Weird vibes, good track
61: I WANT TO HOLD YOUR HAND Just gets you grooving. Love it
60: DIG A PONY Nonsense song that sounds good in your ears, typical Lennon
59: DRIVE MY CAR Maybe overrated but still slaps
58: GIRL Love girl
57: SHE LOVES YOU Again one of those dancer songs that never fails to deliver
56: ANNA (GO TO HIM) Way better than the original, such a good cover, ah, bliss
55: NOW AND THEN You see is this the recency bias. I don’t think so I hope not but it feels like it is. Man I don’t know it just sounds like Lennon was going for something different and I get it. There was so much work that went into this I just don’t know. I do really like it.
54: I WANT TO TELL YOU Somewhat forgettable but when I hear it it comes rushing back to me.
53: GOOD DAY SUNSHINE Good vibes, peace and love you know
52: HERE THERE AND EVERYWHERE Somewhat cliché but idk I like it
51: TWO OF US I just love this. I don’t think it’s as badly produced as some claim (the long and winding road is evidently over produced but it still goes absolutely hard)
50: TAXMAN We can all relate to this. More relevant than ever, and will continue to be in the future I’m sure
49: WHEN IM SIXTY FOUR It’s so jaunty that I feel like it would belong in a cartoon but that just makes it better for me. I love whimsy
48: IM ONLY SLEEPING This is great
47: PAPERBACK WRITER Be longer please
46: WE CAN WORK IT OUT Longer be please
45: HEY BULLDOG Kickass bass playing by Paul. Lyrics that were just fucked together by John are somehow incredible. Ringos drumming on this one is really good too. Wow, for a throwaway song it works really well
44: NORWEGIAN WOOD (THIS BIRD HAS FLOWN) You can almost smell the pot off this one. Love Norwegian wood rubber soul at its best.
43: AND YOUR BIRD CAN SING Not much to say great song
42: GOT TO GET YOH INTO MY LIFE Iconic, great again
41: ELANOR RIGBY Maybe you’ll say I put this too low but I still like it to a great extent
40: LADY MADONNA One of their best character songs
39: THE LONG AND WINDING ROAD Epic song, great lyrics, sang fantastically, so good
38: SHE SAID SHE SAID Tripping balls but goddamn amazing
37: LUCY IN THE SKY WITH DIAMONDS Psychedelia on full force with this one. Some of the best imagery from any song. It’s charming and fun and at times mystical but overall Johns way with words really come to the top of the log pill with this track
36: I ME MINE In hindsight a song that highlights the way George felt the world around him was and he was probably right. I like the metaphor and the waltz aspect works more than any other of the Beatles attempts at the style, it’s a fantastic piece
35: THE FOOL ON THE HILL Oh I love this song so very much. The song has the fool as some sort of wise figure many (myself included) take to be god. And I like to think if there is a god he’s like this. Watching over giving the world his wisdom but we’re just to ignorant to hear it. Also the medieval sound is one of my favourite styles (love sunforest if you’ve ever listened to any of their songs) so the flute works just so well for me especially when it mixes with the piano. Oh I just love this song to bits it’s great
34: ALL YOU NEED IS LOVE The cheesiness is undeniable, the magic is unbeatable. This song is just such a good album ender. The chaos and randomness near the climax is such an incarnation of the love message and how it works as an organised mayhem. The anthem of love and joy and passion is overflowing and I really like this song, if you can’t tell
33: NO REPLY Oh the way people overlook this song is not right. Its well written, it’s well sang, everyone’s playing well, it’s delightful
32: HONEY PIE I know people hate this song however for me it brings me back into the 20s. It is a sweet ditty that works really well for me and I love this one
31: FOR NO ONE God I love this. It feels so personal and is reflective, as unbiased as it can be and just beautifully sang with no grit. It’s honest. Paul’s on piano here witch is always great. Ringos drums work well to I think. This one’s just brilliant
30: SARGENT PEPPERS LONELY HEARTS CLUB BAND REPRISE I love this, the best feels like fucking hip hop, it’s a nice way to lead into day in the life it’s just good no real flaws
29: SARGENT PEPPERS LONELY HEARTS CLUB BAND Well this is just a perfect way to start an album. Set up the setting, it explains why the music in this one’s a little different as it’s not the Beatles it’s Sargent peppers and that’s a good concept from the start. You get a real idea if what the world the album takes place in is like and you get a feel for the members of the band itself. Just a class act
28: SAVOY TRUFFLE Controversial one perhaps. I just like the song. The mixing is interesting, the lyrics are fun, I think George outdid himself with it, all just to mock Eric Clapton, hilarious
27: ROCKY RACCOON I know this one’s gonna be a war. Rocky raccoon is so listenable, and fun and encapsulating.Paul is singing it in a great way. I just like it, ok, just my taste. If you hate this song and believe it should be burned than that is perfectly fine, but don’t undermine someone else’s opinion
26 : DONT LET ME DOWN Oh this one’s so powerful, grand, fitting really.
25: YELLOW SUBMARINE I have a fee that I’m not going to survive this list. Can I not like fun, that’s what this is, pure unfiltered fun. This song makes me very happy ok. Ringo singing it just gives it that relaxing feel. Yellow submarine is that kind of happy go lucky song I love
24: REVOLUTION After hearing its bastardisation this is just so refreshing. It’s about a peaceful revolution. It sure as hell doesn’t sound peaceful what with the two electric guitars blowing my speakers out. This one just sounds like a revolution should in a song, and it’s really very good because of it.
23: GET BACK Shit, shit back, shit 1. No I love this. This is such a vibe man it strikes a nerve, it sounds incredible (considering it was recorded outside) and it helps that everyone is clearly giving it there absolute all. Love get back.
22: OB-LA-DI OB-LA-DA I don’t know if this one is as controversial as it used to be but I know there are still some who fucking loath this song. I saw an article where it put this song as the worst the Beatles ever done saying that it was genuinely a horrible experience to listen to. I don’t know this song is just a tonic for a bad day, I will always feel a little bit better after listening to it and that really pulls it up the list. Don’t get the hate
21: A DAY IN THE LIFE Oh boy. This is so good damn it. The Lennon McCartney dynamic is the best it ever will be. Lennon reads the news of suicide and sees a war film while Paul dashes about in his chipper day. The rising orchestra is incredible, Ringos drumming is so different to other approaches in the genre. I can’t tell the scales of the strangeness and the depression aspect mixed with the weird ass ending it’s just an experience instead of a song.
20: OH! DARLING You can’t deny the power in this song, Paul gives it his absolute soul and it works for me, this rejection song is more of an explosion of emotions that gets you invested. Idk I like it
19: REVOLUTION 9 Well I’m dead, there’s no redeeming myself now oh well, however if you would at least hear me out on why I put number nine here then I will do my best. I love things that are different, things that go against the norm and defy expectations. And if we can all agree that revolution 9 is not what you expect when you think Beatles then we have agreed on something. This song (if you can call it a song) is doing for me something interesting. Celebrating the avant-garde while also making fun of it. It sounds impeccable. The mixing is superb, it makes full use of the stereo format. It makes me feel things, picture things, it’s a very interpretive sound that mixes together different instruments and words and phrases forwards and backwards to make something of a trip. This sounds like what a revolution sounds like, points getting muffled over time, being big and grand before shrinking into disarray. You can take what you want from the meaning but when I listen I get completely overwhelmed with feelings. It’s a collage of expression that is most certainly not for everybody but I think is a full on revolution in my head. That’s just how I feel
18: EVERYBODY’S GOT SOMETHING TO HIDE EXCEPT FOR ME AND MY MONKEY There’s some dislike for this one too but I think it’s just a complete rocker, the lyrics also make me chuckle a fair bit
17: THE BALLED OF JOHN AND YOKO I don’t think this one is that hated. I love it. It’s genuinely very funny some highlights being the what you doing in bed interaction and the two gurus in drag. John was highlighting his problems with the media in a way that doesn’t sound bitchy or like he’s talking down to the listeners. Very good song
16: ACROSS THE UNIVERSE God the imagery, similes and lyricism is so beautiful. This is a beautiful song. So elegant
15: SHES LEAVING HOME I was somewhat shocked to find this in some worst of the Beatles lists. The people writing it seeming to miss the point that it isn’t that biased. Sure it shows the hardships of the parents, how broken they are but it realises that fun can simply not manifest in some places and has to be sought out. It’s a real understandable song that is softly sung by Paul in a mystifying way.
14: I WANT YOU (SHES SO HEAVY) Fucking insane song, it’s like a ride at an amusement park it ramps up over time and brings you right to the heights that you wonder how it’s going to end. This song subverts that by giving it no ending, it just gets cut off, which is brilliant. It’s like a ride through hell. A decent into madness of desire in a way making it shockingly relevant.
13: OCTOPUSES GARDEN Kudos to ringo bro just wants to be under the ocean. Calm as fuck. Beautiful expression of the desire to get away from the hassles of life and responsibilities which I’m sure we all relate to. Also bubbles, what’s not to love.
12: HAPPINESS IS A WARM GUN It’s almost perfect, but goddamn it it’s too short. I love this thing but I feel it cuts off before it’s time is up you know
11: THE CONTINUING STORY OF BUNGALOW BILL I don’t get the hate for this one (well maybe I do but still) you got a fire ass spanish guitar. A balled of verses, a sing song chorus that feels like it’s taking the piss in a good way. Even an underlying message of hypocrisy and ignorance. Now I know that yoko is very loud on the song but honestly it just ads to the bizarre feeling that the whole song gives off, I love this.
10: YER BLUES One of the most explosive blues songs I’ve ever heard, incredible
9: STRAWBERRY FEILDS FOREVER You already know it’s fantastic, but that still shouldn’t take away how fantastic it is
8: MAXWELLS SILVER HAMMER … yeah, no joke. Listen it was on of the first Beatles songs I ever heard, if not the first. It has that jaunty Paul feel but then it hits you that it’s about a murderer and it just makes me take a step back and go damn, the Beatles could make anything whimsical. It’s so sing song while being so dark. Yea it is fruity but man I don’t know. The synthesiser near the end is also just really fun to me. It’s fun it’s nostalgic and I will always love it. Sorry not sorry.
7: HELTER SKELTER I applaud you Paul McCartney, you put everything you had into this one and it paid off
6: BABY YOU’RE A RICH MAN I don’t know what it is about this one I love so much, I’m not a huge fan of sitar but it works here. I like the lyrics. There’s a lot of interpretation around them but I always took it as a similar vane of the balled of John and Yoko where it is like a dickhead reporter asking John the questions we here Paul sing in a sense of leading him on and that they’re responding in the sense that these people nagging them about having money when most who were had money themselves. Just a thought.
5: COME TOGETHER Classic, genius rhyming scheme brilliant
4: HEY JUDE 2nd Best uplifting song I’ve ever heard
3: LET IT BE Best uplifting song I’ve ever heard
2: PENNY LANE A fantastic song highlighting the serenity in modern life that often goes unrecognised. It’s penny lane, what’s not to love
1: I AM THE WALRUS It’s I am the walrus. Lyrics are dazzling. The whole mixture of instruments and sounds the distortion making it sound like a dream at points. The way it uses the stereo medium is genius. The Beatles were geniuses. One of the best things ever written.

All things come to an end. But some only lie still, forgotten
This book is fantastic. I've been wanting to say that since I finished it a few days ago. There are books that you see mentioned all the time and to some extent you think "i'm sure its good, but there's probably some exaggeration in there as well". You expect to be let down and try not to get your hopes up too high. Because there's nothing worse than having high expectations and being let down. Well, The Blade Itself is a case where high expectations are well earned. The start was a bit slow for me. Random guy gets attacked in the woods by some monsters, then falls off a cliff. I was wondering "Ok. Where are we going with this? Is he the protagonist or just a walking dead guy meant to show the tone of the story?" But from that introduction this grows into a truly epic tale set in kind of a harsh world in which you'll see a growing war, magical powers returning, and different political players seeking to take advantage wherever they can. If I had to throw three important words out to describe this book it would be Action, Characters, Intrigue.
This isn't some power fantasy where the protagonist is getting into fights every chapter and steamrolling all of his opponents. But when he, or anyone else, gets into a fight it's a real, no holds barred, tip of the nose, bloody fight. Political/social intrigue is just as important, if not more so, because this is a case where the plot focuses heavily on the actual politics involved in running different organizations and gradually building toward, what seems like it'll be, a new world war. And at the heart of everything it's the point of view characters that bring it all together and make you want to keep reading. Kudos to the author for actually making them all distinct. There are a few similarities between some of them, but this isn't a story in which you'll be confused when switching from one to the other.

Thoughts

It's a sorry fact that the man who strikes first usually strikes last
In my opinion, this story is kind of a giant subversion on classic fantasy tropes. I'd say the "main" protagonist is Logen Ninefingers, a viscious northman with a bloody past who seems to be trying to change for the better. But that past keeps coming back to bite him as he associates with old enemies and, more importantly, comes into contact with the mage Bayaz who wants to use Logen for unknown reasons. And that's one major subversion right there. Bayaz and Logen come into contact because Bayaz sent his apprentice to find Logen. Bayaz didn't do it himself. Bayaz and Logen aren't old friends. Bayaz didn't know Logen's father (Or if he did it isn't mentioned here). Bayaz knows of Logen, needs him for something, and sends someone to fetch him. He does the same with another protagonist from a different region of the world named Ferro Maljinn. In fact, the group of companions that has formed by the story's end were all gathered by Bayaz, mostly through him sending his proxies to find them. And he clearly has some mystical quest planned for them all, but this isn't a story about destiny or fate leading a group together. It's not about friends reuniting or one man gradually gathering a group of trusted friends who he saves on his way. It's all the manipulations of Bayaz setting these characters up to follow him, as if he's moving chess pieces on a board. And its brilliant.
Bayaz himself is not the stereotypical wise wizard. Instead you have this solidly built, bald, arrogant man who will set a group of men on fire, be physically taxed by it, and keep going on his merry way. He's not providing words of wisdom, he's speaking in riddles and keeping his cards close to the chest. He looks down his nose at his apprentice constantly and clearly believes he knows what's best for everyone. In turn you have Logen who is trying to be better, but constantly struggling to do so and by the story's end he completely loses it to what could be called a more bloodthirsty alter ego (The Bloody Nine) who proceeds to kill the enemies before him like a maniac. Ferro, who in another story might be a noble freedom fighter after having escaped slavery, is in some ways just as harsh as Logen, seeking to cause as much harm as possible to the people she despises (And notably being pretty damn racist as well lol). None of these characters, and there are more I haven't mentioned, are who you'd expect them to be in a classical fantasy novel, but it's handled so damn well and I love it.

Points of View

Why do I do this? Why?
Apart from Logen and Ferro there are 4 other point of view characters.
Collem West, an aging soldier from a poor background
Dogman, a northman who was in a group with Logen right as things went to shit at the story's start
Sand dan Glokta, former soldier, current cripple and member of the King's Inquisition
Jezal dan Luthar, nobleman and aspiring swordsman who is too lazy for his own good
I'll say that Ferro absolutely gets the least amount of focus, probably followed by the Dogman right after. Collem and Jezal are actual friends at the story's start, so even when you're following one of them the other will often appear as well. Glokta will pop up in their segments too, and vice versa, since all 3 of them are located in the same city. Overall, i'd say this is an excellent example of handling different points of view properly. It isn't just because the characters have major differences between them, it's about how the writing divides page time between all of them. Furthermore, there's an overarching story that all of their narratives play into even though individually they aren't aware of this. It's fun to see something like Jezal reacting to Bayaz, wondering why the Mage seems so interested in him, and right afterward you have Glokta looking into Bayaz to see if he is who he says he is. Things like that not only kept me interested, it built my interest in the story as it went on because I wanted to see which characters would end up interacting by the story's end.

Logen

Mercy, the man was like a child. A six and a half food child with a face like a butchers block
All of the characters are great and could have carried a story on their own, but i'd like to take a moment and say Logen was my favorite. There's something so tragic about this guy who has clearly lived a bloody life, references it often in almost everything he says or does, who does seem like he wants to change, but clearly can't change. A really interesting segment was when he first arrived in Adua, the nation's capitol. Having always lived in a completely different land that has a suitably different climate and landscape he reacts as you'd expect him to. He panics. He is lost in a crowd, finds it to be stifling hot, doesn't understand the way people react to him or how they treat one another. I'd say he was on the verge of passing out from a panic attack to be honest. He is a foreigner in a strange land and he reacts as such. It's a generally small moment in the entire book, but it's one of my favorites because it shows a level of thought that you don't see from every author. That's how a character like Logen should be reacting, but more often than not things like this aren't even touched upon. And when he's trapped by enemies at the end with no hope of escape, wounded and covered in blood, he finally loses it. The beast inside himself that he hid away the entire time finally comes out and you can see why his enemies who know him tried to get rid of him. You can see why he does want to move beyond that and why he is adamant that the world probably would have been better off without him. I'm repeating myself, but it's all done so well and I love it.

Conclusion

The blade itself incites to deeds of violence
I'm willing to say that if the next 2 books in this trilogy are written as well as this one i'd place the series on my list of favorites. There's so much i'm not mentioned, but I was very impressed and it was a pleasure to read. Sometimes when reading a book can feel like a chore, because you're not really enjoying it but you want to finish it. This is a case where I became a kid again, staying up later and later to read one more chapter, my mind constantly turning over the events of the book to wonder what would happen next. I was lost in this story and it was actually fun to read. Very violent, bloody, and sure to have a bittersweet ending when all is said and done (I have the feeling that both Logen and Collem will probably die), but absolutely fun. I suggest it to anyone who enjoys stories like Game of Thrones/A Song of Ice and Fire or books with multiple POV characters for you to follow.

What is your favorite example of a song being used perfectly during a movie scene? For example, mine would either be Q Lazarus’s “Goodbye Horses” in Silence of the Lambs or Led Zeppelin’s “Immigrant Song” in Thor Ragnarok.

It's like every other week, a new song comes out by some random rapper featuring this Krayzie Bone verse. Same exact verse everytime, just mixed differently. Examples (and timestamped for you):
Fumar - Clout: https://youtu.be/JUbIUAyWYX8?feature=shared&t=91
krysbarry84 - Lanez: https://youtu.be/hm0oC2cwYD0?feature=shared&t=15
And even as recent as 2 days ago:
TOUCHDOWNonGAN6 - MID-WEST CHOPPAZ: https://youtu.be/65Wxko8YSVw?feature=shared&t=137
So, where in the world is the original first-ever release of this verse?
EDIT: Maybe from this? https://annodominination.com/features/krayzie-bone-verse