Lil Wayne when Drake dragged for having a child: crickets. Lil Wayne when Rudy dragged for having a child: https://x.com/complex/status/1790955936766378258?s=46

Just curious to hear your thoughts on a 3 time MVP who might win back to back finals and why his cards still aren’t worth as much as a Luka or Anthony Edwards who are yet to even win the WCF. Is it because celebrities like Lil Wayne (not that his opinion is worth all that much) say he plays like a dad at a YMCA? Generally is he unpopular amongst non Denver fans because he doesn’t fit an image? And has this caused his autograph prices to be reasonable?

LPs

• A Boogie wit da Hoodie - Better Off Alone (w Young Thug, Future, Lil Durk, Cash Cobain, Fridayy & Mariah the Scientist) [Melodic Trap, Atlantic]
• Álvaro Díaz (🇵🇷) - SAYONARA (w Tainy, Rauw Alejandro, Feid, Young Miko + more) [Latin Trap, UMG]
• Clavish (🇬🇧) - Chapter 16 (w Fredo, Aitch, Potter Payper, D-Block Europe + more) [UK Rap, Polydor]
• Rio Da Yung OG - Rio Circa 2020 (w RMC Mike & Louie Ray) [Michigan Trap]
• ShooterGang Kony - OPPS CAN'T HAVE FUN [West Coast Trap]
• Meekz (🇬🇧) - TRU [UK Rap]
• Rapsody - Please Don't Cry (w Lil Wayne, Erykah Badu, Hit-Boy, Baby Tate + more) [Conscious Rap, Jamla/Roc Nation]
• Courtney Bell & Royce Da 5'9" - Microdose (w Benny the Butcher, Conway the Machine, LaRussell, Symba + more) [Rap]
• ian - Valedictorian [Jerk]
• Mach-Hommy - #RICHAXXHAITIAN (w Black Thought, KAYTRANADA, 03 Greedo, Roc Marciano + more) [East Coast Hip Hop]
• wolfacejoeyy - valentino [Sexy Drill, Alamo]
• Mike Shabb - SEWASIDE III (w Boldy James, Navy Blue, Nicolas Craven, Da$H, Estee Nack, ANKHLEJOHN & Lord Sko) [Rap]
• Struggle Mike - HONOR (w Benny the Butcher, Jeru The Damaja, Planet Asia, Eto + more) [Coke Rap, BSF]

Deluxe

• Childish Gambino - ATAVISTA (w 21 Savage, Young Nudy, Ariana Grande, ) [Pop, Rap, RCA]

EPs

• Marina Satti (🇬🇷) - P.O.P. [Greek R&B, Universal]
• Jay 305 & Hit-Boy - Don't Wait Until I Die EP (w DOM KENNEDY) [West Coast Rap]
• Lil Double 0 - Return of the Walker [Trap, Freebandz/Open Shift]
• Mutant Academy - Talk Soon EP [Rap]
• Cold Hart - Rap Show (w BONES & GothBoiClique) [Cloud Rap, Epitah]
• LaRussell, 03 Greedo & Mike G Beatz - Sessions At The Grill: Episode 001 [West Coast Rap]
• Payroll Giovanni - Have Money, Have Heart [Rap]
• Elaquent - Obrigado! [Beats]

Songs

• Maluma & Pirlo - MIONCA
• Conep & Anuel AA - Bellakita
• NxWorries - FromHere (feat. Snoop Dogg & October London)
• Rich The Kid & D.A. Got That Dope - Band Man
• Jimin, Mark Ralph, Muni Long, JVKE & NLE Choppa - Angel (Anniversary Edition)
• TitoM, Yuppe & S.N.E. - Tshwala Bam (Remix) [feat. Burna Boy]
• Russ & 6LACK - Working On Me
• Masio Gunz & Jeremih - Panic
• Diany Dior, Cash Cobain & NAV - Favorite Lady
• Saweetie - NANi
• Lila Iké - He Loves Us Both (feat. H.E.R.)
• Sayian Jimmy - BAD BOY (Remix) [feat. Gino Mella, LIT killah, Juhn, Jairo Vera, Dani Flow & Montaña the Producer]
• FERG - MDMX*
• Chance The Rapper & DJ Premier - Together
• Omar Apollo - Dispose Of Me
• 42 Dugg - Win Wit Us
• Big Hit, Hit-Boy & The Alchemist - Black & Whites
• Sheff G & Great John - Everything Lit
• Cowboy Killer & Yelawolf - Bob Barker
• BERWYN - I AM BLACK
• Maxo Kream - Judged the Plugg (From the Block Performance)*
• Homixide Gang & Cxdy - R50
• YTB Fatt & Rylo Rodriguez - In The Air
• EBK Young Joc - Temper
• P Dub, EBK Leebo & EBK Juvie Ju - Free Leebo
• Dom Corleto & Veeze - DUHDUHDUH
• Luxx Kitty - FWM (feat. Sada Baby)
• SwuM - Lost In Space
• MATT OX - MONDAY TO SUNDAY
• Your Old Droog & Conductor Williams - Mercury Thermometers
• RJD2 - Catch The Exit Door (feat. Jamie Lidell)
• Chris Palace - FWM
• lou deezi, Mari Peso & Wiggle - Trapped
• THEBROSFRESH - Caution (Remix) [feat. Pell]
• Certified Trapper - Blood
• Shreea Kaul - Press Pause (feat. Dende)
• Humane The Moon - K9 (feat. Jeshi)
• Karriem Riggins - Affectionate Overture
• Lilblackkids (Georgia Anne Muldrow & Keith Rice) - Moon Slide
• Young Ant Jefe - Drip On 'Em (feat. Big Sad 1900)
• Estee Nack & BonesWeso - RUDEBOY
• KayFarraway & ROMderful - Give Up The Ghost
• Bizarre - HEEBEE JEEBEEZ*
• Cuban Doll & Molly Brazy - Buban Doll
• K.Rock$ & Glockboyz Teejae - Victor Wembanyama
• Freddy Got Magic & Supa Bwe - Same Thing (feat. 7000 (7K))
• Demae - Speechless
• Janette King - Paradise

Old Drop Watches

2023 and 2024 Calendar

*Please do not join if you just want to hookup. I prefer if we vibe with the music, talk, connect with each other, and ya' know, enjoy to the dancefloor ^^
Resident here, 28M Call Time: 21:00 - 21:30 pm, JST Meetup Spot: Shibuya Station (Within Hachiko area, for all intents and purposes)
I'm willing to adopt 3 to 5 people (Already established groups are also welcome) - Just Comment and I'll try to DM you. (I'll try to finalize things by 17:00 pm in our DMs)
About Me: 5 year resident of Osaka, used to go clubbing 2-3 times a week with my friend's crew. Now, here in Tokyo because the grass is greener on the other side (￥￥￥￥￥￥) . Have strong alchohol tolerance. Never been featured in a Shibuya Meltdown viral video.
My Music Preference on a Night Out: Hip-hop . Don't worry, I also vibe to 90s and early 2000s Anisongs during my free time.
Important Reminders & Notes: PLEASE BRING A VALID ID WITH YOUR BIRTHDATE AND PHOTO. 1. Tourists - Bring your Passport at all times

2. Residents - Do not forget your Residence Card, Driver's License, or etc.

Budget not including your transport : *Varies to how much alchohol you are willing to chug First 2 hours: JPY 2,000 3-4 hours: 4,000 to 10,000 JPY

Be a homie till next morning: 8,000 JPY to 20,000 JPY

Dress Code: ↳Bouncers and Receptionists may check you down top, so please do not come in flip flops o your fave shirt (with obvious holes) on the day itself. Also, if you come in wearing your favourite anime T-shirt freshly bought from COSPA, high chance you will be rejected. No Cap.

↳Baiscally, do not wear tacky clothing.

The Flow: During a friday night out, I spend clubbing or going to bars till the sun shines, so usually from 9pm to 5am, next morning. You are free to leave at any time or be my partnes in crime till the sun shines.
On a nightout in Shibuya, I always prioritize going to Neverland Tokyo for the best deal in town. ↳ Opens 20:00 pm , we spend 1 to 2 hours here depending on the crowd & vibe ・With only 1,200 JPY for the gents and free entry for the ladies ・If you enter before 24:00 - Free food and Drinks till 24:00 , Otherwise you only get 1 drink stub
After vibing, getting to know each other, and setting the mood of our night, we can start club hopping. You may google other clubs and its rates in advance such as: Atom (near Neverland), Harlem (also near Neverland), Ce La Vi (Strict Dresscode, high chance being our 2nd destination), TK NIGHTCLUB, WOMB, club asia, camelot, or etc. After clubhopping 2 to 3 clubs, we may also settle hanging out inside a bar and just spend the rest of our night there.

About the Music: Differs from the DJ performing but my most consistent experience of club hopping 4-5 clubs a night are: Mainstream JP Club Music not limited to POP(Never ending 2008-2015 music), House & EDM, a bit of Reggae(cycled within 3 Bob Marley Songs), electro, and random JP Rap/Hip-hop songs that only the locals can vibe (You'll know this part when all the young ones can sing the lyrics like you with Rap God)
JP tier Hip-hop is played but only well-known artists such as Lil Wayne, Snoop Dogg, and etc. But the top Hip-hop artists by these JP Clubs are "Drake" and "Bruno Mars". ※Hearing a song from Black Hippy, Dreamville, and etc. is as rare as your deadbeat dad returning with not one but three jugs of milk and an expired coupon from Applebees.
On a side note: Its a golden rule in JP Clubs that DJs will play is Wiz Khalifa's "See you again" during closing time at 5am. Also, I bet with my heart and soul that "Macarena" by Los del Rio will be played when the DJs don't know what to do next.

If things go smooth, I can start hosting this twice or once a month. (I'm personally planning to visit 10AK Tokyo on my next night out)

If you got any questions, just comment and I'll try to answer

I've been wondering this for a minute now. Lil wayne was popular in the 2000s but it seems like he fell off hard. When people mention goat rappers lil wayne is never included. Was he just overrated?
Apparently he did some time in prison. Was this what affected his career so much? There was also the accusations from push that apparently he was getting fucked hard by the labels. I use to fuck with his music but I haven't had his shit in rotation for a minute now.
Thoughts?

Anyone feel like giving me some direction with this? There’s a huge discography and it’s daunting not knowing where to start. I absolutely love the songs 6 Foot 7 Foot and Sorry 4 the Wait, and I like Let the Beat Build, but other than that I have no exposure to his music.
I looked at a previous thread about his best overall albums and saw Carter II as a consensus but I really didn’t vibe with that when I tried it out. I stopped after four or five songs… it just wasn’t what I was looking for with him. Willing to try specific songs on it if people really think I should try it again.
Other caveats: in general I don’t love songs with a ton of features, and I specifically don’t want to hear songs with Drake.
Thanks to anyone who gives their thoughts!

Drake has 3 Classic Albums at least, Take Care, Nothing Was the Same, and If You're Reading this it's too late, these are 3 Essential Pop Rap Albums
Drake Popularised Rappers being not afraid to Sing and display emotion and vulnerability as Rappers have always been seen as Macho Gangsters, and this is a reason Drake is mocked for being "the Type of Guy" because he is soft and "nice" in comparison to Traditional Rappers, Hence "Drake the Type of Guy to say no more Mr.nice Guy when he gets angry"
On a song like What's My Name by Rihanna, Drake Rapped but also blended singing which was borderline groundbreaking and norm breaking for a Rapper
Drake is one of the highest selling Artists of all time, with longevity, well over 100 Billboard hits, 13 Billboard number 1 songs, he has done well to find a Male and Female Audience, whereas an Artist like Taylor Swift has only captured a mostly female fanbase, Drake has Classic songs, Classic Features, huge impact and influence on Pop Culture, he's even a huge Meme
So all in all, is Drake on the level of Beatles, Michael Jackson, Prince, Led Zeppelin, Pink Floyd and So on in terms of musical Artistry? Absolutely not, not even close, but he's had a fantastic Career, is highly impactful, influential, has Classics, defined an Era and Generation, was named Artist of the 2010s (ahead of Taylor Swift, Rihanna and more)
I don't even consider Drake a top 5 Rapper ever, Jay Z, Eminem, Nas, Kendrick Lamar, Tupac, Lil Wayne, Andre 3000 are all clear, but I am a music fan and if someone deserves their flowers I will praise them for it, Drake is undoubtedly a Musical legend.....despite......the many.....many things you can shit on him for

Mfs be actin like drake don’t know hip hop 😭 the Nigga is student to the game like, the mf who took him in is LIL WAYNE. BRUDDA only reason I got drake over him is because how long his prime has been, mfs be slow. Don’t even get me started on how these Kendrick fans trynna override the Wayne sub to act as if “the truth gon reveal all”.

listen, REALLY listen. to other TDE artists. Listen to things outside your own wheelhouse, even Taylor Swift. Jay Z, Schoolboy Q Lil Wayne, Nipsey, Doja Cat, 50 cent, eminem, XXXtentation, Macklemore, Beyonce, 6ix9ine, Gunna, Draceo the Ruler, Yo Gotti, Mac Miller, Juice WRLD, and many many more. Music is magic. Konnect the Dots.
Even listen to Drake's songs themselves, REALLY listen.

Cigarettes and rebellion have always gone hand-in-hand, and in an age of cigarette packet-sized health warnings, now more than ever, smoking a fag says: 'I do not give a fuck.' But if Brandon Flowers is hoping to strike a seditious pose by sparking up at the start of the interview, it's not going according to plan. The Killers' frontman is on all fours rooting through the junk that carpets the anteroom at the band's rehearsal space. "Has anyone seen my lighter?" he asks, rocking back on his heels. The question hangs in the air while Brandon cocks his head, waiting for an answer like a meerkat listening for a predator. Twenty-five years old and with a delicate bone structure, there's something almost dainty about him. Receiving no response, he returns to his search. "Oh, Jeez," he sighs. "I had it just a minute ago."
It's a scene that emphatically does not suggest a rebel without a cause. The mess isn't helping. The Killers' HQ - an industrial unit sandwiched between a construction supplier and the offices of a housing development just off Dean Martin Drive in West Las Vegas - is ankle-deep in designer clothing. A Dior Homme suit lies crumpled by the door; there's a pile of shoes topped like a sundae by a pair of Marc Jacobs trainers; and anyone wishing to enter the shoebox room the band use as an office must negotiate a mountain of discarded jeans. Many items are identifiable as coming from the wardrobe of Hot Fuss, The Killers' hugely successful 2004 debut album - triple platinum in the UK with two weeks at Number One and five million sold worldwide. Look! There are the shirts, ties and suit jackets they wore when they thrilled Glastonbury 2005 with indie rock anthems Mr Brightside and Somebody Told Me. That was the crowning moment of a two-and-a-half year tour that finally concluded in October of last year. It seems that after playing that final date in Miami, they returned to Vegas and shrugged off their image onto the floor of this bland white box.
Now a fine layer of dust covers the dead clothes. The Killers have no further use for white tuxedos on their second album, Sam's Town. Today, Brandon wears a black polo shirt, black pin-stripe waistcoat, black jeans and black boots. Where there used to be a layer of foundation, there is now a beard - an untrimmed beard at that. Dave Keuning (30, guitar), Mark Stoermer (29, bass) and Ronnie Vannucci (29, drums) all echo Brandon's black ensemble. Ronnie has added Aviator shades and a handlebar moustache for a dash of motorcycle cop, Dave's frizzy bubble of hair gives him a Marc Bolan-ish air, and there's something very teenage about Mark's scuffed Vans.
Short of walking around wearing sandwich boards saying, "Our new record is a bit heavier than the last one," The Killers couldn't hope to communicate that message more effectively. And they have gained some musical girth on Sam's Town. The pop hooks that made Hot Fuss so irresistible survive intact - see the ringing guitar riffs on first single When You Were Young - but there's a newfound punchiness, coupled with an epic sweep. The minor-to-major uplifts on Bones are fabulously dramatic, the coda to Why Do I Keep Counting? thrillingly intense. Comparisons to Bruce Springsteen have been made. If they overstate the case a little, they are at leaset qualitatively accurate. The Killers are back and this time it's serious - they've got the bootlace ties to prove it.
"Hey, it says here that Springsteen's headlining Glastonbury next year," shouts Ronnie, who's flicking through the NME. He nods sagely at the page without looking up.
"Really?" asks Dave, nicknamed Crazy Dave on account of his alledgedly volatile nature.
"The Boss is headlining one night, we're playing second on the bill the next night and Kylie's headlining the Sunday," says Brandon, charging like a bull through Michael Eavis' as-yet-unannounced line-up with what subsequently proves to be a characteristic gaucheness.
But that lighter is proving elusive. This being America, none of the people hurrying to-and-fro prepping the world for the release of Sam's Town smokes. Manager Robert Reynolds - Bobby Rey to the band - barks into his mobile, booking his band onto eye-wateringly demanding tours. "We're going to make a lot of money," he cackles to himself before switching calls to make a series of stern pronouncements on legal matters. Dave, Mark and Ronnie disappear for a jam session. Artwork is approved, B-sides are decided on and schedules are hammered out.
"I can't find it," Brandon says, finally. But he's not going to be denied the opportunity to underline The Killers reinvention with a puff of smoke. "Let's go to the gas station. I'll have to buy one. It's too busy to talk here anyway."
+
Brandon's black (of course) Volkswagen Touraeg four-wheel drive is barrelling down West Flamingo Road into town. "I was a bell boy there," he says, pointing out of the driver's window at the stucco facade of the Gold Coast casino. "I was working there when we were signed."
Coming from Las Vegas, it is perhaps inevitable that casinos play a big part in The Killers' story; not only is Sam's Town named after one, it was recorded in one, too.
The band began writing songs while on the road with Hot Fuss, turning up early for soundchecks to run through new ideas. On a trip home to Vegas, George Maloof, a hotelier known for cultivating famous friends, invited them to record the album in the new studio he'd built at The Palms, his flagship hotel-cum-gambling den. When the tour finished in October 2005, they returned to Vegas and spent five month finessing the songs they'd sketched out on the road. Then, in February, they decampled to the third floor studio at The Palms and recorded Sam's Town over 11 weeks.
Producer Flood (U2, Depeche Mode) encouraged them to experiment. They overdubbed, fiddled with synthesizers and played with new equipment. It took them five weeks to get the backing vocals right. The band sang the harmonies, then double-tracked them four times. The end result recalls Queen wondering, "Is this is the real life? Is this just fantasy?" When Ronnie, a trained classical percussionist, brought some kettledrums down, eyebrows were raised; but the fabulously bombastic coda on Why Do I Keep Counting? vindicates his indulgence.
"That's kind of the Ben Hur of the album," he says. He's not wrong. Sam's Town is a record on an epic scale. "Yeah, it has drama," he continues. "But, at the same time, I think it's a little more exposed than Hot Fuss. It's a little more naked. Last time it was about a lot of fictional things." By "fictional", Ronnie means that Hot Fuss wore its predominantly British influences for all to see. Brandon's taste in music is rabidly Anglophile - he constantly references The Smiths, The Cure and Joy Division - and it showed. By contrast, Sam's Town is an unequivocally American record. The lyrical imagery is pure American dream - cars, girls, wide-open spaces and escaping to a better life. "We're burning down the highway skyline/On the back of a hurricane that started turning/When you were young," sings Brandon on When You Were Young. That's the basis of the Springsteen comparisons then, though the lack of pathos more closely recalls another blue-collar rocker from New Jersey - Jon Bon Jovi.
The phrase "this town" recurs throughout the album, and it's always receding into the distance as The Killers escape to a new life. "This town was made for passing through/I never did get along with everybody else," sings Brandon on This River Is Wild. On Read My Mind he "never really gave up on breaking out of this two-star town", while on the title track he offers something of an explanation: "Nobody ever had a dream round here."
"With the first record, there was this feeling that there was this world out there that we didn't know," says Mark later in the day. Before The Killers, he studied philosophy: now he's their quiet one. "We wanted to get out and away from this and be somewhere else. We hadn't had a lot of experience - hadn't travelled much - then we were gone for three years. We didn't sit down and say that we wanted to make a record about how we're glad to be home, but that's what happened naturally."
It's not an angsty record. The Killers have already escaped with Hot Fuss, and, having done so, they view the experience fondly now they're back. There's a mistiness to Brandon's eyes as he explains how the album got it's name.
"Sam's Town is a casino on the edge of Vegas," he says. "I grew up in Henderson, which is out on the way to the Hoover Dam. My mom and dad lived in a trailer park, and my dad used to hitchhike up and down Boulder Highway, which is the only way you could get to Vegas. Sam's Town was the first thing you saw on your way in to town. So, when you're driving down Boulder Highway from Henderson, I always thought you finally knew you were getting somewhere when you saw Sam's Town. It was kind of like a beacon."
"It's not a completely American album," contines Brandon. "We still have our English influence, but we're also from the Wild West. Somehow we've managed to unify all that on this album. it's just such a perfect resemblence of what we are."
At the petrol station, Brandon rummages through the glove box looking for change to buy a lighter. "This is a great album," he says, pointing at Highway Companion, the latest from iconic American rocker Tom Petty. "I've always been a big fan of his. He's such a great American artist."
Yes, Brandon: we get the point.
+
When Brandon finally lights his cigarette, he smokes it awkwardly, like a child mimicking something he's seen the grown-ups doing. However, when he cheerfully admits that, "I feel the same mentally as I did when I was 12," it's not a knowing nod to the fact that he sometimes behaves like a loveably precocious child, but a reference to an unusually comprehensive grounding in pop music at an early age.
When Brandon sings about "this town", he doesn't mean Las Vegas. He means Nephi, Utah or Henderson, Nevada, where he spent his childhood. His parents are Mormon and he is the youngest of six children. "I was a surprise," he says. "I've got a 42-year-old sister." If he was issues about his "surprise" status, he chooses to gloss over them. "It turned out perfect because my brother was a teenager when I was a kid," he says. "He would bring home things like Rattle And Hum by U2 and I would watch it. I remember he bought Live In Dallas by Morrissey. It was always him watching these things, or his door was shut and you'd hear The Head On The Door by The Cure blasting through the house and rattling the walls."
The Killers were formed when Brandon answered an advert Dave had placed in a local paper in late 2002. Dave cited Oasis as a big influence; Brandon had seen them play recently and responded; and, as Dave has said in previous interviews: "He was the only person to reply to my ad who wasn't a complete freak." However, the band was born in Brandon's brothers bedroom.
"His room was like a shrine," enthuses Brandon. "It was a holy place. I wish I could show you a picture of it. It was covered in posters. There'd be a big picture of Elvis wearing a bow tie that just said 'The Smiths' [the artwork for The Smiths 1987 single Shoplifters Of The World Unite]. You had The Cure wearing face paint [the artwork to The Cure's 1985 single In Between Days] - all that kind of stuff. I remember Morrissey being on the cover of the NME, with the halo [from 1985] - stuff like that. You just wanted to know about these people 'cause they were so cool. My brother seemed like such a cool person. But he was a teenager, so he wasn't going to be that nice to me, a kid."
Brandon was fascinated by his brother's collection of music, magazines and posters, but he was denied access to them - officially, at least. "I would sneak in," he says. "I knew he'd be angry if he found out, but I would go in as soon as he left the house." For a long time Brandon was too scared to actually play anything. "That didn't come 'til later. I just used to go in there because I liked it. Then I got to the point where I'd actually take a tape out and put it in. It took more guts to do that."
It was a life-changing moment. "I was ten and the first song I played was Sing Your Life by Morrissey. I remember dancing about to it."
The lyrics to Sing Your Life include the lines, "Sing your life/Just walk right up to the microphone/And name all the things that you love/All the things that you loathe." It's intriguing to wonder what Morrissey makes of the neophyte he inspired with these lines.
Eventually, Brandon inherited his brother's tape collection. "It was around the same time CDs started coming out in a big way. He started buying CDs and gave me his tapes. And that was it: it took off from there. I got a hundred of the best albums - all the New Order, all the Morrissey, all The Smiths, The Beatles. I started buying posters. I went to see The Cure in concert. It was just kind of a continuation of my brother. And it was nice because, though my parents were strict, they were already used to it from him. There was no, 'My dad doesn't understand me,' or any of that kind of stuff. My mum likes The Smiths."
Brandon was 13 and his favourite band was late-'70s/early-'80s American new wavers The Cars, and particularly their jaw-droppingly catchy 1979 single Just What I Needed.
"I wouldn't exist without that song," he says. "That was the one. I remember driving around with my mum when I was 13, and we're living in Nephi - a really small town - and I felt so cool when I put that song on. Like: 'I have something that none of these kids I'm going to middle school with tomorrow have.' That excitement is what music's about, isn't it? That's why I understand the mentality of people that don't like us because we've sold so many records. I used to like it when no one else knew about a band. So I get that - I do."
+
Brandon's first band was called Blush Response. It was never going to work out. Not because he refused to move to Los Angeles with them, but because he is utterly - comically - shameless. He's given to making outrageously boastful statements like: "It's not like the '60s, '70s and '80s now. There are only a few bands around that are really good, that just do it. I mean, there's what, five or six of us?"
For the record, in Brandon's estimation, those bands are Franz Ferdinand, Razorlight, The Strokes, The White Stripes, Yeah Yeah Yeahs and, of course, The Killers.
"I don't want people to think I'm lumping myself with other people just to make us sound cool," he says. Really? It sort of sounds like you are. But he just steamrolls through it. "Yeah, but you know what I mean," he says, grinning at his own cheekiness. He's so disgracefully forward you can't help but laugh along with him - Oh you are awful, Brandon! But joking aside, The Killers are the most commercially successful of all the bands he mentions.
Later, back at the rehearsal space, the band run through Sam's Town at deafening volume in preparation for the forthcoming tour - first the US, then the world. The infectious, almost contagious, chorus of When You Were Young sounds fabulous, as do the U2-like guitars and Twin Peaks synths of Read My Mind. Meanwhile, Smile Like You Mean It and Somebody Told Me benefit from the newfound harder edge.
They somewhat heavy-handedly underline the new direction by playing Paranoid by Black Sabbath and Get It On by T Rex. That's the thing: The Killers are not a subtle band. Their songs are like a wet kiss from a girl who's a bit too drunk. They are big and brash, and not everyone loves them for it. Mr Brightside and Somebody Told Me might go down as well at hip nightclubs as they do on the festival circuit, but the DJs play them with the same guilty look they wear when playing a pop record.
"I hate that," says Brandon. "Like writing a song you can hum somehow cheapens it? It makes me think of this quote by Morrissey. Everybody knows how he read Oscar Wilde, Keats and Yates when he was growing up and that he wanted to be a writer. He was talking to this journalist who asked why he hadn't become a writer, and Morrissey said: 'What I do is more powerful than what you do because I can write down these words and you get it to a melody. How can you beat that?' I'm of the same opinion. I don't understand why a good melody that's memorable is a bad thing."
Being dismissed as pop particular aggrieves Ronnie. "When we first came out we got compared to Duran Duran all the time. Jesus Christ! We got a keyboard player now all of a sudden he's Nick Rhodes! Come on!"
"The people who criticise us for being too poppy don't get it," agrees Mark. "I think that's the problem with a lot of rock music. People are afraid to write a song any more. Either that or they can't. And that attitude hurts music in general. The best bands ever have all written great songs. You can still do it and do it intelligently and it can be original. This isn't a studio creation with a producer writing these songs for us. We're not Avril Lavigne, or something like that. We're a real band writing real songs, just like a punk band would do, except that we write pop songs."
You get the impression that The Killers knack for showboating pop hooks that border on vulgar is inextricably tied up with the brazen side of Brandon's personality. But while his ebullient charisma, not to mention the songs themselves, mitigates his outrageousness, there is a less attractive side to his ego. He has a combative streak. He can't resist taking pot shots at emo bands, notably Fall Out Boy, whith whom The Killers share an A&R man.
Has he heard how many emo kids it takes to change a light bulb? "No." None. They just sit in the dark and cry. It's a full 30 seconds before he stops laughing. When he does he admits: "Yeah, we've had problems with other bands. You know, when you walk in the room it's like..." He whistles the theme to The Good, The Bad And The Ugly. "We're like gangs."
And while the other members of the band are diplomatic on the subject of Brandon, you don't have to read too deeply between the lines to conclude that there have been internal issues, too.
"Some people will think Brandon's the big genius," says Dave, visibly bridling. "There are songs, such as Why Do I Keep Counting?, where he's written every note. But there are others, like When You Were Young, that were more of a collaboration - like Mr Brightside, where I had some of the music and Brandon came up with the lyrics. We always have arguments about who wrote what. The truth is that we all help in that process."
When asked how success affected them, Ronnie says: "There were certain things that needed adjusting. When you're on tour for two years, people can get a little needy. It doesn't help that you're surrounded by yes men and everybody's working for you. At times we've had to say, 'Who do you think you are?' to people. No one wears the trousers, but some people would like to. I think if it wasn't for the people in the band kicking each other in the ass... Let's just say there was some ass-kickin'."
It doesn't take a genius to work out whose ass needed kicking most often.
+
It's the following day and The Killers are back at their rehearsal space. The topic of discussion is what to wear in the video for Bones, the second single. It's a big deal: the director is Tim Burton. "I feel like Frank Sinatra when I sing it," announces Brandon. "With maybe a little bit of Morrissey and a little bit of Elvis, too."
Of course he does. But if securing the services of Tim Burton tells you one thing, it's that The Killers are about to get even bigger, perhaps even make the leap to the same level as Coldplay et al. Already stars, they are about to become superstars. Brandon can hardly wait.
"Do you know that Rolling Stone didn't want to put us on the cover last time," he says indignantly. "They didn't think we were stars. We sold five million albums! What more do they want from a band?"
Whatever was required, Brandon would be happy to do most things. "I'll do stuff that some people don't want to do, 'cause I want people to hear the music," he says. However, even he has limits. "The Rolling Stone thing made the record label think: 'What can we do to make them stars?' If I go on vacation with my wife, do they have to send somebody to be there to take pictures of me? Is that how you become a star? I don't want that. I walked down the red carpet one time and I realised I don't like it. But you don't have to walk down the red carpet for people to hear your music. We do still have some of that indie blood running through our veins."
He heads off at a tangent: "When you walk around Liverpool, you think of The Beatles, or you go to Manchester and you think of The Smiths or Oasis. I want you to come to Las Vegas and think of Sam's Town. And I think we've started to capture that, which is a truer version of The Killers, 'cause that's where we're from."
He pauses.
"I used to live across the street from Sam's Town. Maybe it'll be like our Abbey Road where people go to take pictures."
Is that what he'd like?
"I wouldn't mind it," he says, desperately hoping it will come true.
He puts a cigarette between his lips, looks down at his trouser pockets and pats them in search of the lighter he bought yesterday.
"Hey, I don't suppose you've got one?"

For references
Jay-Z - Big Pimpin
Migos - Antidote
Lil Wayne - Hoes

Just a thought

I personally have Lil Wayne in my all time top three but I rarely hear him mentioned on here. Is it his content?

Once again, my next post concerning the localized script of Cold Steel III. With this, I'll tackle the first part of Chapter 3. The points shown here are based on my sensibilities as to what lines cause issues for the dialogue, from being outright wrong to being awkward. My previous posts are listed below:

• Prologue: https://www.reddit.com/Falcom/s/iU44PytvbN
  
• Chapter 1: https://www.reddit.com/Falcom/s/cTjkFwRsAM
  
• Chapter 2 (1/2): https://www.reddit.com/Falcom/s/973QP55DqX
  
• Chapter 2 (2/2): https://www.reddit.com/Falcom/s/XrHBTWb0hr
  

Chapter 3

• 1:「I take it this means House Hyarms will be the only one of the Four Great Houses in attendance?」 / 「“四大”から当主が出席するのはそちらの家だけになりそうだな？」

The localization has Jusis word this an absolute. "当主" should refer to the actual head of the house. Jusis could've said: [I take it this means House Hyarms will be the only one of the Four Great Houses in with it's head attendance?]

• 2:「Every bit as tasty as the pancakes Tilly and I had earlier.」 / 「この前アーちゃんと食べたパンケーキに負けてないかなぁ。」

The phrasing choice of "earlier" in the localization makes this reference to a moment in Chapter 1, pretty much two months ago, strange. It feels like way too much like a direct translation of "この前," without the context. Millium could've said: [Every bit as tasty as the pancakes Tilly and I had (anything that'd make more sense) before/in Leeves/a couple months ago.]

• 3:「I figured Nidhoggr would be good, but the other guys are no slouches themselves.」 / 「“竜”も“連中”も悪くない。」

Random moment in the localization where refering to the jaeger corp in question as just "the dragons"/"竜" is omitted. There were no issues in any other instance. Shirley could've said: [I figured the dragons would be good, but the other guys are no slouches themselves.]

• 4:「The dragon lost its head, and as for the other group, well...」 / 「“竜”は頭が変わり、“彼ら”の方といえば──」

The original has it as "changed"/"変わり," not outright lost. Gareth could've said: [The dragon changed its head, and as for the other group, well...]

• 5:「We've got two of the strongest jaeger corps--the dragons and these jaegers in purple--battling it out...」 / 「──最強の猟兵団２つに“竜”たち、そして紫の一団……」

The localization phrases this in a different way than it should. It's denoted that "the dragons and these jaegers in purple" are emphasized as the "two strongest jager corps"; however, the original is listing the four in the scene. Sara could've said: [We've got two of the strongest jaeger corps--Zephyr and the Red Constelation--the dragons and these jaegers in purple, battling it out.]

• 6:「What's this big conference thing about?」 / 「『領邦会議』って何なの？」

The localization changes the clear question about the actual term she read about, just to make it sillier. Besides the fact that it even chooses to swap "council" for "conference." Juna could've said: [What's this Provincial Council thing about?]

• 7:「One time, some bandits captured me and held me in a stone prison...」 / 「とある小国では、山賊に捕まり一週間も岩牢へぶち込まれた事があったのお……」

The localization omits the time held captive, "one week"/"一週間." Old Man Rod could've said: [One time, some bandits captured me and held me in a stone prison for a whole week...]

• 8:「Speaking of which, was the Azure Knight ever retrieved?」 / 「そういえば《蒼の騎神》は軍に回収されたのよね？」

「I heard that they sealed it up so that the Noble Alliance wouldn't get their hands on it.」 / 「貴族勢力に使われないよう厳重に封印したって聞いたけど……」
Very weird way to phrase this line by the localization. Especially considering that it is also said "they sealed it" in the next line. The original already mentions the "military"/"軍." Celine could've said: [Speaking of which, was/wasn't the Azure Knight ever retrieved by the military?]

• 9:「Mastering this form is more difficult than any other. I do not know if you are even capable of such a feat, yet...」 / 「その極みは他の型よりも遠く、おぬしが“理”に至れるかは分からぬが……」

The localization lumps the meaning of reaching the "pinnacle" or "heights"/"極み" and "enlightenment"/"理" to be the same thing as "mastering"/"奥伝" the 7th form. That's simply wrong. Yun Ka-Fai's letter could've said: [Reaching the pinnacle of this form is more difficult than any other. I do not know if you are even capable of attaining "enlightenment", yet...]

• 10:「Not to mention, I can't imagine you'd need a third. Not at this point in your relationship, anyway♡.」 / 「それにせっかくの２人きりの機会……水を差すのは野暮というものですし♡」

The localization adds what I assume is meant to be a "threesome" joke. Sharon could've said: [Not to mention, I can't imagine you'd like me to intrude on your private time♡]

• 11:「My school and the cathedral are in the same district, in case you were wondering.」 / 「何しろ、女学院と大聖堂は同じサンクト地区にありますしね。」

The localization saw fit to omit the specifications of the district. Elise could've said: [My school/St. Astraia/the Girl's School and the cathedral are both in the Sankt District, in case you were wondering.]

• 12:「(Yes, I have. When I was accompanying the inspection team in Crossbell, I did some studying there.)」 / 「（ええ、ですがクロスベルの視察団に同行するのにあたって一通り勉強しましたから。）」

Actually, it's completely wrong. When questioned, by Rean, that she's never been to Armorica Village before, she's not supposed to have "studied in the village." Elise should've said: [Yes, I haven't. However, when I was accompanying the inspection team in Crossbell, I did some studying/read all *about it.]

• 13:「We have the Goddess of the Sky, but they worship something else.」 / 「彼らは空の女神と同じくらい大切にしているものがあるんだ。」

「What is it that the Nord people worship?」 / 「ノルドの民が、空の女神と同じくらい大切にしているものは？」
There isn't supposed to be a comparison that reads as if the Nord people worship "something else" instead of Aidios. Rean could've said: [They also have the Goddess of the Sky, but they worship something else equally.]

• 14:「He knows a lot about cooking, and he tells me all about the academy. Teehee, he's so helpful.」 / 「お料理も詳しいし、学院の事情なんかも教えてくださるの。ふふ、助かっているわ。」

「With such an amazing faculty member, Thors must really be an excellent school.」 / 「あんなに優秀な職員さんが いるなんて、トールズってやっぱり名門校なのねぇ。」
「Hahaha...(That doesn't quite seem like Celestin, but...)」 / 「ははは……（セレスタンさんはちょっと特別な気もするが……）」
The localization got this one completely wrong. How is describing Celestin as "knowledgeable about cooking" and "helpful" not like him? That response makes no sense. First, the second line should read more generalizing the compliments to the whole staff; Cattleya could've said: [With such an amazing faculty member/members Thors must really be an excellent school.] Second, the meaning is that "Celestin is a unique case among the faculty" (in regards to being so amazing.) Rean could've said: [Hahaha... (That doesn't quite seem like anyone but Celestin...)]

• 15:「Huh...? (Wait, is someone outside...?)」 / 「ふむ……（そういえば部屋の外に……）」

The localization also got this one wrong. The Japanese don't come across as completely unaware. The assumption of this scene is that to Wayne is standing outside the training hall. Rean could've said: [Huh...? (Wait, the one outside would be...)]

• 16:「She also said she apprenticed under a female martial artist and traveled around Erebonia...」 / 「外国人の女性武術家に弟子入りして、半年も帝国を放浪していたなんて話も聞きましたが……」

The localization omits the time spent traveling, "半年." Rean could've said: [She also said she apprenticed under a female martial artist and traveled around Erebonia for six months...]

• 17:「Yeah, thanks to this pendant Emma made me.」 / 「ああ……エマの魔力が込められこのペンダントの力を借りてだが。」

The localization simplifies the explanation. Rean could've said: [Yeah, thanks to this pendant Emma imbued with her magic.)

• 18:「A monster? Wait, that's a cryptid!」 / 「魔獣──いや、魔物のたぐいか！？」

「What a nightmarish beast that cryptid was...」 / 「はぁ、まさかあんな恐ろしい魔物がいるなんて……」
The localization mistranslated "fiend"/"魔物" for "cryptid"/"幻獣." Kurt could've said: [A monster? Wait that's some kind of fiend!] Musse could've said: [What a nightmarish beast that fiend was...]

• 19:「After paying a visit to Professor Schmidt, Rean walked George to the station, where his train back to Roer was waiting.」 / 「シュミット博士に一言挨拶を済ませた後、北東のルーレに向かうジョルジュを駅まで見送ることにしたのだった。」

The localization removes the direction of the city. The narration could've said: [After paying a visit to Professor Schmidt, Rean walked George to the station, where his train back to Roer, in the northeast, was waiting.]

• 20:「I considered making a last stand there, but news of the Northern War reached me.」 / 「１年は抵抗してやろうと思ったがそこへ《北方戦役》の話が降ってきた。」

The localization removes the remark about the duration of the last stand. Aurelia could've said: [I considered making a last stand there for a year, but news of the Northern War reached me.]

• 21:「You'll be just fine, Towa. Now let's get this show on the road!」 / 「フフ、ハーシェル先輩ならきっと大丈夫ですよ。一緒に頑張りましょう！」

The localization changes, addressing Towa by her surname. Munk could've said: [You'll be just fine, Herschel. Now let's get this show on the road!]

• 22:「Not to mention, as the student council president, you were highly regarded by many of your fellow students.」 / 「もとより、士官学院の生徒会長として貴族・平民を問わず多くの学院生たちから高い信頼を受け──」

The localization omits taking social classes into account. Munk could've said: [Not to mention, as the student council president, you were highly regarded by many of your fellow students--nobles and commoners alike.]

• 23:「Heehee. No elegant young maiden can resist the call of beautiful lace.」 / 「ふふっ、淑女の嗜みと言えばやはりマリアージュ・クロスははずせないでしょうね。」

The localization omits the mention of the brand. Musse could've said: [Heehee. No elegant young maiden can resist the call of Mariage Cross beautiful lace/Mariage Cross' beautiful lace.]

• 24:「Nothing draws a man's eye like a bit of lace...in just the right spot.」 / 「姫様から色々とプレゼントされたと聞きましたけど？」

The localization completely changes, from specifically teasing Elise to just be more of a general tease. Musse could've said: [I've heard that the princess has gifted you many such lace.]

• 25:「Although, I was shocked when she tried to pay for it with gunpowder.」 / 「手持ちがないからって報酬を弾薬で払おうとした時は驚いたけどね。」

The localization chooses to translate the general term for "ammunition"/"弾薬" to be specifically gunpowder. Marcus could've said: [Although, I was shocked when she tried to pay for it with ammunition/ammo/(maybe) bullets.]

• 26:「How about assorted Eastern sweets?」 / 「なら……『羊羹の詰め合わせ』はどうだ？」

The localization randomly chooses to translate "yokan"/"羊羹" as just generic "eastern sweets", after having no problem doing it correctly in all other instances. Rean could've said: [How about some assorted yokan?]

• 27:「Well, we've basically just been making whatever we want at the Cooking Club.」 / 「ま、具体的には料理研究会と女子の有志でメニュー追加ですね。」

The localization phrases the arrangement weirdly. Juna could've said: [Well, we've (Elise, Musse and Juna) basically just decided on the menu together with the Cooking Club.]

• 28:「The elder? Is she the one Emma and Vita call their grandmother?」 / 「“長”──エマが“お祖母ちゃん”、クロチルダさんが“婆様”と呼ぶ人だよな？」

「I'm also worried about the 'true story' that Vita mentioned.」 / 「クロチルダさんが言っていた“真なる物語”というのもあったな。」
Again, it's made to use "Vita" instead of "Clotilde." I've already explained in previous posts how these changes can affect the dynamics of characters negatively. Rean could've said: [I'm also worried about the 'true story' that Clotilde mentioned.]

• 29:「From that day, Emma began training and studying as hard as she could with one goal...」 / 「『あやつの事は忘れよ』という“長”の言葉にも納得せず、その日からひたすらに修行と勉学に励んでいったわ。」

The localization removes what Roselia told Emma. Celine could've said: [From the day the Elder said 'forget all about heVita', Emma began training and studying as hard as she could with one goal...)

• 30:「That's the golden Spiegel the principal mentioned!」 / 「分校長が使っていた黄金のシュピーゲル……！」

The localization swaps "used" or "piloted"/"使っていた" for "mentioned." Rean could've said: [That's the golden Spiegel the principal used/piloted!]

• 31:「And so, Aurelia finished training the members of Class VIII...」 / 「──こうしてオーレリアはⅧ組メンバーにも（優しく）稽古を付け……」

The localization omits the joke. The narration could've said: [And so, Aurelia finished (gently) training the members of Class VIII...]

• 32:「Do they really need to have the conference during the Summer Festival...?」 / 「……夏至祭の時期……領邦会議もあるんですよね……」

The localization chose to phrase this as there's supposed to be reservation against these events being held at the same time. That wasn't particularly present originally. Tatiana could've said: [The Summer Festival is going to be held at the same time as Pronvicial Council...]; or: [I hear that the Provincial Council will be held together with the Summer Festival...]

• 33:「From what I heard, Olivier liked to play his lute under it.」 / 「ちなみに、その大橋の下で オリビエさんがリュートの弾き語りを披露したことがあるらしいんです。」

The localization puts this as if it's a 'known regular hobby'. Tita could've said: [From what I heard, Olivier played his lute under it *once.]

• 34:「It reminds me of the fleet. I feel like I'm home.」 / 「まるで船団に戻って来た みたいというか……これだけで里心がついちまうよ。」

「I hope our boss is doing well.」 / 「それにしても──女将さん、元気だといいんだが。」
The localization creates an awkward confusion for these lines. What would be expected is that "boss" would be the fleet's boss, but it's actually talking about the owner of the sailor bar, Miranda, by using "owner" or "landlady"/"女将さん." Leonora could've said: [I hope Miranda/the owner is doing well.]

• 35「Well, thanks to my mom's job, I know all about the nightlife in Raquel. Lemme know if you need any recommendations.」 / 「ま、お袋の職場だったのもあるし、夜のラクウェルなら任せろや。」

「I think it'll be an eye-opening experience for everyone, yeah?」 / 「坊ちゃんやらジャジャ馬にだっていい社会勉強になるんじゃねえか？」
「Though I might consider doing something after we're done with the field exercises.」 / 「せめて演習が終わった最終日なら引率込みで考えなくもないが。」
「Huh...? Well, aren't you a stingy one?」 / 「ハァ……？チッ、ケチくせえ野郎だな。」
The point of the line doesn't really come across that well in the localization. It sounds like the punchline to responding to Ash's proposal to allow Class VII to go out in the nightlife of Raquel is that "I'll consider doing that by myself." That couldn't be more wrong. Rena could've said: [Though I might consider chaperoning you guys after we're done with the field exercises.]

• 36:「The former Duke Cayenne is still under arrest and no replacement has been named.」 / 「現カイエン公は逮捕されたままで地方統括者は不在ですよね。」

Literally mistranslates "current"/"現." Altina could've said: [The current Duke Cayenne is still under arrest and no replacement has been named.]

• 37:「Hmph, you talk a lot for a doll. Must have a really long string in the back.」 / 「ハッ、よく喋る人形だぜ。」

Ash's line originally ends at the first clause.

• 38:「I hear there are some snipers who chose the Hector... but I suppose it all comes down to feeling.」 / 「正規軍の中にはヘクトルを選ぶ狙撃手もいるそうですが……まあ、要は相性ですね。」

The localization omits tthe fact that the snipers are from the army. Maya could've said: [I hear there are some snipers in the Imperial Army who chose the Hector... but I suppose it all comes down to feeling.]

• 39:「We need to focus on getting to Ordis.」 / 「この先はラクウェル方面──まずはオルディスの依頼に集中しよう。」

The localization removes the previous remark. Rean could've said: [This way leads to Raquel--We need to focus on getting to Ordis.]

• 40:「Damn. So that monster used to cozy up in there with fifty-thousand soldiers.」 / 「クク、あんな場所にあの化物が５万の兵と立て籠もったワケだ。」

The choice of "used" makes the sentence read as a characteristic beyond the single event the Japanese refers to. Ash could've said: [Damn. So that monster locked herself/cozied up in there with fifty-thousand soldiers.]

• 41:「During the war, the Imperial Army was at a loss after multiple failed attempts to infiltrate.」 / 「当時、帝国正規軍も攻めあぐねて頭を抱えたそうです。」

「It's fully equipped with multiple Panzer Soldats, large-class airships, and enough supplies and anti-aircraft cannons to last three years.」/ 「多数の機甲兵に大型飛行艇、３年は継戦できるだけの物資、対空砲も完備していましたから。」
In the context of "the Noble Alliance forces, after the civil war ended, barricaded themselves in Juno Naval Fortress," the localization wrongly chooses to put it as "during the war." Much the same, the second line is supposed to be talking about that single past event. Altina could've said: [It was equipped with multiple Panzer Soldats, large-class airships, and enough supplies amd anti-aircraft cannons to last three years.]

• 42:「(And thus a deal was struck that shifted the Northern War.)」 / 「（そんな事態を打開するために北方戦役の話が持ち上がった……）」

The localization translated this line very wrongly. The situation being "shifted" isn't the Northern War. Rean could've said: [To resolve that situation (Aurelia's barricade in Juno), the deal to set out for the Northern War was struck.]

• 44:「I don't see any Goliath Soldats. Do you?」 / 「ああ、そういや主力戦車だの噂の巨人機(ゴライアス)だのは見当たらねぇな？」

The localization omits the mention of the Main Battle Tanks. Ash could've said: [I don't see any Main Battle Tanks/MBTs/Achtzenhs or Goliath Soldats. Do you?]

• 46:「But over the past six months, we've seen some suspicious activity from both jaeger corps.」 / 「だがここ半年、帝国各地で不可解な動きをしていた各猟兵団が半月くらい前から鳴りを潜めていてな。」

「Activity that's led us to believe they're planning something for the Imperial Provincial Council in Lamare.」 / 「ール州で開かれる領邦会議に合わ・せるように。」
「Over the past six months, there haven't been any confirmed reports of jaeger corps activity within the Empire.」 / 「──ここ半月、帝国各地で 活動していた複数の猟兵団の動きが確認できなくなっている模様。」
By virtue of omitting information, the localization causes this line to have the wrong information. In the first line. Wallace could've said: [But over the past half a month/two weeks, we've not seen activity from the multiple jaeger corps which, until then, had been moving suspiciously in the Empire starting six months ago.] Consequentially, it's the lack of movement so close to the Provincial Council that makes them wary. The third line straight up mistranslated "half a month"/"半月." Wallace could've said: [Over the past half a month/two weeks, there haven't been any confirmed reports of jaeger corps activity within the Empire.]

• 47:「Ordis has been holding the Imperial Provincial Council since yesterday. Immediately after that's done is the Summer Festival.」 / 「オルディスは明日より領邦会議、そして《夏至祭》という状況です。」

The localization outright mistranslates "tomorrow"/"明日." The Provincial Army Soldier could've said: [Ordis will hold the Imperial Provincial Council starting tomorrow. Immediately after that's done is the Summer Festival.]

• 49:「Looking at this view, I can see why Ordis is so famous.」 / 「さすがは《紺碧の海都》と称えられるだけはある街だな。」

「The Port City, Ordis.」 / 「《紺碧の海都》オルディスへ。」
The localization refuses to establish a term for this other name that Rean and Musse call Ordis. Given some uses of the Japanese term, it could be "Saphirl Port City"; given the name of a food item in the city, perhaps "Aquamarine Port City"; even if not the same kanji, maybe "Azure Port City." As long as it's not entirely omitted from the game.

• 50:「Yeah, but once we're done sightseein', we've got a monster to kill.」 / 「そんで一通り回ったら南の浜辺で手配された魔獣をブチ倒すわけか。」

The localization omits mentioning the location of the monster. Ash could've said: [Yeah, but once we're done sightseein', we've got a monster to kill on the beach to the south/southern beach/beach south of the city.]

• 51:「I hope Luna isn't too bored.」 / 「はっはっは、ルナたちが退屈していなければいいのだが。」

The localization singles out Luna. Lord Quinn could've said: [I hope Luna and Eclair aren't too bored.]

• 52:「You're in luck. With the Summer Festival going on, the town is really buzzing with activity.」 / 「夏至祭も近いので商業区は賑わっているようです。」

The localization messes up the timeframe a little. The Provincial Army Soldier could've said: [You're in luck. With the Summer Festival happening soon, the town is really buzzing with activity.]

• 53:「My husband doesn't like things that come from the capital.」 / 「うちは旦那様が帝都資本嫌いなんです。」

Just like in Chapter 2, a maid is made to call her "master"/"lord" her husband by virtue of the fact that the Japanese term can be used for both. Pamela could've said: [My Master/Lord doesn't like things that come from the capital.]

• 54:「In addition to the taverns, there's an orbment store, and a glass workshop that is popular with the duke households.」 / 「宿酒場の他に、導力器なども扱う、公爵家御用達の硝子工房などもあります。」

It's not meant to be "households "in plural; the context here is that the glass workshop is used by the Cayenne estate. Musse could've said: [In addition to the taverns, there's an orbment store, and a glass workshop that is popular with the duke household/Cayenne/duke's estate*.]

• 55:「Guess what! My big brother is coming back tomorrow!」 /「あのね！ 今日兄ちゃんが帰ってくるんだ～っ！」

「My big brother is coming back tomorrow!」 / 「今日は兄ちゃんが帰ってくるんだよ！」
Straight up mistranslating "today"/"今日" in the localization. Luka could've said: [Guess what! My big brother is coming back today!]; And: [My big brother is coming back today!]

• 56:「Gramps is the ultimate craftsman. He even received the Golden Emblem.」 / 「じいちゃんは陛下から《黄綬勲章》を賜った最高の職人ですからね。」

The localization omits the line also havimg mention of the fact that the emperor is the award giver. Luther could've said: [Gramps is the ultimate craftsman. He even received the Golden Emblem from His Majesty himself.]

• 57:「Though, all I do nowadays is drink here!」 / 「ま、今はこの店くらいにしか卸しておらんがなぁ！」

「We get all our seafood from Rossel.」 / 「ちなみに魚介はそこのロッセルさんが卸してくれるんだ。」
The localization got this line wrong. It's not about drinking a lot, even the owner of the inn says the same, "卸して." Just as mentioned in the second line, by the tavern owner, Edmond. Old Man Rossel should've said: [Though, all I do nowadays is sell my catches here!]

• 57:「I need to make sure it doesn't compromise the beauty of this.」 / 「《輝き号》の魅力を損ねないよう、極力目立たないようにしたいけど……」

The localization chose to have the guy who's emamored with his new boat, and gave it it's own name, ultimately call it a "this." The Cheerful Man could've said: [I need to make sure it doesn't compromise Radiance's beauty.]

• 58:「I had to rid myself of some of the merchant ships my grandfather passed down to me! Aside from that little head start, I'm a self-made man!」 / 「祖父の代からの商船すらただ同然で手放すことになるなど……！」

The original isn't really about being or not being "self-made." Lord Beckford could've said: [I had to rid myself of some of the merchant ships my grandfather passed down to me as if they were worthless!]

• 59:「I mean, will all four of the Great Houses even participate? This truly is mindboggling.」 / 「そもそも四大の足並みすら揃うかどうか。……やれやれ、悩ませてくれる。」

The localization makes up the logic that the count would somehow still be in doubt of the participation of Great Houses with one day to go. Count Florald should've said: [I mean, will all four of the Great Houses' thoughts even be in alignment? This truly is mindboggling.]

• 60:「So this is a jade shell...It'd make for quite the accessory.」 / 「これがヒスイ貝か……確かに飾りに相応しいな。」

The whole point of the quest is to make "decorations"/"飾り" for the Summer Festival, and the localization decides it should be "accessory." Kurt should've said: [So this is a jade shell...It'd make for quite the decorarion.]

• 61:「We've lost enough men for one day.」 / 「ここで戦力を減らす意味など皆無だからな。」

The original doesn't make it sound like the Purple Jaegers already lost men against Rean and Class VII. The Purple Jaeger should've said: [There's no point in us losing our forces here today.]

• 62:「It's vital that we confirm if there are jaeger corps roaming the area.」 / 「この地で猟兵団が動いているのを実際に捉えたのは大きいだろう。」

The localization mistranslated this line and also makes it sound silly. None of the characters put any doubt that there are jaegers around or that the Purple Jaegers are jaegers; needing to confirm that just comes across as awkward. Patrick should've said: [It would have been great if we had actually captured those jaegers roaming the area.]

• 62:「This is a travesty! Does Marquis Ballad truly intend to reform the government like this?!」 / 「……信じられるか！？バラッド侯はまだ政府の改革案を受け入れるつもりらしいぞ。」

The original is about "accepting the government's reform plan"/"政府の改革案を受け入れる. Lord Beckford should've said: [This is a travesty! Does Marquis Ballad truly intend to accept the reforms of the government like this?!]

• 63:「We'll both be in town while the council is underway.」 / 「毎年領邦会議の時期は二人とも同じ街にいるんです。」

The original is about the lovers being in Ordis "every year"/"毎年" during the Provincial Council. Hearhcliff could've said: [We both come to town every year while the council is underway.]

• 64:「The next Duke Cayenne is about to be decided.」 / 「そろそろ現カイエン公にも判決が出される頃だよなぁ。」

The localizations not only mistranslate "current"/"現" but also "sentenced"/"判決が出される." Reins should've said: [The current Duke Cayenne is about to be sentenced.]

• 65:「Our hotel offers a taxi service.」 / 「当ホテルではラクウェルヘの送迎サービスも行っております。」

「You can enjoy the night life without worrying about the time.」 / 「鉄道のお時間を気にせず歓楽街を楽しむ事ができますよ。」
The first localized line gives the wrong idea. That would cause the second line to likely be interpreted as "Ordis' night life" when it's actually about in "Raquel"/"ラクウェル". Receptionis Harold should've said: [Our hotel offers a taxi service jto and from Raquel*.]

• 66:「Juna, see you later.」 / 「ユウナちゃんたち、お疲れ様ー。」

The localization singles out Juna, when it's her and Class VII. Louise could've said: [Juna and everyone/Everyone/Class VII, see you later.]

• 67:「Haha. Well, the three girls were so cute that I nearly--ahem, excuse me.」 / 「フフ、女の子たち３人が可愛すぎて思わず鼻血が──おっと、失敬。」

The localization leaves to the imagination, for better or for worse to some, that she got a "nosebleed"/"鼻血." Angelica could've said: [Haha. Well, the three girls were so cute that I got a nosebleed--ahem, excuse me.]

• 68:「There was a shooting near a school the other day...」 / 「この前なんて町のすぐ近くで撃ち合いがあって。」

The localization mistranslated "町" as "school," which doesn't have anything to do with it. Sister Olfa should've said: [There was a shooting near the city the other day...]