I remember how overjoyed I was when somebody posted the location for the Vultures 2 private listening party. Seeing Ye standing there with Ty was beautiful. It felt like they were debuting their album in perfect time. It felt like the Wyoming LP for Ye. Then we got the Traxster “stand by” and I literally shit my pants. I draw up all these perfect moments in my head and my god that would’ve been a beautiful time to drop. Now we’re here. What a fucking letdown. Somebody please help me gather myself before I drive a screwdriver into my eyeballs.

What about Mark Knopfler releasing a collection spanning his career from his years with Dire Straits to his latest album One Deep River?
Here is my perspective for a 2CD collection... Have fun reading!
Be kind, I couldn't choose everything, but here is what probably best represents Mark Knopfler with Dire Straits and as a solo artist.
CD1

1. Sultans of Swing
2. Down to the Waterline
3. Lady Writer
4. Romeo and Juliet
5. Tunnel of Love
6. Skateaway
7. Love over Gold
8. Private Investigations
9. Twisting by the Pool
10. Going Home - Theme from Local Hero
11. Telegraph Road - Live
12. So far Away - Edit
13. Money for Nothing - Edit
14. Walk of Life

CD2

1. Brothers in Arms - Edit
2. Calling Elvis - Edit
3. On Every Street
4. Your Latest Trick - Live
5. Darling Pretty
6. Sailing to Philadelphia
7. What It Is
8. Why Aye Man
9. The Trawlerman's Song
10. Boom, Like That - Live
11. All the Roadrunning
12. This Is Us
13. True Love Will Never Fade
14. Redbud Tree
15. Beryl
16. Wherever I Go
17. Ahead of the Game

Note: the edited and live versions have been chosen to contain the tracks into 80 min per CD.

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⟳ f-droid.org from Sat, 18 May 2024 06:27:18 GMT updated on Tue, 21 May 2024 07:00:45 GMT contains 4410 apps.

Added (4)

• Mindfulness Meditation: Selection of audio guides for mindfulness meditation
• Swiss Bitcoin Pay: 1 minute to accept Bitcoin in your business.
• Frigoligo: Keep your links fresh!
• Lab+ for Gitlab: Your unofficial Companion for Gitlab

Updated (68)

• Conversations (version 2.16.0+free): Encrypted, easy-to-use XMPP instant messenger for your mobile device
• BoB (version 1.3.0): Baby on Board is an application of pregnancy tracking that respect your privacy
• Green: Bitcoin Wallet (version 4.0.28): Blockstream Green Bitcoin wallet
• Notesnook - Private notes app (version 3.0.6): A fully open source & end-to-end encrypted note taking app
• Wulkanowy (version 2.6.8): Client for the Polish school register VULCAN UONET+
• Funktrainer (version 1.4.0.1): This app will ask you the official questions of the German ham radio (amateur ra
• wX (version 55892): Weather app geared towards storm chasers, meteorologists and weather enthusiasts
• HTTP Request Shortcuts (version 3.13.0): Submit HTTP Requests from Shortcuts on your Home Screen
• Mill (version 4.8.0): A Mill Game which supports many rule variants, written in Flutter
• Cams (version 2.3): Simple RTSP viewer for IP cameras
• Unciv (version 4.11.13): Open source 4X civilization-building game
• Blazed Cloud - Encrypted Storage (version 1.5.1): Minimal & Open sourced Cloud Storage
• Extirpater (version 1.6): A free space eraser
• Voyager for Lemmy (version 2.10.0): Join the discussion
• Aria for Misskey (version 0.8.1): Dive into the interplanetary microblogging platform 🚀
• Insular (version 6.4-66cd8034): Isolate your Big Brother apps
• Unstoppable Wallet (version 0.38.4): Bitcoin, Ethereum, DeFi
• GPN 2024 (version 1.64.0-GPN-Edition): GPN Schedule
• Quicksy (version 2.16.0+free): JabbeXMPP with Easy Entry and Easy Discovery
• Shattered Pixel Dungeon (version 2.4.0): A roguelike game based on Pixel Dungeon
• droidVNC-NG (version 2.4.0): VNC server app that does not require root privileges.
• Shiori (version 1.31): Android app client for Shiori
• SimpleX Chat (version 5.7.3): SimpleX Chat - e2e encrypted messenger without any user IDs - private by design!
• Flexify (version 1.0.82): Track gym progress, visualize graphs, enjoy offline support & timers
• Orion Viewer - Pdf & Djvu (version 0.92.4): Orion Viewer is pdf, djvu, xps, cbz and tiff file viewer
• Al-Azan - Prayer Times (version 1.17.9): Privacy focused open-source muslim Adhan (islamic prayer times) and qibla app
• Yubico Authenticator (version 7.0.0): Generate OATH codes with YubiKey NEO over NFC
• Asteroid's Revenge (version 0.10.6): Endless survival bulletHell (highscore based).
• Stroke Input Method (筆畫輸入法) (version 1.2.10): A minimalist Chinese keyboard.
• Nextcloud Dev (version 20240515): Synchronization client
• aFreeRDP (version 3.5.1): FreeRDP is a free remote desktop protocol client
• disky - Find your biggest diskspace thieves! (version 1.1.0): A filesystem analyzer that can show you the usage of your storage!
• FairEmail (version 1.2182): Fully featured email client. Neat, intuitive user interface. Privacy friendly
• Immich (version 1.105.1): This is a client app for the self-hostable Immich Server
• K-9 Mail (version 6.803): Full-featured email client
• neutriNote CE (version 4.5.1d): A hub of written thoughts in fast searchable plain text
• My Leaf (version 2.3.2): Remote control and information for your Nissan Leaf
• RE:INSTEAD (version 0.9): Interactive fiction games
• Table Habit (version 1.12.5): Boost your own habit growth with charts.
• VCMI (version 1.5.1): Engine recreation for Heroes of Might and Magic III
• Ricochlime (version 1.4.2): Satisfying monster shooter
• Podcini - Podcast instrument (version 5.3.0): A feature-rich open-source podcast manager and player
• Mattermost Beta (version 2.16.0): Secure, self-hosted workplace messaging
• Kingdomino Score (version 3.2.2): Calculate your "Kingdomino" and "Kingdomino Age of Giants" score easily
• 37C3 Schedule (version 1.64.0): Conference program app for the Chaos Communication Congress
• Petals (version 3.23.0): Take control of your weed consumption
• Clock (version 2.2): Alarm, clock, timer, stopwatch and bedtime mode
• Quote Unquote (version 4.39.0-fdroid): A Quotes / Quotations / Affirmations App Widget.
• Tuner (version 1.56): Musical instrument pitch tuning
• auth (version 3.0.1): None
• Carrion (version 1.19): Block spoofed calls
• freeDictionaryApp (version 1.6.4): a simple app for Free Dictionary API
• mensen (version 1.1.0): Access the menu of Dresden's canteens.
• Kotatsu (version 7.0.1): Manga reader with online catalogues
• Cuscon (version 4.0.2.8): This icon pack adds variety and dynamism to your Home screen
• timeto.me - Personal Productivity Tools (version 2024.05.15): Pomodoro, checklists, goals, tasks, repetitive, calendar, time-tracker
• Tuta Mail (version 229.240514.1): Encrypted email & calendar service - easy to use, secure by design.
• Les Pas - Photo Album for Nextcloud (version 2.9.10): A photo album that saves all your precious memory in your private cloud
• PeerTube Live (version 1.2): Stream your device camera to your PeerTube channel!
• Saber (version 0.23.1): The notes app built for handwriting
• Mercurygram (version 10.10.1.2): Telegram is a messaging app with a focus on speed and security.
• Helio (version 3.13): Music sequencer, designed to be used on all major platforms
• Swatch .beat clock (version v1.2.7): Internet Time clock and converter
• Bimba (version 3.3.0): FLOSS public transport passenger companion; a timetable in your pocket.
• Kepler-App (version 2.1.4): App only in German! - App for the JKG Chemnitz with all important info
• Suntimes (version 0.15.15): Sunlight and moonlight times (and alarms)
• Copy SMS Code - OTP Helper (version 1.15.2): an open-source app that can detect and copy any code for you
• Tailscale (version 1.66.3-teae73f821-g63a2bbc8e71): Mesh VPN based on WireGuard

^{2024-05-21T07:26:29Z}

I only just watched Victorious for the first time as an adult so pardon me if I get anything wrong about these characters. But I just wanted to write out where I think these characters would realistically end up after school or where we could pick up if there ever were a reboot or reunion.
Tori: Goes on to pursue a career in music. While she doesn’t become the super pop sensation she thought she’d be, she is successful enough to make a living as a recording artist. She releases 7 albums in her career and only has a couple songs gain traction. She retires from music in her 30s after marrying an indie musician and starting a family. While they might not be super famous like she always imagined, Tori is very happy with how her life worked out and she and her husband enjoy sharing their love of singing with their children, who are very talented in their own right. They decide they will send their own kids to Hollywood Arts when they’re old enough.
Fame Level: 3/10
Andre: Quickly shoots to fame after releasing his own album online shortly after graduating and signs with a huge record company. Enjoys a successful career all throughout his 20s and starts his own record company in his 30s that makes him millions. This is where he meets and falls in love with a new recording artist, helping grow her career along the way. They get married and become the biggest power couple in music.
Fame level: 10/10
Trina: after high school, does not get into any of her dream art/theatre schools. She decides to attend a state university in Florida instead and just major in theatre. But she soon realizes that she has a better time in her core classes than anything art related, because she is actually on par with the other students and not constantly embarrassing herself. She joins a sorority of girls who are all just as loud and obnoxious as she is and she fits right in with them. Ends up changing her major midway through freshman year and instead graduates with a degree in social media marketing, which she finds herself really good at. She learns to love herself for who she is and to stop trying to be something she’s not to gain the approval of the wrong people. She meets the love of her life and they go on to have a very happy family
Fame level: 0/10
Jade: Gets into a very prestigious art school and majors in film. She makes short films which are very good, but incredibly horrifying even for the biggest horror fans. Which is fine, she decides she wants nothing to do with the mainstream film industry anyway and continues to make films that would never be allowed in theaters. She never becomes a household name, but she develops a very dedicated cult following and goes down in the history of horror film. She marries a 60 year old millionaire movie producer to be able to fund her filmmaking. Despite the age gap, they actually have a happy relationship since he always supports her work and never disagrees with her
Fame level: 5/10
Cat: Gets her big break after high school but quickly realizes that the music industry is much darker and scarier than she anticipated. She decides she doesn’t want to be famous, but still wants to pursue music in some way. She combines her love for both music and children and goes to college to become an elementary school music teacher. She goes off to a small private college in Illinois to be closer to her family. Being in such a different environment than LA helps her grow and finally mature. She becomes an incredible teacher and impacts the lives of thousands of children.
Fame level: 0/10
Robbie: Afraid of failing in the music industry, Robbie decides to pursue a more reliable degree that will guarantee a job in the future, finance. But it’s a lot different than high school for performing arts and Robbie quickly realizes he doesn’t fit in with his peers at all, especially not with Rex there. Since he isn’t great at making friends on his own, Robbie spends all of his time doing schoolwork or writing songs. While some of these songs are deep and emotional, a lot of them are just silly and written out of boredom. He records and uploads all of these songs onto YouTube, where his funnier songs get really popular. By the time he graduates college, he has hundreds of thousands of subscribers. He is able to make a decent career doing parodies of popular songs and original joke songs. While his fame never reaches mainstream, he becomes a Youtube legend.
Fame level: 6/10
Rex: Once Robbie realizes he can’t carry Rex around his university and be taken seriously, Rex is kept in Robbie’s dorm and acts like his college roommate. He is a big part of Robbie’s YouTube channel, acting in videos and even has his own segment. Rex becomes a fan-favorite in his own right, and catches the attention of a movie director. The director offers Robbie a huge amount to sell him Rex and his IP so he can give him his own movie. Robbie isn’t sure but Rex begs him to let him go, saying it’s his dream come true. Robbie agrees, finally letting Rex go once and for all. Rex stars in an adult comedy movie trilogy alongside Mark Wahlberg that’s massively successful among men age 18-24
Fame level: 9/10
Beck: after high school, gets cast in a teen drama series as a leading role. The show is very popular and Beck becomes a teen heartthrob. After 4 seasons on air, the show ends and Beck lands a few smaller projects of similar roles, but finds it hard to deviate away from his teen drama typecasting in Hollywood. In the following years, he brings more media attention from the women he dates rather than the work he does. Each new woman he dates always seems to be more famous than the last. Until his early 30s where he finds himself dating one of the biggest pop stars in the world, and she breaks up with him and writes am album about their failed romance. Suddenly the entire world hates him when he didn’t even do anything. He decides to take a step back from the spotlight and changes his career to working as a writer for television instead. He swears off relationship for a few years to be single for pretty much the first time ever and work on himself
Fame level: 7/10
Sinjin and Burf: End up going to the same university and major in film. They find moderate success working behind the scenes in Hollywood, until Sinjin hears the news that Sikowitz is leaving Hollywood Arts to run off to Mexico with his new fiancé. Sinjin decides he needs to fill Sikowitz’s position, and Burf joins him as his teaching aid. As a teacher, Sinjin makes sure that every student’s talents are explored in his class, not just the most talented and attractive students. He becomes one of the most impactful teachers in Hollywood Arts history.
Fame level: 0/10

Well, talking about oi! means talking about SD, a band that, like it or no, was hugely influential on our scene. I gotta say i never dug into them, and I don't get a good number of their lyrics (since i'm not a native speaker), but lately I wanted to explore them a little bit more to understand WHY they got so big to the point you can see people (latinos, poc and so on) in the pics of late 80s and 90s with shirts of the band. A point where it seems they became almost the symbol of skinhead music. So I started listening to all their main discography and writing about it, mainly for myself. Then i figured that someone could be interested in this (or not, who knows?) This is the review (with some suggestions here and there) of the first two releases after the reunion. If the community will appreciate i'll post the others, in a serios of two-by-two. PS: just to clarify. I don't understand a lot of the lyrics and, anyway, I'm not a neonazi, a right wing sympatizer and even an apolitical skinhead. So I won't tak about the nature of ISD rantings about nations and so on because i think they speak for themselves.
Hail the new dawn (1984): Talking about “HTND” means talking about a milestone in skinhead music. The bands that took inspiration by this slab of vinyl are countless and from both side of the fence. In fact you can recognize the ideas that you can find here in a lot of different records. The artwork is solid, simple but epic, so a good starting point. It was made by Nicky Crane, the guy on the cover of “Strength thru oi!”, leader of Skrewdriver security, big man in the neo-nazi British movement and, as it came out in the 90s, closeted homosexual.
What about the music? Well the production is not the best: the second guitar is really weak and the bass just disappears. The voice/main guitar rules over everything as much as the drums. Not the best, even worst considering that the drums playing is really amateurish: on time but nothing more. But ok, we’re talking about punk so we are used to way worst stuff. Behind the mixing desk you can find Mark Sutherland, that will play as the band drummer from 1984 to 1987 (it doesn’t seem a lot but the band became famous for their tendency to change a lot of members - in fact you won’t find two release with the same line up playing on them) and will be a producer for a number of RAC release of the time.
The songs are a good mix of rock n’ roll and punk with a melodic touch especially in the bridge parts and some choruses. Not a bad solution but ISD voice it’s not the best option for doing this kind of vocal chores so it sounds forced when he tries to wander in different musical fields. Don’t believe me? See it for yourself and check the melodic section in “Skrew you”, when in the middle of a rather loaded up song ISD switch to what seems a caricature of a professional singer trying to sound melodic and, well, the result is a big NO.
The album starts strong and goes on like that from song 1, the title track, to song 7”, “If there’s a riot”. It’s a bunch of nice, simple, straight forward songs with really chantable chorus, easy structure, everything you need to do a good punk/oi! release. If you don’t consider the lyrics (like me, since I don’t get a lot of the words they sing) it’s good: it’s different from the classic stuff you can hear from that years. It’s clear that the band listened to a lot of different stuff and they wanted to make an album that sounded original and personal, and well I think they got their trademark on this.
The middle tends to be kind of a pond, I mean, here you find the weaker songs of the LP, the more “rockish” on the menu, where the band lacks the technique to do what they should do to put on solid tracks. This will be a standard issue for the band, as we will see: they wanna do stuff they are not able to do.
The last song is a semi-ballad: almost 6 minutes of a slow rock cavalcade that reminds of the 70s classic rock act (Creedence Clearwater Revival, maybe?). The problem is that this stuff sucks. It’s boring, mediocre at best and not interesting at all. The song just goes on and on, without a point.
So, is “HTND” a good album? The first half is solid: melodic stuff that’s able to to bite, rock n roll influences here and there that allowed the band to differentiate themselves from the others. The second half gets worst step by step, like the band have ended ideas and energy and just wanted to come to an end, filling the tracklist, no matter what. There are some good songs on this side too but all the best stuff is from 1 to 7.
Blood & honour (1985): Ok, another legendary LP by the band. If you look up on the web you will find a ton of bands that will praise this record, and not just nazi bands but, especially in the 80s it seems this was really widely appreciated even if now seems to be a little bit out of trend. Ok, that said let’s take a look at the record itself.
The artwork is way weaker than the previous one: a little bit amateurish but I think that this was ISD taste since a lot of the band’s release will have this kind of aesthetic. The fact that Crane made this too is strange since the style is so different. The line up is changed, now you got Paul Swain (formerly of the 4 Skins) on guitar and Stiv Iena (formerly of Italian oi! godfathers Nabat) as a session man for bass. We got a pretty strong line-up, all the band members are now more mature and oi!/punk itself is more mature, so the audience is ready for something heavy and cool and well done, right? Well, this album sucks. God, it sucks. The production is terrible: the main voice and the guitar are all over the place, you can barely hear the drums (but maybe it’s for better since it seems they took the first person they find outside the studio to play it - in fact is still the infamous Mark Sutherland), the second guitar is weak and the bass is non-existent. I mean, it would be bad even if this was like a solo work from a guitar genius, like a shredder that wants everyone to listen to his talent, but that’s not the case. Everything here sounds rusty and not very well-done, and the mix doesn’t help at all putting in your ear a ton of mediocre guitar playing and a voice that sounds a lot like forced growling in order to sound “heavier”. Let’s keep in mind it was 1985, not 1980 anymore and we’re talking about a band that was around since 1976 (even with a hiatus between ‘79 and ‘82). This is almost cringe low level quality, the kind of stuff you could expect from a teenagers band not from an established act.
It starts with the titletrack that is slow, sluggish, and boring. It’s clear that they wanted it to sound like an epic manifesto with a touch of heavy metal vibes but like this it sounds like ISD is just rehearsing in his own private room to head how it sounds. If this is the final version, Houston we have a problem.
The tracks that follow are punk-rock stuff in the vein of the Ramones, nothing really good but I get why they are here: the LP is full of slow, wanna-be epic songs, so they gotta put something faster here and there to avoid killing the listener. Some of them are even good, like “One fine day” recalls their earlier stuff and it’s pretty solid. That’s because of something strange: if you put on the album and listen it song after song, you will notice that the mix slightly changes after “Prison of peace”, when it comes to “Poland” (that is another slow, terrible song): from this point onward the sound gets inexplicably better. You can actually hear the bass and the drums and the main guitar get lowered a little bit so it’s all balanced. Not the best but anyway better than the opening.
Another problem with the LP is the number of ballads. WTF is happening here? I mean ok, we all know ISD was a 70s rock huge fan but why trying to replicate it? Yeah, i understand that if you wanna be convincing and emotive and passionate, a ballad is a way easier path to follow than an oi! song but it’s not always a good idea. Especially if your voice sounds always a little bit stretched with that constant growling and the music is just bland. Heilton John, maybe?
So: final opinion? Meh. I don’t get this album. I get that they tried to put on a “ground-breaking”, political mix of epicness and street attitude but I think they fall way behind their goal. The punk rock songs are decent at best but way inferior to the stuff you can find on “All skrewed up” and even “HTND” and the more “evocative” ones are usually just boring. It all sounds a little bit rusty. I checked the lyrics (since i don’t get a lot of words) and they are not that deep - in case someone would say “yeah, music is flat but concepts are deep”, well, that’s not the case. You can hear some 70s rock and heavy metal influences here and there but they are usually mediocre.

High Context
Expression takes many forms. In this book I have interpreted the word media in a broad sense and treated each form of expression that I have discussed as an independent medium. What, then, is the reason for the existence of multiple media like manga, anime, and film? Are these simply multiple forms for mediating the same reality? Not at all. Multiple media exist in order to support multiple fictions. We clearly perceive the form of a particular expression at the same time as we take in its content. The various media function as a kind of context, or a transparent and continuous totality that attaches meaning to content. In this instance the media themselves attain their own unique contextuality. For example, we are not in the least confused if a heroine who breaks down in tears in a television drama suddenly appears smiling in a commercial during the break. This is because it is very easy for us to shift instantaneously between the context of the drama and the commercial.
In an earlier work I referred to this idea of the unique contextuality of each medium as the “representation context,” in order to use it in a more limited sense. This is because it is possible to use the media form itself as a form of representation. As I explained in chapter 1, my use of the term context is based chiefly on a combination of the ideas of G. Bateson and E. T. Hall, which I Have also explained in greater detail elsewhere. For our purposes here, it is possible to understand the contexts contributing to expression as existing in hierarchical strata. In the case of manga, the first context level is that of the narrative that gives meaning to the characters’ actions. Above that is the genre of the narrative - the expressive context that determines whether it is to be taken seriously or as a gag. The representational context is one level above this. Or, if we order them from top down, the process by which we understand the content of a manga can be understood as a hierarchical series of stages beginning with the work’s representational context (manga), proceeding to its expressive context (genre), on to the narrative context, and finally to the comprehension of the content. Of course, in actual fact we have to admit that this sort of hierarchy is ultimately not valid. It goes without saying that content and context exist in a relationship based on simultaneous and mutual corroboration. Therefore I should emphasize that the notion of representation context serves only for convenience of description and is not in any sense an isolatable object.
It is possible, for example, to think of visual media in the order of their dependence on representational contextuality. Contextuality in this case refers to the degree to which the form of expression itself determines the context expressed. In order of descending contextuality, then, we have anime, manga, television, film, and photographs. The statement “I saw a photograph,” for example, conveys no meaning on its own. But the statement “I saw an anime” evokes a relatively concrete image in the listener’s mind. This is because the anime form restricts the range of content much more than does the photograph. In other words, anime has the highest level of contextuality and photography the lowest. Here I follow Hall in calling this the “high context” nature of anime. In general, we can say that more popular forms of expression tend to be higher context (as in the difference between classical and popular music). In visual media, the less information conveyed on the screen, the higher the context (this being the difference between television and film). Thus “cool” media (with low levels of detail) tend toward higher context.
Let us think more concretely about the high-context nature of anime and manga. We have already established that form and content are intricately connected in both. In the case of these expressive forms, we can easily makes guesses about the content and authorship even of works that we know nothing about. Even a single frame of the work will be enough to tell us the genre, the orientation of the content, and sometimes even the identity of the author. Moreover, the instantaneous switching between the “gag” and “serious” modes that would be unthinkable in film but forms part of the grammar of anime (its so-called yakusoku [conventions]) can be explained only on the basis of this high-context nature.
I think of high context as the sensibility that emerges when there is no sense of distance between the producer and the consumer of a given media form . Once we immerse ourselves in this high-context space, the meaning of all stimuli is grasped instantaneously. Inevitably, emotional codes are more easily transmitted here than verbal ones. This high-density transmissibility enables extremely high levels of concentration and absorption.
Intersubjective Mediation, or Media Theory
Based on what I have said above, we can identify the difference between film and anime or manga first in terms of contextuality.
Is this the place for us to move to a discussion of media theory? Is the desire for the beautiful fighting girls a sign of an internal transformation, an “implosion” and extension brought on by our contemporary media environment? In some senses this may be true, but in others it is certainly not.
The development of the media environment has in fact partly transformed the structure of our society. The development of the mass media industry itself is one manifestation of this transformation. Its influence on the economy and on education has, of course, been enormous. But to what extent does this transformation penetrate our inner worlds?
In clinical terms there has not been the slightest structural transformation. The structure of our neurotic subjectivity remains intact, just as Freud discovered it a century ago. If asked to prove this, most analysts would say that it is not their role to offer general proofs of anything. This, too, has not changed in a hundred years. Analysts can speak about the truth. But, or perhaps therefore, they cannot prove what is true. But, or perhaps therefore, they cannot prove what is true. To say that the structure of the subject is intact is to say that the structure of desire has been maintained. What needs to be emphasized here is that, in order for the structure of desire to be maintained, the object of desire must constantly change. If the object of our desire looks different than it did a hundred years ago, this is only a change in appearance that results from the continual maintenance that we as subjects have performed on the structure of that desire. Yes, the development of media has brought about an outward change, a superficial change in the objects of our desire.
From this we can derive at least two psychoanalytic hypotheses. If we use Lacan’s divisions, the stability of the subject denotes primarily the stability of the relationality between the Symbolic and the Real. Moreover, the internal transformation that Marshall McLuhan referred to as “implosion” can be considered mainly as having emerged as a change on the level of form in the Imaginary. Herein lies one of the thorniest difficulties of media theory. If voice and writing are themselves already forms of media, what exactly have modern media been able to add to the equation? The transformation of the subject in the Imaginary can always make it seem as if nothing has happened. As long as this is the case, the appearance of media theory will remain in the always-awaited future, and its conclusions will only continue to be deferred.
But perhaps there is something to be gained nonetheless by taking a detour here and considering the mutual operations of the media environment and the Imaginary. The development of media is clearly most striking in the visual realm. Already we are able in principle to see any sort of image whatsoever. If we so desire, we can also keep large numbers of images in our possession on a computer hard drive. There is no little significance in the fact that, as is so apparent in the case of the ever-increasing functionality of the personal computer, it has become very easy for us not just to preserve but to reproduce, manipulate, and transmit visual information about all sorts of experiences. Our imaginary has been dramatically expanded and accelerated by the media, or extended through “implosion.”
The diversification of methods of mediation has had a number of effects. One of these is the potential impoverishment of content and form. As was clear in the case of the beautiful fighting girls, the narratives in a diversified media environment are surprisingly similar to each other. As I pointed out in chapter 5, there are hundreds of examples of the beautiful fighting girl genre, but only thirteen story lines. From the 1990s on, no new story lines emerged, and new works were simply rearrangements of old ones. In this case at least, we can say that, while the diversification of media may contribute to the outward diversification of the works, we need to be aware of the possibility that it encourages the involution of the genre as a whole.
The more information is exchanged, the more redundancies there are and the more monotonous it becomes . For example, now that communication by personal computer has become the norm, people read and perhaps write enormous amounts of text every day . As a result, we see developing a common “computer style” of writing that is excellent for transmitting information but extremely limited in its capacity for description and definition. The impoverishment of visual information is most evident in the spread of anime-style images.
So what is this about? Increasing the level of detail or rendering movement more subtly in anime would take exponentially more money and time. But of course these luxuries are not always possible. On the other hand, too much abbreviation reduces the images to mere signs and makes for a very dreary representation (like the Saturday morning cartoons in the United States, where the only facial movements are blinking eyes and opening and closing mouths). The solution to the problem in Japan was, I believe, the introduction of the “big eyes and small mouth” that has become the tradition in Japanese anime.
The only parts of a manga that cannot be drawn by assistants are the face, and particularly the eyes, of the main characters. The author’s style appears in its most concentrated form in the facial expression and the eyes. The shortcut technique that resulted from this was to divide up the drawing of the background among assistants and make the characters like simple signs. This made possible the division of labor. Then, to avoid making the characters too much like mere signs, the facial expression, particularly the eyes, and the hands are drawn with great care. Among all the human organs, these occupy the position closest to the grammatical subject. Drawing the eyes and hands with special care has the same value as inserting text. Or, to put it the other way around, as long as the eyes and hands are carefully drawn, the rest can be abbreviated. Then one can add more facial expressions and make them more complex with manpu. This procedure enables the streamlining of the production process while also effectively communicating a wide variety of subtle emotional codes, making it easy for the viewer to identify emotionally. This is likely the origin of the too-large eyes and tiny mouth that Westerners so often point out in Japanese manga and anime. The anime image is the result of a sophisticated technique that enables a maximum of communication with a minimum of lines.
One noticeable trend in recent years, which may have to do mostly with keeping costs down, is that even as the images are drawn with greater and greater sophistication of design and coloration, they tend to move much less. The appearance of movement is skillfully produced by blurring the image, using flashes of lights, and bank sequences [19*. Bank sequences, or Bankukatto, are sequences of animation that can be used repeatedly, such as when a heroine is transforming or assuming a decisive pose.], but on closer inspection there is actually very little movement. The impact of “anime images” results from drawings so refined that this sort of thing no longer appears unnatural. Moreover, because there is no need for the drawings to be particularly intricate, they can be easily digitized, which makes it possible to transfer them into a computer game without altering them. This style of drawing, which is devoid of texture and consists only of fine lines and surfaces, helps smooth the flow of the so-called media mix as the images are transplanted from comics to anime to film, games, figurines, and toys.
The space of manga and anime has introduced easily shareable code systems into our Imaginary. This shareability, in turn, introduces elements of polymorphous perversion into that space. As a result, in the 1980s we first became aware of a very important fact, namely, that even the objects of our sexuality were shareable through the mediation of manga and anime. This realization led to the explosive growth of sexualized images in this space. Of course, the wholesome notion that manga and anime are basically for children exists even now. But even this constraint was converted into a useful technique. Depicting sex in a context that is for children almost inevitably produces undifferentiated, which to say polymorphously perverse, effects. <also, and a much darker scene between the protagonist Utena and the antagonist Akio in the episode The Prince Who Runs Through the Night, a friend pointed this out to me, in terms of what it’s depicting and how True it is. The disassociation and ambivalence that suffuses a traumatic event…>.
To create an autonomous object of desire within the fictional space of manga and anime: was this not the ultimate dream of the otaku? They sought to create fiction not as a stand-in for the “real” sexual object, but fiction that had no need to be secured by reality. For this to work, not even the most elaborately constructed fictional worlds would suffice. In order for fiction to attain its own autonomous reality, it would have to be desired for its own sake. Only then would reality bow down to fiction.
“Fiction” versus “Reality”
Earlier I referred rather casually to the contrast between “fiction” and “reality.” Of course, I do not accept this contrast naively. In fact, it is my belief that everyday reality is itself nothing more than a fiction (or fantasy) and that it is fundamentally impossible to draw a strict distinction between them. One reason that I raise the distinction nonetheless is in order to think once more about “Japan.” The art critic Sawaragi Noi has argued that Japan functions as what he calls a “bad place” and that any act of expression that attempts to escape from that place can only end up by making it worse and getting caught in a vicious circle. If such a place can be hypothesized, it is entirely possible that it could also subsume the place of manga and anime that I have been discussing here. For now I call that space “Japanese space” and contrast it with another unique representational space, which I call “Western space.”
As I pointed out earlier, in Japanese space the distinction between fiction and reality is not completely in effect. The distinction itself is in fact based on a Western idea . **In his theory of ideals Plato begins with a three-part distinction between the ideal, reality, and art, and places art at the bottom of the hierarchy because it is only an imitation of reality. In Plato’s system there is only a series of copies, with the copy of the ideal being reality and the copy of reality being art. Art must content itself with the lowly position of being a copy of a copy, an imitation of an imitation. Added to this is the influence of Judeo-Christian culture, which rejects idolatry. In “Western space,” even today “reality” is made to conform strictly to this ranking. In this context the notion of the “Reality of fiction” is already attenuated by being subjected to all sorts of constraints.
<"But I say to you that whoever looks at a woman to lust for her has already committed adultery with her in his heart" Matthew 5:28.>
For example, in American popular culture the most privileged fiction form is film. To be made into a film is the ultimate proof of the success of any narrative, whether it originates as a novel or a play. Of course, there are any number of reasons for this, but one is surely the belief that live-action film is the most accurate imitation or reproduction of reality. The impact of live-action film is supported by the belief that what it portrays is a faithful reproduction of reality. In my opinion there is absolutely no difference between the fictionality of live-action film and animated ones; it is just that anime is considered more fictional because it is under the constraint of having to be drawn by someone. For this reason animated films have almost no chance of winning the Academy Award for Best Picture and will always remain a genre inferior to film.
Thinking about censorship practices makes this even clearer. Censors in Japanese space seem for the most part uninterested in the symbolic value of what they are censoring. As long as the genitals are not portrayed explicitly, they will allow even the most depraved images to be shown. In Western space, however, images are censored according to their symbolic value. The censors are not interested in the trivial question of whether or not the genitals are visible, but reserve their strictest scrutiny for obscenity and perverse content. A recent example is the cover for Marilyn Manson’s CD Mechanical Animals. In the composite photograph, Manson appears nude as he glares at the viewer, but with the smooth groin and small breasts of a young girl. This level of perversion does not cause the least problem in Japan. But in the United States it create quite a scandal, with several large music stores refusing the carry the album. One could list any number of similar examples of this difference in the way Japanese and Americans judge an image obscene. Of course, even in Japan this sort of taboo on images still lingers when it comes to the Imperial family, but even that is losing the force it once had. In fact, that taboo has become so weak that it would shock even Okuzaki Kenzo. We are now living in an age when it is possible to publish a manga depicting a bomb thrown at Princess Masako during a parade, and the romance between Princess Kiko and Prince Akishino has been made into an anime. In other words, we still do not have the slightest idea what it is that defines depravity.
One conclusion that we can draw from this comparison is that visual expression in Western space is symbolically castrated, while Japanese space there is only imaginary castration, at most. For example, in Western space any image that symbolizes the penis is censored, while in Japanese space as long as you do not portray the penis itself anything goes. In this ironic sense I would suggest that Japanese media enjoy the great freedom of expression. The problem arises with this freedom itself.
In Japanese space, fiction itself is recognized as having its own autonomous reality. As I mentioned earlier, in Western space reality is always in the superior position, and the fictional space is not allowed to encroach on it. Various prohibitions are introduced to establish and maintain this superiority. It is not permitted for example, to produce images depicting sexual perversion. This is because fiction must not be more real (riaru) than reality. Fiction must be carefully castrated so that it does not become too appealing. This is what I mean by symbolic castration.
It is often remarked that the heroines of Western comics and anime are for the most part not very cute. They often include beautiful women and naked bodies, but rarely do they directly represent characters as sexually attractive. This cannot be explained simply as a result of a discrepancy in technical skill or differing notions of beauty. In the case of an actual Hollywood actress, Japanese and American fans are likely to speak in similar ways about her sexual attractiveness. But the situation is very different when it comes to heroines who appear as drawn images. Betty Boop, for example, may be drawn in a sexy outfit (with a garter belt!), but she is more like a parody of a sexy actress. Her fans are not immediately captivated by Betty’s sexual charms.
To continue with our discussion of Western space, we might remember that 1957 saw the creation of the so-called Comics Code Authority that formulated self-regulatory codes for comics in the United States and effectively spelled the end of the golden age of American comics. At the time juvenile delinquency had become a hot-button issue, and comics were singled out as a contributing factor. Among comic fans the formation of the CCA is referred to as the “Total Disaster.” The list of restrictions is as absurdly detailed as the rules at a Japanese high school. A few items that stand out on the list are

• “Divorce shall not be treated humorously nor represented as desirable.”
• “If crime is depicted it shall be as a sordid and unpleasant activity.”
• “In every instance good shall triumph over evil and the criminal punished [sic] for his misdeeds.”
• “Policemen, judges, government officials and respected institutions shall never be presented in such a way as to create disrespect for established authority.”

Under the category of “Marriage and Sex” the code states that “Nudity in any form is prohibited,” “Females shall be drawn realistically without exaggeration of any physical qualities,” “Illicit sex relations are neither to be hinted at nor portrayed,” “Seduction and rape shall never be shown or suggested,” and “Sex perversion or any inference to same is strictly forbidden.” Japanese manga as harmless as Sazae-san and Doraemon might run afoul of these rules. If regulations this strict were in force in Japan, virtually every manga magazine in print would have to be shut down.
It is thus quite possible to analyze the differences between Japan and the United States from the perspective of regulations. But what I want to stress here is that these rules show all the symptoms of an excessive defense reaction. No matter how popular comics had become by the 1950s, they could hardly compete with film. Nevertheless, they were much more severely regulated, to the point of destroying an entire genre of expression. Would it be too much to see in this an echo of what we might call the West’s iconographic taboo? The highly detailed and concrete restrictions on the depictions of sexuality are particularly remarkable. In these restrictions we can clearly see operating the obsessive idea that images themselves must not be sexually attractive.
Pornography must be considered as part of this discussion of the visual expression of sexuality. Pornography, needless to say, prizes images that are realistic and highly practical. In the decline of roman poruno and the rise of adult video, for example, one can see the pursuit of convenience and practicality. Pornographic images trend toward being more suitable for private consumption, reproduction and distribution gets easier, and pornographic expression gets more and more explicit. But in the Japanese space this leads to another contradiction: namely, the existence of “porno comics.” I want to stress once again that I am speaking of pornography in general here, not of “erotic expression.” It is perhaps only in Japan that pornography has taken the form of comic books and attained a certain popularity in doing so. Of course, there are porno comics that are meant to be used as masturbation aids in the West as well, but on a scale that does not even being to compare with that of Japan.
It seems absurd that such an enormous market would emerge for pornographic comics in a country where “hair nudes” are everywhere and people are somewhat bored even of adult videos. As I pointed out earlier, anime-style drawing has been hugely influential in this genre as well. In terms of their correspondence to everyday reality, there is no less realistic style of drawing. Despite this, however, these kinds of representation have been widely preferred as a medium for pornography. This would be entirely unimaginable in Europe or the United States, and the contrast points to a significant cultural difference.
Of course, there is a historical background to this as well. According to Timon Screech of the University of London’s School of Oriental and African Studies, the so-called shunga that were produced in such huge quantities in the Edo period were used by the masses as masturbation aids.
If that is in fact the case, we should also be able to find the roots of manga and anime in the Edo period, in a culture in which sexual desire was both stimulated and satisfied by drawn images. The issue here, needless to say, has something to do with anything like the symbolic expression of eros. The problem that we have arrived at instead is that of the immediacy of the drawn image.
As I have already pointed out, there are many fans of anime and manga in the West. But they are virtually unanimous in their hatred for so-called tentacle porn. They believe that sexuality does not belong in animation. What do Japanese otaku think about this? If they were shown this sort of pornographic work they would either give a wry smile or launch into a lengthy discussion of the history of adult anime using works like Cream Lemon (Kuriimu remon) and Legend of the Overfiend (Urotsukidoji) as examples. I cannot help but see in this difference another huge contrast between Japanese and Western otaku.
Leaving aside the question of whether it is possible to read in this the traces of taboos and repression, for now let us reiterate the minimal facts of which we can be certain. In the Western space of popular culture, it is exceedingly rare to find drawn iconic images of cute little girls and erotic nudes. In that space there is an unconscious censorship of drawn images, and their reality is kept within certain limits. The type of caricatures so conspicuous in Disney’s animations can even be considered as a technique of exaggeration for the purpose of repression. Constant and meticulous efforts are made in this space to prevent drawn images from attaining their own autonomous reality. In other words, drawn images are always kept in the position of being substitutes for objects that exist in reality.
In Japanese space, on the other hand, it is permissible for all sorts of sites to have their own autonomous reality (riariti). In other words, real (riaru ) fictions do not necessarily require the security of reality (genjitsu). There is absolutely no need in this space for fiction to imitate reality. Fiction is able to clear a space around itself for its own reality (riariti ku kan). The appeal of drawn images of little girls, for example, is a crucial element in the production of this reality (riariti). Here, fiction must establish a logic of sexuality all its own. This is because, in Japanese space, sexuality is the most important factor upholding reality (riariti). Of course, this is not true only of anime. Why else, for example, did the artistic traditions of the past put so much emphasis on the depiction of women? Why do rakugo raconteurs spend so much time extolling the pleasures of womanizing? And why do manga instruction courses always begin with how to draw a boy-girl couple? All of these things, which are particular to Japan, suggest that in this space it is sexuality that upholds the reality of fiction (kyoko no riariti).
So let us accept the autonomy of fiction and put forward the thesis that this autonomy is a necessary precondition for the beautiful fighting girl to emerge. If this is the case, we cannot in any sense see in them the reflection of “everyday reality.” It would not be permissible, for example, to infer from the popularity of beautiful fighting girls that girls are being empowered in the real world. It is the stubborn habit of seeing fiction as an imitation of reality, which is hard even for the Japanese to resist, that is at the root of this misunderstanding. The misunderstanding may be logically consistent, but that same logical consistency is also precisely what renders it invalid.
Getting back to our discussion of the image in Japanese space, I repeat that representations in this space do not undergo symbolic castration. There are some gestures toward imaginary castration with regard to sexual codes, but these are barely functional, and in the end they actually come closer to initiating a drive toward the disavowal of castration. The disavowal of castration is of course the initial condition for sexual perversion, which is why this space exhibits such an affinity for perverted objects. All sorts of images come to occupy various positions within this ecosystem of autonomous reality, and the space begins to overflow with meanings rendered through sexual and other codes. In this place, so highly charged with meaning because of this sheer verbosity of codes, context is privileged over any single disarticulated code. Meaning is transmitted instantaneously here, but its provenance can never be traced back to a single code.
This sort of high-context representational space can sometimes lose some of its reality effect if it is circulated too widely and understood too easily. How might it resist this attenuation of reality? One way is, of course, through sexuality. As I have argued several times already, sex is a necessary component for a narrative to seem real. The various struggles and manipulations surrounding sexuality (i.e., “romance”) are what introduce a core of reality into a narrative.
The widespread transgression of sexual limits in Japanese representational culture can also be interpreted in light of the high-context nature of Japanese space. High-context expressive space is, by nature, incapable of making full use of the effects of structural and formal reality. Instead it is the intensities that emerge at moments of shifting and switching from one context to another that are used to create reality effects. In the highest context spaces of anime and manga, most important are those gestures capable of transcending the context of heterosexual desire. The various characteristics of the beautiful fighting girls, which include hermaphorditism, transformation (i.e., accelerated maturation), and the strange mixture of proactivity (i.e., fighting ability) and passivity (i.e., cuteness), all help facilitate the emergence of this transcendental reality. That all manner of perversions should be evoked in their presence is only natural.
[To be continued... The Phallic Girl as a Form of Hysteria]

You and I met at a party in college. The conversation started about music. You’re a singer and after I told you I’ve played the drums my entire life, I became the missing piece your band needed.
We played everywhere- open mic nights, small shows and free festivals, private events. Through hard work, dedication, and the tight bond our group formed we eventually signed to a label.
At first we were opening for big names. Bands/artists we looked up to and based our music on. Then we made an album. After that album came a tour. Wash, rinse, repeat. Three albums and three tours later and we became full blown, verified artists.
At the height of our fame, the unthinkable happened to me. The death of my older brother sent me spiraling. Depression made me unable to concentrate and perform. Then the drugs came to try and get me on my feet, but it only made things worse.
After you talked me into going to rehab I left the band. While you all still had work to do, a replacement was found and I started my journey for recovery.
Here we are now, years later. I’m clean and have a great career. Proud of both myself and for ‘the band’ still going as strong as ever. Skyrocketing into fame, earning awards, and selling out entire arenas.
You and I are still in contact and talk a couple times a week. But what you haven’t been telling me is that your current drummer just left the band. And with a couple months before your next tour, you know exactly who you want to step in.
**
If you’ve made it this far, thank you for reading! For this roleplay I’m looking for our characters to be in their late 20s, early 30s. I, myself, am 30 (male) and in pacific standard time if that matters at all.
I’m really hoping for a lot of description in our replies, definitely quality over quantity.
As we talk about characters we can also discuss what specific genre of music we’d be doing and what our band name would be. Let’s make something fun and be rock stars!

You and I met at a party in college. The conversation started about music. You’re a singer and after I told you I’ve played the drums my entire life, I became the missing piece your band needed.
We played everywhere- open mic nights, small shows and free festivals, private events. Through hard work, dedication, and the tight bond our group formed we eventually signed to a label.
At first we were opening for big names. Bands/artists we looked up to and based our music on. Then we made an album. After that album came a tour. Wash, rinse, repeat. Three albums and three tours later and we became full blown, verified artists.
At the height of our fame, the unthinkable happened to me. The death of my older brother sent me spiraling. Depression made me unable to concentrate and perform. Then the drugs came to try and get me on my feet, but it only made things worse.
After you talked me into going to rehab I left the band. While you all still had work to do, a replacement was found and I started my journey for recovery.
Here we are now, years later. I’m clean and have a great career. Proud of both myself and for ‘the band’ still going as strong as ever. Skyrocketing into fame, earning awards, and selling out entire arenas.
You and I are still in contact and talk a couple times a week. But what you haven’t been telling me is that your current drummer just left the band. And with a couple months before your next tour, you know exactly who you want to step in.
**
If you’ve made it this far, thank you for reading! For this roleplay I’m looking for our characters to be in their late 20s, early 30s. I, myself, am 30 (male) and in pacific standard time if that matters at all.
I’m really hoping for a lot of description in our replies, definitely quality over quantity.
As we talk about characters we can also discuss what specific genre of music we’d be doing and what our band name would be. Let’s make something fun and be rock stars!

So I’ll preface by saying I did the audiobook which I’m so glad I did. I thought Serj narrated the book brilliantly and I sincerely hope he does more narrating in the future. I always forget how incredibly articulate he is and how diverse of a vocabulary he’s able to divulge.
I’ve been following System and Serj for the last 20 years. I’ve had a few interactions with Serj in person over the years and even had him give me a shout out on his socials a few years back. I was at the private premiere screening of Screamers in 2006 at the Library of Congress and met Carla. I was at the premiere of Prometheus Bound in Boston where I first met Serj in person and got to spend some time talking with him, Steven Sater, and Diane Paulus. One of my cousins actually was one of Systems lawyers for years. The band and Serj have been an integral part of my life from my formative adolescent years. That being said, I have a fair amount to say about the book.
I think Serj gave an incredible insight into the inner workings of the band that have long been suspect. I 100% understand everything he said about his involvement and non involvement with the band over the course of its lifespan. As a working professional musician myself, everything he talked about made sense in terms of wanting to limit his time in the band. When you have a creative nature and you feel your outlet is being stifled, you want to get out to nurture it in the way it needs.
System is incredibly important to so many of us, but it’s also not ours. We can want them to keep producing music and touring and easily forget that each member is their own actual person with their own specific wants and needs. I find it selfish of fans that give him a hard time on demanding new albums or tours. You can’t force a passion project on someone who has no passion for it, regardless of how many people want it. I think about if he stayed in system he never would have done all the projects and endeavors he’s taken on. Solo albums, symphonic works, film music, etc. I think leaving the band was the best decision for his career. I say this as someone who was not a fan of many of the projects he’s put out the last 10 years, but I still remain supportive of his endeavors to try what he wants to try.
I think people need to just enjoy System for the time we had them and let them be as they are. Be grateful we got 5 albums and still get occasional shows.
I find that the book gave me a lot of closure to things I’ve long suspected but never had any discussion from members of the band to verify. It sucks the other 3 want to continue, if someone’s heart isn’t in it, who are we to force them? I know people will disagree with my input and that’s fine. I just think it’s a great window into the world that so few of us have been able to see inside of.

This song is the song where I have the most issue with when it comes to the fans' interpretation of it. Their biggest argument for this is the football references, but they fail to consider that the football metaphors were just a way for Taylor Swift to draw parallels between the (American) football world and her situation.
In this analysis, I'll be doing a line-by-line breakdown of why this is not a Travis Kelce song, but is instead a song that she wrote where she is directly addressing her fans, much like how "But Daddy I Love Him", and "Who's Afraid of Little Old Me" were written.
Here it goes. Please bear with me!
This happens once every few lifetimes

• Suggests a rare and significant event. Taylor's comeback after a major public backlash (Kim Kardashian's Snakegate incident) and hiatus was a unique moment in her career, and in anyone's public career, really.

These chemicals hit me like white wine

• The "chemicals" symbolize the rush of emotions and excitement, akin to the thrill she feels from reconnecting with her fans by organising the Eras Tour.
• "White wine" can imply a pleasant, intoxicating experience, like the support she gets from her fans (look up her sales and streaming charts).

What if I told you I'm back?

• The "you" here directly addresses her fans, announcing her return to the public eye after a period of "absence".
• IMO this line is not at all a shade to Joe, but directly references the line "but I come back stronger than a 90s trend" in willow.

The hospital was a drag / Worst sleep that I ever had

• This song is a direct reference to epiphany, and, on a bigger picture, the pandemic. We must remember that her plans ("Loverfest") were all cancelled thanks to Covid.
• The line also metaphorically refers to her time in "hiding" or dealing with the aftermath of the public fallout, which was a difficult and restless period.

I circled you on a map

• This is the easiest line - she always plans her tour ahead and would choose the locations that she would be performing at.
• This symbolises her plan to reconnect with her fans, targeting them, in each location, specifically as her focus upon her return to touring.

I haven't come around in so long / But I'm coming back so strong

• This line once again emphasises her "hiatus" and assures her fans of her strong comeback.

So when I touch down / Call the amateurs and / Cut 'em from the team / Ditch the clowns, get the crown / Baby I'm the one to beat

• "Touch down" signifies her reentry into the music industry. "Call the amateurs and cut 'em from the team" represents reclaiming her position, emphasizing that she is the top artist and dismissing those who doubted her or tried to take her place.
• "Baby I'm the one to beat" represents her thoughts that she's the one "ahead of the curve" (this is me trying). Now, couple that with her AOTY award for her albums "folklore" and "Midnights", despite the strong competition she had (SZA, Harry Styles, Dua Lipa) - no, folks, Taylor Swift is the one to beat.

Cause the sign on your heart / Said it's still reserved for me

• Indicates the unwavering loyalty of her fans who kept a place for her in their hearts despite her absence and the controversies surrounding her (in general)
• .

Honestly, who are we to fight the alchemy?

• "Alchemy" symbolizes the magical, transformative bond.
• Taylor thinks that the bond between her and her fans is a magical one, one that withstands challenges and changes.
• The Alchemy is what makes her bejeweled.

Hey you, what if I told you we're cool? / That child's play back in school / Is forgiven under my rule

• Now, this line is where she addresses her fans directly. In this line, she is suggesting that she forgave all that drama ("child's play") back during the snakegate. (disclaimer: we know she forgives, she forgets, but she never let's it go -- so let's move on from this one lol)
• But basically, between her and the general fans, she's saying that she's 'moved past' what she thought was her fans' reaction to the the public feuds and media drama.

Now, let's move on to the bridge!
Shirts off, and your friends lift you up over their heads / Beer sticking to the floor / Cheers chanted, cause they said

• This is where she uses the football metaphor to describe the celebratory atmosphere of her concerts, the unity, and the joy her fans experience together.

There was no chance, trying to be / The greatest in the league / Where's the trophy? / He just comes running over to me

• This line! Basically reflects on how she defied the odds and criticism to become the "greatest" with the support of her fans, symbolizing victory and recognition.
• By all means she is currently "the greatest".
  • She is, afterall, the first person in Grammy history to win album of the year four times.
  • Her name is definitely up there as one the greatest of all time, according to Billboard.
  • There's more but I mean, it's like repeating the same points basically.

These blokes warm the benches / We been on a winning streak

• In this line, she is trying to say that everyone else are just warming the benches, while she's the one who's been out there on a winning streak with folklore, midnights, and the eras tour.
• Her usage of "we" here indicates not only "her", but everyone involved, including her fans. This reinforces the alchemy that she has with her fans, and that all of this is a mutual success, i.e. she would not be here without the support of her fans.

He jokes that it's heroin but this time with an "E" / Cause the sign on your heart said it's still reserved for me

• This line is a controversial line, because of her usage of the word "he". Now, who is "he"? Is it Travis Kelce? Or could it be Matty Healy, considering his history with the pills? In this song, this actually does not matter. Why?
  • The point of this line is to symbolise the feeling she feels when she's performing, bejeweled, in glittery skirts, and the feeling insider of her when her fans giving her a standing ovation. To her, this feeling is euphoric. It's like taking heroin.
  • Because she is a female artist, she feels like a heroine in her show. Everyone pays attention to her, and only her. As with all heroines in movies (specifically, those movies with no heroes).
  • Combining both together, "Heroin with an 'E'" signifies as a powerful, euphoric connection (her and her fans) that's not destructive (unlike Heroin), but rather, a positive, euphoric, and uplifting feeling.
• Again, the "sign on your heart" symbolizes fans' loyalty.

and finally, this line....

• Where's the trophy? He just comes running over to me.
  • Before I do a deep dive on this, let's establish the definition of the "trophy". The "trophy" symbolizes ultimate success, victory, or recognition in a competitive field.
  • This line is a rhetorical question. There is no actual "trophy". Taylor Swift is the trophy.
  • Any dudes dating her should recognise that. That she's the trophy.

Addressing the (American) football references in this song:

As mentioned before, the football references in this song are simply metaphors to help illustrate the themes of competition, triumph, and teamwork.

• "So when I touch down"
  
  • While "Touchdown" is a direct reference to scoring in American football, it also, in a literal sense, means refers to when she has landed in her private jet. At this point, we all already know about her and her private jet "news" - I do not need to elaborate on this.
  • "Touching down" symbolizes a notable return after her hiatus and public controversies, Taylor Swift’s "touch down" represents her re-emergence into the public eye with a strong, confident, and elevated status.
  • In the context of the song, it symbolizes Taylor's return to the public eye and re-establishing her position in the music industry.
• "Call the amateurs and / Cut 'em from the team"
  
  • This phrase uses the concept of a sports team to signify separating the less dedicated or less talented (the "amateurs") from the main group. It implies that only the best and most loyal (fans) shall remain, akin to a team selection process in sports.
• "Shirts off, and your friends lift you up over their heads / Beer sticking to the floor / Cheers chanted, cause they said"
  
  • This imagery is reminiscent of celebratory scenes in sports, particularly football games where fans celebrate their team's victories with loud cheers, lifting people in celebration, and the chaotic but joyful atmosphere, very much like the Eras tour.
• "There was no chance, trying to be / The greatest in the league / Where's the trophy?"
  
  • Directly references sports league competition and winning a trophy, which signifies achieving the highest honor or success. And who is she? The Billboard Woman of the Decade. The first person in history to win the AOTY 4 times. One with one of the highest grossing tour of all time. Yes by all accounts she's the music industry.

TLDR: If you switched the "you" in this song to reference "the fans", this song will make complete sense. Now, try giving this song a listen, and think of "you" as "yourself" (the fans).
Taylor Swift's song "The Alchemy," is basically a powerful ode to her fans, chronicling her journey through public scrutiny and her triumphant return to the music industry. It draws parallels to her tumultuous period following the "snake gate" incident with Kim Kardashian and her subsequent hiatus before the release of "Reputation," the lyrics reflect a narrative of resilience, redemption, and the unwavering bond between Swift and her fans.
Once you are able to interpret "you" as "the fans", you'll be able to see, without having to do too much mental gymnastics, that the song is about the transformative and enduring connection Swift shares with her loyal supporters.
If you've made it this far, thank you for reading. Sorry for any typos or grammatical errors - but I hope I helped you made sense of the song!

Made this for fun. Contains spoiler for the following: The Understudy, Cold Comfort, Séance Time, The Bill, Death Be Not Proud, Simon Says, How Do You Plead?, Last Night of the Proms, A Random Act of Kindness, 3 by 3, and The Last Weekend. Good luck!
Question 1: What was the name of Rebecca and Carl's sister in Sardines?
Question 2: Which classical composer is played at the beginning of A Quiet Night In?
Question 3: In Tom & Gerri, what is the new title of Gerri's acting gig?
Question 4: In Last Gasp, Sally's favourite memory of her job was a little girl who wanted to be a ____?
Question 5: In The Understudy, what was in Tony's juice that intoxicated him?
Question 6: In The Harrowing, Andras can only live on two things. These being:
Question 7: In La Couchette, where does the train stop?
Question 8: What did Christine's school boyfriend die from in The 12 Days of Christine?
Question 9: What is Elizabeth Gadge's middle name?
Question 10: In Cold Comfort, what was the name of the old lady's dead cat?
Question 11: What did Pat put in the ice in Nana's Party?
Question 12: In Séance Time, what was Terry dressed up as in the famous clip?
Question 13: What programme did Dennis Fulcher have a meeting about directing but failed in The Devil of Christmas?
Question 14: In The Bill, what name does Malcolm accidentally mention?
Question 15: What play was the gun a prop for in The Riddle of the Sphinx?
Question 16: In Empty Orchestra, where does Roger's brother live?
Question 17: What is Sally's friend Gertrude reading in Diddle Diddle Dumpling?
Question 18: In Private View, what is Jean's job?
Question 19: Where is the ring hidden in Zanzibar?
Question 20: In Bernie Clifton's Dressing Room, what show did Cheese and Crackers fail to guest?
Question 21: What is the name of the removal company in Once Removed?
Question 22: In To Have and To Hold, how long did Adrian have the darkroom?
Question 23: Who did Rupert bump into in And The Winner Is...?
Question 24: In Tempting Fate, what does Keith's son Charlie have?
Question 25: What animal is Mitch supposed to be in The Referee's A W***er?
Question 26: In Death Be Not Proud, what is the name of David's baby?
Question 27: What is the game the Mowbury family plays in Love's Great Adventure?
Question 28: In Misdirection, what word does Gabriel write on a notepad?
Question 29: What is Nadia's porn name in Thinking Out Loud?
Question 30: In The Stakeout, what does PC Thompson bring into the car?
Question 31: Who would have a wank to the concept in Wuthering Heist?
Question 32: In Simon Says, how long was the Ninth Circle originally going to run for?
Question 33: What does Brenda love eating in Lip Service?
Question 34: In Hurry Up and Wait, what is the name of Adrian Dunbar's detective character?
Question 35: What does Urban call the devil in How Do You Plead?
Question 36: In Last Night of the Proms, what does Ralph use to stab Yusuf?
Question 37: Donna thinks someone will be on the. boat in Merrily, Merrily. Who?
Question 38: In Mr King, Ceri boils these animals in the kettle while making tea for Alan. Which animal?
Question 39: What cereal does Katrina pour vodka in in Nine Lives Kat?
Question 40: In Kid/Nap, what are Shane and Clifford's code names?
Question 41: What is Helen diagnosed with in A Random Act of Kindness?
Question 42: In Wise Owl, what is Wise Owl's catchphrase?
Question 43: What does Pierce's beer prayer end with in The Bones of St. Nicholas?
Question 44: In Mother's Ruin, what show does Frances go catch up on?
Question 45: What song plays at the end of Paraskevidekatriaphobia?
Question 46: In Love Is A Stranger, what is Edgar's favourite Simply Red album?
Question 47: According to Gavin in 3 by 3, who voiced Donkey in Shrek?
Question 48: In The Last Weekend, what is the name of Joe's form of revenge?

I had always remembered my deeply rooted envy at a girl at my old high school. Alyssa Howard, Home Room 207. It hadn't been long since I graduated there. I was in Class of '22, in a homeroom that I simply didn't fit in. It was isolating since everyone in my homeroom was in groups of friends, everyone was their own designated groups.
Alyssa was in the Choir group, consisting of 8 girls. They were girls that were a part of Choir Class, an elective that made no sense why I took it. Along with Alyssa Howard, there was Brianne Becker, Fiona Figueroa, Leslie Smith, Hannah Klidford, Emma Kelly, Mandy Lake, and... Karla Reyes. Karla Reyes was one of them I knew very well. In fact she is the reason why I'm typing this out.
Karla was my childhood friend, we met in 5th grade. Her family was from around Texas, and she recently moved to this small town of Meadows Dale. I didn't have friends at that age since most kids thought I was...well weird. I didn't comprehend why I was weird to them at the time, I just simply thought I wasn't cool enough. I remember vividly that I was walking far from the rusty playground, to a hill that pretty much if going more up north, you'll be at the Centennial Park of the town.
That sunny day in 5th grade felt like it was just yesterday. I was walking up a hill, my Elsa shoes making every step feel like a chore. I sighed, looking down at my shoes, feeling embarrassed that my mom had gotten them for me. All the other kids in my grade were wearing Converse or cool sneakers, and here I was, stuck with sparkly, princess-themed shoes. I flopped down on the grassy ground, feeling like the biggest outcast in the world.
I sat there, lost in my own thoughts, I noticed a girl with dark hair and tan skin walking towards me. She looked a bit nervous, fidgeting with her hands as she approached. I recognized her from my homeroom class.
"Hey," she said, trying to sound casual. "These hills look like a pair of butt cheeks, don't they?" She giggled, and I couldn't help but laugh too.
I signed back to her, using my hands to mimic the shape of hills and then making a silly face to show that, yes, they did look like butt cheeks. Karla laughed, and I was surprised. Not many people in my class knew sign language, and it was nice to have someone to communicate with in my own way.
"Do you know sign language?" I signed, curiosity getting the better of me.
Karla nodded, her dark hair bobbing up and down. "Yeah, my aunt was born deaf, so I learned to communicate with her."
I signed back, asking her if she thought it was cool that I knew sign language too.
Karla grinned. "Yeah, that's really cool! I'm Karla, by the way."
“Lily,” I signed my name, and Karla sat down next to me on the grass. We chatted for the rest of recess, discovering that we had a lot in common. We both loved DreamWorks movies better than Disney, and our favorite music group was Fifth Harmony. I was obsessed with them back then, and Karla was too. We both wanted to be like Camila Cabello when we grew up.
From that day on, Karla and I were inseparable. We'd sit together at lunch, partner up for group projects, and even started a Fifth Harmony fan club in our class. Karla would always lend me an earbud so we could jam out to our favorite songs together. Our friendship was effortless, and I felt like I'd finally found someone who understood me.
It was perfect until the start of Freshman year of Meadows Dale High School. I held my scheduler tightly in my hands as I climbed the stairs to the kitchen, my stomach twisted in knots. My heart sank as I scanned the pages, taking in the fact that most of my classes were designated for students with special educational needs. Homeroom and choir were the only exceptions.
I made my way to the living room where my mom was seated, tears brimming in my eyes. "Mom, why do I have to take these classes?" I signed, frustration etched on my features. "I don't need this kind of help. I can handle regular classes just fine."
My mom looked at the schedule, her expression sympathetic. "I know you don't seem to need help, sweetie, but the school requires you to take these classes. It's just protocol."
I sighed, feeling a wave of frustration wash over me. "I'm going to feel like even more of a freak than I already do," I gestured angrily, trying to hold back tears.
From the living room doorway, my father's deep voice cut through the silence. His ears perked up from the conversation. "Hey, kiddo, what's going on?" he asked, his voice gentle.
I signed again, rapidly gesturing my fingers "I don't want to take Special ED classes, Dad. I can do normal classes. I can hear the teachers very well!"
My dad walked over to us, his eyes scanning the schedule. "I know it's tough, Lily, but the school is just trying to help. Plus, You're not a freak. Not in our eyes, anyway. If anybody gives you trouble, I'll personally see to it that they regret it." His tone was lighthearted, but his meaning was clear. He was the sheriff, after all, and his reputation preceded him.
I rolled my eyes, signing, "Dad, please. You're only making things worse."
Ignoring my pleas, he ruffled my hair affectionately before leaving the room. I retreated to my bedroom, collapsing onto my bed in a heap of tears. The night passed in a blur, and soon enough, it was time for me to wake up and face another day.
I woke up to the sound of my dad calling me from downstairs. "Lily, time to get up! First day of school!" I groggily got out of bed, still feeling the emotional hangover from the night before.
My dad drove me to school in his police cruiser, which only added to my embarrassment. I remembered feeling weird being in the cruiser, with its flashing lights and sirens. As we pulled up to the school, my dad turned to me and said, "No matter what, you'll always have me and Mom, okay? We love you, and we're proud of you."
He hugged me tight, and I felt a lump in my throat again. I nodded, trying to hold back tears, and got out of the car. Finally me into the world of Meadows Dale High School.
The enormity of the building hit me hard as I stepped inside. The halls were bustling with activity, and the noise level was overwhelming. The classes flew by, and I couldn't help but feel like my Special ED classes were too easy for me. The teacher aides were sweet, but they were busy helping other students, leaving me to feel like I was just going through the motions.
As I walked out of my Literature class, I noticed a boy sitting alone next to a locker. He had ginger hair and was a bit overweight, and he was using a big headset to listen to music. There was something about him that drew me in, so I walked over to say hi.
He removed his headphones, looking up at me with a nervous smile. "Hi," he said, his voice a little shaky.
I signed back, "Hi."
He laughed, a little awkwardly. "Sorry if I'm a bit awkward. I'm not really used to talking to people."
I signed, "You're not awkward at all."
He smiled, looking relieved. "Thanks. I'm Matt Weston."
I nodded, signing, "I'm Lily."
Matt's eyes lit up. "Sweet. What's your homeroom?"
"207."
Matt's face brightened up. "No way, that's my homeroom too!"
I smiled, feeling a sense of excitement. "That's amazing!"
Matt stood up, walking towards a bookshelf. "Homeroom's next class. Want to walk with me?"
I nodded, following him as the bell rang. We exited the class, and suddenly we were swept up in a sea of students pushing and shoving to get to their next class.
We finally arrived at class 207, which was already filled with students. I saw Alyssa sitting in the back with her group of friends, looking like a star athlete. Matt went to sit in the front seat, and I sat next to him.
Just as we were settling in, one of the guys from Jr high football, Ryan Peterson, hit a football at Matt, saying, "Can't believe we got 'Butterball' in our class."
Matt rolled his eyes, saying, "At least I don't have a father who cheats and spreads gonorrhea."
Ryan's friend, Warren, said, "Ohhh sick burn,"
Ryan huffed, whispering to Matt, "Just because you're special doesn't mean everybody likes you."
I got mad, flipping Ryan the finger, which made him laugh. "You're lucky I ain't telling the teacher, because I don't want any issues with your old man!" Ryan walked away with Warren, leaving me feeling annoyed.
The homeroom teacher arrived, a young guy in his 20s with cedar brown hair and a pair of glasses. "Hello Students! Like that you are all sitting in neatly placed groups. My name's Mr. James and I'll be your homeroom teacher for Freshmen till Senior Year. Hope you excited as I am!"
Just as he was about to start writing on the white board, a beautifully dressed Karla emerged late, looking older and more mature with a lot of makeup on. I looked up, happy to see her, only for her to not notice me and sit down next to Alyssa's group.
Matt whispered to me, "Do you know that girl?"
I signed, "No."
Matt nodded, looking curious. "She looks familiar, but I don't know her name. Was it Kayla or Karly?"
"It's Karla," I shrugged, feeling a pang of disappointment. It seemed like Karla had moved on to a new group of friends, leaving me behind. I don't know how this change happened, since Karla and I went on a trip to Orlando, Florida, three weeks ago. I thought we had the best of our life's during that trip.
I was stumped, watching from afar as Karla chatted with Alyssa and her friends. I felt a twinge of jealousy and sadness as I realized how easily Karla had seemingly moved on and found a new group to hang out with. I mean, I thought we were best friends. It felt like Alyssa had stolen her from me.
I turned my attention elsewhere, not wanting to dwell on it. That's when I noticed a teenage boy sitting alone a few rows in front of me. He had jet black hair and there was something familiar about him, although I couldn't quite place it. I wondered who he was and why he was sitting alone.
"Hey, Lily," Matt said, following my gaze. "Do you know that guy? He looks kind of like a mini Detective Loomis."
I shook my head, signing that I had no idea who he was, but now I was curious too. Detective Loomis had been a family friend for years, and I knew he had a son, but I hadn't seen him in a while.
Matt chuckled nervously and waved his hand as if to dismiss his own question. "Just wondering. He kind of looks like him, that's all."
Just then, the boy turned around in his seat and our eyes met. He raised an eyebrow, clearly having overheard our conversation. "Yeah, that's my dad," he said, a hint of challenge in his voice. "Why?"
Matt shifted uncomfortably in his seat, clearly not expecting such a direct response. "Oh, um, no reason. Just curious, that's all."
The boy, Brandon Loomis, as I now knew him to be, nodded slowly, as if accepting Matt's explanation. Then, to my surprise, he introduced himself with a small smile. "Brandon Loomis. And you are...?"
"Lily Anderson. Nice to meet you, Brandon."
“I'm Matt by the way,” Matt chimed in.
A flash of something—was it pain?—crossed Brandon's face, but it was quickly replaced with a smile. "Nice to meet you both. Your dad's a good man, Lily. He helped me out a lot."
I could only imagine what Brandon had been through. I remembered hearing snippets about his kidnapping a while back, but I had no idea what he must have endured. No wonder he hadn't been in school until now.
"Well, I hope the rest of the year goes well for you," I signed sincerely.
Brandon smiled at me again, and I felt a warm glow spread through my chest. "Thanks, Lily. I hope so too."
As the homeroom continued, Mr. James had us all introduce ourselves and played some icebreaker games to help us get to know each other better. It was actually kind of fun, and it took my mind off Karla and her new friends for a while.
One of the things we had to do was share a fun fact about ourselves. When it was Matt's turn, he revealed that he was the son of Mayor Weston and a great friend of my dad's. No wonder he seemed so familiar! I knew my dad would be thrilled to hear that Matt and I had become friends.
Before I knew it, the homeroom was over, and Matt, Brandon, and I headed out into the hallway together. I was relieved to find out that we all had B lunch, so I wouldn't have to eat alone.
"So, where do you guys usually eat?" Brandon asked as we made our way down the crowded hallway.
"I don't know about Lily, but I usually just grab something from the cafeteria and eat outside," Matt replied.
I signed, "That sounds good to me. I like being outdoors."
Brandon nodded. "Yeah, me too. Although, I usually eat my lunch at Dillard's Diner since I work there after school. You guys should come by sometime. The food's pretty great."
"Definitely!" Matt said enthusiastically. "I love diner food. And hey, maybe we can even help you out sometime if you're short-staffed."
Brandon laughed. "Sure, why not? It can get pretty crazy on the weekends, so any extra hands would be appreciated."
As we made our way to the cafeteria, Matt started talking about his favorite band, Deftones. I had to admit, their music was a little too heavy for my tastes, but Matt was so passionate about it that I found myself getting drawn in.
"You know, you should check out their album 'White Pony,'" Matt said. "It's a classic. My dad actually introduced me to them, and I've been hooked ever since."
I signed with a smile, "My dad's always trying to get me into his favorite bands too. He's a big fan of The Beatles and Queen."
"Oh, those are classics," Brandon chimed in. "My dad's more of a country music guy, but I've definitely grown to appreciate some of the older stuff."
While we ate lunch, I pulled out my sketchbook and started drawing, something I often did when I was feeling nervous or needed a distraction. Matt and Brandon were curious and asked to see my drawings. I showed them some of my anime-style sketches, and they both complimented my work.
"Wow, Lily, these are amazing!" Matt exclaimed. "You're gonna be like Picasso one day."
I signed, feeling my face heat up with embarrassment. "Thanks, Matt. That's really nice of you to say."
Brandon nodded in agreement. "Seriously, you're really talented. I wish I could draw like that."
As lunch came to an end, Matt and Brandon suggested that they walk me to my next class. I was surprised but pleased that they wanted to stick together. My next class was Choir, and thankfully, it was just down the hall.
"So, Lily, do you sing?" Brandon asked as we walked.
I signed, feeling a little self-conscious. "A little. I mean, I really want to sing, but I'm not sure I'm any good."
"Don't be shy, Lily," Matt said with a grin. "I bet you have a great voice."
I felt my face flush again, but I was glad that Matt and Brandon seemed so supportive. As we reached the choir room, I took a deep breath and prepared myself for whatever the class might bring. I slowly pushed open the door to the choir room, unsure of what to expect. The room was dark, but as my eyes adjusted, I could make out the outlines of rows of chairs facing a small stage. The room had a strange beauty to it, with its blue and white color scheme and intricate design carvings. I made my way to an empty chair near the exit, wanting to keep a low profile.
Before long, a flood of girls began to pour into the room, chattering and laughing. I recognized many of them from the Meadows Dale Advanced Academic Program. My heart sank a little as I spotted Brianne Becker, one of the most popular girls in school, deep in conversation with Meg Peterson. They were giggling about some guy they both apparently liked. Brianne's eyes suddenly landed on me, and her smile faded. I shifted uncomfortably in my seat, feeling self-conscious under her gaze.
Alyssa entered the room, and the atmosphere seemed to brighten. Brianne's face lit up, and she rushed over to give Alyssa a hug. "I'm so happy you're in this class!" she exclaimed. Alyssa smiled back, her warm hazel eyes shining. I felt a small sense of relief seeing her friendly face.
Following Alyssa were Mandy, Fiona, Leslie, Hannah, Emma, and Karla. They all seemed to be deep in their own conversations, and I felt even more alone. Karla was telling Fiona about getting her nails done, and Fiona was expressing her dislike for acrylics. I stood up and waved at Karla, trying to get her attention. She had been one of my few friends in middle school, but something had changed between us lately.
Alyssa, however, made her way over to me and offered a genuine greeting. "Hi, Lily! It's so great to see you in this class," she said, her eyes sparkling with sincerity. I felt a small smile tug at my lips. At least there was one person here who didn't seem to mind my presence.
Entering through the red velvety curtains of the stage, a woman with brunette hair, who looked to be in her early 40s, emerged from behind the stage. She had an air of enthusiasm about her as she introduced herself as Mrs. Becker, Brianne's mother. I remembered hearing that they were related, and at the time, I had thought it was sweet that a mother and daughter shared the same class.
Mrs. Becker instructed us all to take our seats and explained that this class was for girls only. She then asked each of us to come up on stage and recite the Do-Mi-Re-Fa-So syllables so that she could group us into sections of eight. My heart sank as I realized I would have to sing in front of everyone.
One by one, Mrs. Becker called each girl up to the stage. Some of the girls had okay voices, while others were truly talented. Then it was Brianne's turn. Her voice was like an angel's, a beautiful soprano that filled the room. Fiona and Emma also impressed me with their deep, rich alto voices. Mandy, Leslie, and Hannah had high-pitched, yet well-controlled voices that blended beautifully.
Alyssa and Karla were the last to go, and they both had perfect voices. Alyssa's voice was like honey, smooth and warm. But it was Karla who really stood out. She sounded like a pop idol, her voice clear and powerful. I found myself getting lost in the music, forgetting my worries for a moment.
Then Mrs. Becker called my name, and my heart sank. I nervously made my way up the stairs to the stage, my hands trembling at my sides. I took a deep breath, trying to steady myself. As I opened my mouth to sing, an awful, screeching noise escaped. My throat instantly sting, as the aftertaste of metallic overwhelmed my mouth. It was so bad that Mrs. Becker immediately cut me off.
"Why are you in this class, Lily?" she asked, a hint of annoyance in her voice.
I looked at her sadly and signed, "I don't know. I didn't choose this class."
Mrs. Becker softened a little, seeing my dejected expression. "Well, you better discuss these matters with a counselor about switching, because there are better candidates out there who want a spot in this class," she said bluntly.
I felt my cheeks burn with embarrassment as I made my way back to my seat at the very back of the room. I could feel the eyes of the other girls on me, and I heard their stifled laughter. Karla's laughter rang out the loudest, stabbing me like a knife. Alyssa was the only one who didn't join in, her face a mask of disappointment. I wasn't sure if she was disappointed in me or in the other girls' behavior.
It was next week, I got out of my algebra class heading towards the office. I had to wait till Monday, since during the first few days, my assigned counselor was not available. I was already antsy of finally getting out of that Choir class, I couldn’t deal another day with a class I clearly didn’t fit in. My schedule in my hand, I pulled the door open, being greeted by the smell of freshly baked chocolate chip muffins. Nervousness ran through me, wondering what type of counselor Dr. Wells would be.
The door was wide agape, leading me into the source of that muffin smell. Sitting there on a working desk, was a man typing on his laptop. He looked a bit exhausted, almost to the point that he slumped on his chair. Tilting my head, I nudged on his shoulders, trying to shake him awake. I couldn’t help but feel warmth radiating in my cheeks.
“Huh? Oh, hello there Lily. What brings you here?” Dr. Wells jolted up, probably noticing how close I was to his face. I backed away, sitting down on a red couch next to him.
“I want to change classes please.”
Mr. Wells nodded off, scooting his chair back towards his mahogany desk. He searched up my schedule, turning his laptop to my view. “Oh, I see. In what class do you want to change?”
I nervously let out a breath, as I finally let out what emotions I was holding. “I don’t know why you assigned me Choir, but everyone in that class hates me. I really need that class changed, Dr. Wells.”
I saw my counselor's lip repeatedly twitched a bit, before he gathered his composure. Dr. Wells looked up from his desk, his kind face softening as he saw me. "Lily, I want to apologize profusely for putting you in that situation."
I signed, feeling a little comforted by his words. "It's okay. I did want to be in that class, but I just... I felt so out of place with all the other girls laughing at me."
Dr. Wells sighed and rubbed his temple. "I'm truly sorry, Lily. I was told you loved music and thought you would enjoy the class. But it's clear that it wasn't a good fit. Do you have another class in mind that you'd like to take instead?"
I nodded and signed, "Art class. I heard my friend Brandon is taking that, and I've always loved drawing."
Dr. Wells typed something into his laptop. “Consider it done. I'll have the change processed by tomorrow, if not sooner. In the meantime, help yourself to a muffin. The library teacher made them for me, and they're delicious."
I smiled and took one of the muffins, taking a bite. "Are you and the library teacher... a thing?" I asked, feeling a little bold.
Dr. Wells laughed, a deep, hearty sound that filled the room. "No, no, nothing like that. Just colleagues. She knows I have a sweet tooth, so she often shares her baking creations with me."
I felt a wave of relief wash over me. It was probably one of the few times I'd developed a crush on someone, and as usual, it was harmless and something I'd get over quickly. Dr. Wells was one of those crushes indeed. I stood up from my chair, feeling much better than when I arrived. "Well, thank you, Dr. Wells. I better head to class soon."
Dr. Wells smiled and placed a hand on my shoulder. "Of course, Lily. And remember, if you ever need someone to chat with, my door is always open."
Later that day, during lunch, I made my way to our usual table with Brandon and Matt. They were already deep in conversation about their morning classes.
"PE is a nightmare," Matt was saying. "All the athletes make fun of me because I'm not as fast or strong as they are. It's frustrating."
Brandon nodded sympathetically. "I heard you beat Ryan on the pacer test, though. That's impressive."
Matt shrugged, taking a bite of his apple. "It was just luck, honestly. Ryan got too cocky and sprained his knee on the seventy-ninth lap. I just kept a steady pace.”
I signed to Matt, "You should still be proud. I bet your dad was happy."
Matt smiled. "He was. It's not every day I get to impress him, especially when it comes to sports. You know how Mayor Weston was a star athlete back in his day."
I laughed, and then took a bite of my sandwich. "Speaking of impressing people, I have some news. I'm switching out of choir class and into art elective. Hopefully, I'll be in the same class as you, Brandon."
Brandon's face lit up. "That's great! I'm so glad you'll be joining us. Art class is a lot of fun.”
Matt nodded in agreement. "I'm happy for you, Lily. But why are you leaving Choir? I thought you loved singing."
My smile faltered, and I looked down at my lap. "It's just... it's not the right fit for me," I signed.
Matt frowned, chewing on his apple. "Is Mrs. Becker too mean? I've heard she can be hard on students who aren't part of the popular crowd."
"No fair," I signed, my eyes pleading with him to understand.
Brandon nodded. "It really isn't fair, Matt. That's why I prefer to keep a low profile. Popularity contests aren't worth the hassle.”
Just then, I felt a tap on my shoulder, and I turned to see Karla standing there, a sad look on her face. "Lily, can I talk to you?" she asked, her voice soft and hesitant.
I hesitated, signing, "Why?”
With a strand of hair tucked behind her ear, she leaned in and whispered, "I want to talk to you in private."
I glanced at Matt and Brandon, signing, "I'll be back, okay?"
Matt nodded, his eyes curious. "We'll be here. Take your time."
I followed Karla to the girl's bathroom, my heart pounding in my chest. I wasn't sure what this was about, but I sensed it was important to her. Once we were inside, Karla pulled out a juul vape from her pocket and took a hit. The sweet smell of watermelon filled the air.
"Want a hit?" she offered, holding it out to me.
I was curious, so I signed, "Sure."
I took a cautious drag, expecting to choke, but surprisingly, I didn't. Karla laughed, "I guess you already know how to smoke. Not so innocent after all, huh?"
I rolled my eyes. "I learned from watching Effy in Skins. It's not like I've never seen it before."
Karla laughed again, a genuine sound that seemed to break through the tension between us. "Look, Lily, I wanted to apologize for what happened in the choir. I shouldn't have laughed. It was mean, and I'm sorry."
I stayed silent, unsure of how to respond. A part of me wanted to accept her apology, but another part was still hurt by her earlier behavior. Before I could say anything, Karla cut in, "I know it doesn't make up for it, but I want to make it up to you. How about I take you to the skating rink this evening? It's one of our favorite places, remember?"
I hesitated, considering her offer. Finally, I signed, "Okay, I guess."
Karla's face lit up, and she gave me a quick hug. "Great! I'll text you the details. See you later, okay?" And with that, she left the bathroom, leaving me alone with my thoughts.
I walked back to the cafeteria, my mind racing. Matt rushed over to me, his eyes full of questions. "How did it go? What did she want?" he asked.
"It went okay," I replied, signing as I continued. "Karla invited me to the skating rink this evening."
Brandon's eyebrows furrowed. "I don't know, Lily. Karla hangs out with those choir girls. I don't think we can trust her, especially after what happened."
I bit my lip, understanding his concern. "What if I sneak you and Matt in too? That way, if anything goes south, we'll be together."
Matt's eyes lit up. "That's a brilliant idea! I'm in."
A small smile tugged at my lips. "It's settled, then. We're going skating."
That afternoon, I waited on the porch for Karla to pick me up. The sun was starting to set, casting a warm glow over everything. My dad emerged from the house, dressed in his sheriff's uniform. "Why are you wearing your uniform on your day off?" I asked, curious.
He chuckled, patting my back. "Got called into work. Something strange is going on. Don't worry, I'll be fine."
I signed, "Be safe, Dad."
“I will, honey. Have fun with Karla, okay.” He smiled and gave me a thumbs-up before heading off. A minute later, a black Chevy pulled up, and I recognized it as Mrs. Becker's car. Karla leaned out the window and waved me over.
I took a deep breath and climbed into the back seat. Besides Karla, there were a few other girls from the choir class—Mandy, Hannah, Emma, Leslie, Fiona, and Brianne. Alyssa was noticeably absent.
Noticing my curious glance, Karla explained, "Alyssa had track practice. She couldn't make it."
I signed, "That's nice."
Brianne turned to Mrs. Becker and asked, "Can we get some McDonald's shakes? Please?"
Mrs. Becker smiled. "Of course, sweetie. Does anyone else want one?"
Everyone nodded eagerly, and Mrs. Becker placed an order for nine shakes. Emma and Leslie wanted vanilla, Brianne wanted the seasonal spice pumpkin flavor, Hannah and Fiona requested strawberry, Karla and Mandy chose chocolate, and Mrs. Becker asked about my preference.
"Mint, please," I said, making a gesture of a mint leaf.
Mrs. Becker smiled. "Mint it is. Anything for my girls."
I felt a warm glow spread through me. Maybe, just maybe, they were starting to like me. I took a long sip of my mint shake, savoring the cool, refreshing taste.
"Chocolate is definitely the best flavor," Mandy declared, taking a sip from her own shake. "Nothing beats the classic."
"Pumpkin spice is where it's at," Brianne interjected, taking a sip of her pumpkin spice shake. "It's got that perfect blend of sweet and spicy. It's like autumn in a bite."
"Are you kidding?" Mandy scoffed. "Chocolate is timeless. It's the ultimate comfort food. Pumpkin spice is just a fad.”
"Oh c'mon! Pumpkin spice is leagues better," Brianne retorted. "It's a limited edition for a reason."
The other girls joined in, each defending their favorite flavor. I snickered at their playful bickering, feeling a sense of warmth despite the earlier tension.
About ten minutes later, Mrs. Becker pulled into the parking lot of a magenta-colored building. The girls piled out of the car, and I followed them inside, curious about our destination. Mrs. Becker turned to Brianne and said, "I'll pick you girls up at 8 pm sharp. I need to head home and take care of your little sister."
Brianne gave her mom a quick hug and yelled out, "Okay! Love you, mom!" Then she joined the choir group, whispering something in Karla's ear that made her smile in an unsettling way.
Karla walked over to me and whispered, "Hey, Lily, I want to take you to our hiding spot. It's been a while since we hung out there."
I brightened at the idea, signing, "I've missed that place. We used to act like it was our studio booth."
“Uh-huh,” Karla led me to an abandoned janitor's closet that was blocked off with a "Do Not Enter" sign. She opened the door, and I slid inside, feeling a rush of nostalgia. I slid inside the small, dimly lit closet and sat criss-cross on the floor, my heart racing with anticipation. Karla joined me, and for a moment, we just sat there, our knees touching, the silence comfortable between us.
"I've missed you, Lily," Karla signed, her expression softening.
"I've missed you too," I signed back, my heart warming at the sentiment. "It feels like it's been ages since we really talked." I looked down, my smile fading slightly. "I've missed the old Karla. The one who was always on my side, no matter what."
Karla furrowed her eyebrows, her face a mask of confusion. "What do you mean? I haven't changed, Lily. I've just matured."
I scoffed, shaking my head. "Matured? Making fun of someone less popular than you isn't mature, Karla. It's just mean spirited."
Her eyes widened at my words, and I could see the hurt flash across her face. "I haven't been making fun of you, Lily. I—"
"Yes, you have," I interrupted, my anger bubbling to the surface. "I know exactly what you and your new friends have been trying to do. You've been pretending I don't exist, like I'm not even worth acknowledging.”
Karla's face contorted with frustration. "That's not true, Lily! You always have to make everything about your disability. If anyone's changed, it's you. You used to be so happy, always laughing and joking around. Now, you just cry and complain when things don't go your way."
I signed angrily, my hands moving frantically. "How can you say that, Karla? I don't mind if you want to be more popular, but you're acting like you don't even know me. You're trying to pretend we're not friends."
Her eyes filled with tears, and her voice shook. "Maybe I don't want to be friends with you anymore, Lily. Maybe you're too held up in the past, too stuck in your own little world. You're a sad, pathetic sap, and I—"
Before she could finish her sentence, I punched her squarely in the face. The force of the blow knocked her back, and she stumbled, her hand flying to her nose.
"I wish I'd never met you, Karla!" I angrily figured my fingers around, my breathing being audible in the small space. "I wish you'd never been my friend! I wouldn't care if you dropped dead right now!"
Karla's eyes widened in shock, and tears began to stream down her face. Without another word, she turned and ran out of the janitor's closet, leaving me alone in the dimly lit space. I trembled as I crouched down in the corner, my heart pounding in my chest. I had never hit anyone before, and now I wished I could take it back. It was rather immature of me to end that way with Karla. Especially when this was the last memory I had of her alive.
Suddenly, a blood-curdling scream pierced the silence, freezing me in place. It was Karla. My eyes widened in horror as I realized what I had done. I rose to my feet and ran out of the closet, my heart pounding in my chest. As I turned the corner, I came face to face with a masked man. He was tall and imposing, his mask was painted like a 1940s woman with green eyeshadow, vibrant red blush, and blood-red lips. His copper-blonde wig fell in sleek waves, contrasting with his all-black suit.
The man walked slowly towards me, his gloved hand reaching out. I kicked him in the abdomen, my fear fueling my strength. But he was too strong. He grabbed me by the waist, his gloved finger pressing against my lips.
"My little flower, I am so happy to see you." he whispered, his voice deep and gravelly.
Before I could scream or struggle, he covered my mouth with a rag. It took a while for the chloroform to finally take effect, as I remembered my last thoughts were about Karla. Sometimes I wished this encounter was just an elaborate prank played by Brianne. However it is never the case.
When I woke up, I woke up to the sound of a girl's voice, soft and melodic. My eyes felt heavy, my body sluggish as I tried to lift my head. The singing was familiar, reminding me of Karla. My heart stirred at the memory of my friend, and I tried to shake off the grogginess that clouded my mind.
As my eyes adjusted to the dim light, I realized I was restrained to a bed, my wrists and ankles bound. Panic surged through me, and I struggled against my bonds, my heart racing.
The singing continued, and I finally located the source—a television mounted on the wall across the room. My eyes widened as I recognized the singer. It was Karla, her face bruised and beaten, her eyes closed as she sang "Once Upon a December" from the animated movie "Anastasia." Her voice was shaky but serene, and tears pricked my eyes as I watched her performance.
I opened my mouth to scream, but only a weakened screech escaped my throat. I tugged at my restraints, desperation fueling my strength. I had to get out of here. I had to help Karla.
Catching me off guard, the door swung open, and the masked man from my encounter at the janitor's closet stepped into the room. My heart sank at the sight of him, and I shrunk back against the bed, my breath coming in short gasps.
He carried a plate of applesauce, his gloved hands setting it down on a table by the bed. "Good morning, my little flower," he said, his voice deep and distorted by the mask. "Your friend has a lovely voice," he remarked. "Have you ever wanted to sing like that?”
I shook my head, my eyes never leaving his face. I mouthed the words, "Let her go.”
The Masked Man smiled sadly. "Your friend has been let go. Don't worry, she's no longer suffering.”
I wanted to scream, to demand that he release me, but my voice failed me. The masked man approached the bed, his eyes cold and unfeeling. He picked up the spoon and dipped it into the applesauce, then brought it to my mouth.
"Open up, sweetie," he cooed. "You need to keep up your strength."
I turned my head away, my body rigid with fear. I didn't want his help, I didn't want anything to do with him.
"Now, now, none of that," he chided, his gloved hand gently tilting my chin back towards him. "You need to eat. And one day, my little flower, you will sing too. And it will be the most beautiful voice anyone has ever heard."
Tears slipped down my cheeks as he forced the spoon into my mouth, the applesauce tasting bitter on my tongue. I choked down the food, my throat constricting with fear and anger.
The masked man set the plate down and pulled me into a tight embrace, his gloved hands stroking my hair. "Shh, my little flower. Everything will be alright. I'm here to take care of you."
I sobbed into his chest, my body shaking with grief and terror. I had no idea where I was, no concept of how much time had passed since I had been taken. All I knew was that Karla was in danger, and I was powerless to help her. The masked man held me until my sobs subsided, then gently laid me back down on the bed. "Rest now. We have a big day ahead of us tomorrow."
With that, he turned and walked out of the room, leaving me alone with my thoughts. I closed my eyes, my mind reeling. The next time I woke, it was to the sound of my mother's sobs. I blinked groggily, my vision blurry as I tried to focus. I was in a hospital room, my mother sitting by my bedside, her face wet with tears. Matt and Brandon, my closest friends, were also there, their faces etched with concern.
"Mom?" I raised one of my hands, my fingers weak and stiff.
My mother's head snapped up, and she rushed to my side, her hands grasping mine. "Lily, oh, Lily, you're awake!" She smiled through her tears, her voice shaking. "I thought I'd lost you.”
I placed my palm to touch her cheek, my throat too dry to speak. Matt and Brandon stood by silently, their eyes filled with relief.
I then asked the big question, signing, "What... happened?"
Matt nervously stuttered, "We... We found you inside an old shed near the skating rink. You were... you were unconscious, and we called for help right away."
Brandon added, "Before that, you were missing for roughly 33 hours. We searched everywhere for you.” His voice cracked, and he cleared his throat, unable to meet my gaze.
"You're safe now, Lily," my mother said, stroking my hair. "That's all that matters. There's nothing to worry about anymore."
I shook my head, my eyes flying open. Where was Karla? I signed, "Where's Karla?”
My mother's face crumpled, and fresh tears slid down her cheeks. "She's... she's still missing, Lily. We don't know where she is."
I closed my eyes, the weight of my guilt crushing me. If I hadn't fought with Karla, none of this would have happened. It was my fault she was still out there, alone and in danger.
The days turned into weeks, and Karla remained missing. The police conducted an extensive search, but there were no leads, no clues as to her whereabouts. I blamed myself, replaying the events of that fateful day over and over in my mind.
Three weeks after my rescue, the news channel delivered a devastating blow. Karla Reyes, aged 15, had been found dead, her body buried near the Yellow Rock River. She had suffered multiple bone fractures, and the unsettling detail—she had been missing her vocal cords and larynx.
I recalled the day vividly, the sun shining brightly through my hospital window as the news anchor delivered the grim update. I had broken down, sobbing uncontrollably, the reality of what had happened hitting me like a ton of bricks. I remember wanting to just die, to pay for what I have done. If I hadn't had my friends Matt and Brandon, I wouldn't have been alive writing this. And yet, I never told anyone about The Masked Man or what had transpired that day—until now. Sometimes I wonder if Karla could hear my prayers, wishing that she deserved better than this, and I'm sorry for causing her death. I took a deep breath, steeling myself for what I needed to say next.
Karla Reyes may have been the first victim, but she certainly wasn't the last. There were 7 more Choirs Girls left.

Hello stranger, i know it is hard to find someone compatible, especially online, but i wish luck to all of you reading this post. And if i am really lucky, maybe i will find what i’m looking for aswell.
My intentions are clear: i want to find You. I want to find the right person for the right cause which is starting a family together. The question is: is that You?
I think three important factors you looking for are: 1. Mutual attraction 2. Similar goals/shared interests 3. He is not a complete dumbass
I will start with mutual attraction. I’m willing to exchange pics in private just so we know that this can work and you like my appearance. I don’t want to add my pic to this post cause i care about my privacy. I will be honest by saying it is an important objective, a physical attraction. To make things easier i can say a few things about my looks: 5”11 (180 cm), 187 lbs (85 kg +/-), blue eyes, black hair, broad shoulders, deep voice.
Second most important thing for you is who i am and what i like.
I’m a man of strong moral fiber. I value honesty, loyalty and kindness. I treat people right and i’m willing to help whenever i have a chance, i also care for my family which is super important to me. I see myself as a conservative person. I hold traditional values and i got much respect for religion and history. Individual freedom and free speech is all i’m about, also i’m a pacifist, i will defend my family and close ones with all i have, but at the same time i’m not looking for troubles and not getting into fights, that was never my thing, i like to resolve problems with words, not fists.
Shared interest paragraph is ready to go. I like to read a lot, i also write some stuff, im getting ready to publish my book one day (all i need is more inspiration from You, be my Muse). Music is my thing, i’m going to a lot of concerts and festivals, road trips, watching youtube channels about history, science, cosmos and some other topics, i’m watching a lot of tv series and movies, like to spend time outside by walking or hiking, i like outdoors but i’m also a huge fan of spending time in bed and doing nothing sometimes.
My goal is to find a fine woman to start a family with. I always wanted to have a child, i think 2 or 3 is just the right number. I even have some names for kids, we can discuss it. I know how it is to grow up without a father figure that’s why i always wanted to give that to my children, a big and happy home where dad and mom loves each other a lot and sending this vibe to their children. I also want to show to my kids all the books and music albums i love so much and i want to be for them always to raise them well! So if you are up for that - awesome!
I want a woman who is ambitious, i want her to support me cause i will do the very same thing. I want you to watch a soccer game with me willingly and i want you to invite me to your world, show me what you love and i want to be in it for you, even if it means watching a silly show in tv. Whatever makes you feel good, i want to be a part of it. Support, support, support and don’t kill the other person’s vibe, i’m up for it.
I want a woman that is willing to talk about our feelings and everything, cause a real talk is the most important thing to build a strong foundation. Let’s talk and don’t hide our feelings.
Life is worth living and it is way better to spend it all with the person you love, i want to find that person here. Maybe that is You? Let’s find out.
Also, the last thing - i’m not a complete dumbass, sometimes i’m just a silly boy!
I wish you all the best, cheers!
Also i want to include one of my fav quotes recently:
'Cause when you talk about these things, something ignites in you, and I can see it on your face.
And I don't see that on a lot of people. And, you know, whatever that feeling is, when you feel it, I feel that too.
And it's not just here. It's... It's afterwards. What I'm trying to say is i really like the way that I feel when I make you feel the way that you do.”

Hi,
It's an old creepyasta and the only ones still interested in it are Latino metalheads but here's a little update on the guy. For those wondering what he's up to, this is his Instagram profile and this is a recent interview where Niklas Kvarforth talks about him. (For those with bright screen background, links on the word "this").
No, I won't ask the guy any question (if you're interested, you can do it yourselves). Cheers.
Update 1: Tbh this is probably the wrong subreddit in the first place, I should have rather picked something like nosleep or creepypasta or some lost media wayback machine ones. For context, the reason I'm bringing this up is that in the latest few months a bunch of topics popped up and there is a new wave of Spanish-language creepypasta videos in the metal community. It's very easy to find informations E.g. bonus from metal-archives. OP is likely him (it's literally his own compilation). This is his Discogs profile page.
Update 2: just look at the personal details he wrote in his compilation and make a quick google search. He used to tape trade etc. in his father's house in Markaryd. Nice house, seems like a cozy neighborhood. There's nothing private or "secret" about this guy's personal details, what we still don't have is a picture of his face, a tutorial of how to make his mask, and his unreleased/bootleg material. And he is likely a gateway to Casado (Leere) who is the actually interesting part of the story. Which is, at the end of the day, what we all care about. It'd be interesting to see if he's also a hip hop fan like Kvarforth.
Update 3: Andreas Casado (Leere) is a Seinfeld fan and member of a group in the Swedish metal scene known as "The Painkiller Horde", also still very active to this day and pretty wholesome. Andreas liked to vandalize the group's page (search the word "andreas" in this page) and the other members joked of being unsure whether he would or wouldn't be part of the group. On another occasion, he had to pay everyone's beer so he decided to stay home instead. Niklas Kvarforth was also likely an acquaintance of the group since Shining was one of the recommended bands in their website. He also organized a day trip to Finland. This page here is full of anecdotes. I especially like how the other group members made fun of him for "hating" their favorite gathering spots, only to show up unannounced and bring other people too. Ted Wedebrand (Shining's former member) eventually joined that group too.
Leere was also featured in the front page of Shining's old website at the time the Painkiller Horde one was up and running. The webmaster for the group's official website is this guy, who also was a member of black metal band Zavorash, which featured Leere as a guest songwriter in this album. The guy was also the webmaster for Shining's old website, called "Suicide Squadron", in which he trashes on Kvarforth for mistreating his friends and band mates. All the drama of the pre-Halmstad era is explained in the news section of that website. Christ C. (webmaster) discusses the possibility of forming a spin-off Shining consisting of Casado and other former Shining members, called "Suicide Squadron" and based in Stockholm (check the news section of the website cause the Wayback Machine might not redirect you to it). Also a bunch of picture albums with Leere performing live with Shining.
Leere wrote this track and he's likely a good acquaintance of Lifelover.
Here you can find the often cited interview with Legacy Magazine from Germany translated into russian (you can reverse translate it with Google Translate in your browser). The page also contains an anecdote of Casado's musical background (bands cited are the same mentioned by Kvarforth in his interview) and a brief summary of how Silencer was formed with Robert (Shining's old vocalist). Casado's musical tastes are the same listed in the Painkiller Horde website (even his favorite bands). He is also a Christian and not interested in a lot of the ideological exaggeration of dsbm.
You can find a detailed biography on that page. Tl; dr: a normal band playing Bethlehem-inspired music, Leere became uninterested in the project and Nattramn tried to be "original" and "exceed" Marco Kehren and Rainer Landfermann of Bethlehem. The whole "madness" gimmick is, indeed, a gimmick created by two guys that tried to express their darkest emotions. Nattramn had most of the corny ideas. Leere is the guy behind the music. I think the case is solved once and for all. End of the creepypasta. We'll wait for a picture of Nilsson's face.
Update 4: Death-Pierce Me and other black metal records were distributed by Kvarforth via his label back in the day.
Bonus update: Casado is a winner

Final update?

A report sent by a metal-archives user in 2016 contained a link redirecting to the Swedish Trade Union Confederation website, which seemingly employed a chubby blonde long-haired guy called Mikael Nilsson, whose personal details coincide with those of a guy named Micke. Some details don't add up: 1) Nattramn a trade unionist? WTF? 2) The birthdays are different 3) The guy moved to Stockholm?
Well, anyways, if that user somehow managed to confirm that picture is of the very same Nattramn we're talking about, it might be this guy.
I guess this is it.
Take care!

I have a half developed theory about her new outfits and necklines.
So Red, Midnights, and 1989 have the strings that come down into a V like a halter top kind of. Red and 1989, she was bearding heavily. Red is "all about Jake." 1989, we have the whole Harry thing. Plus Calvin Harris and Hiddleswift after its release. She's working overtime with being seen with men. She begins to be slut shamed. Even though she is dating like a normal college age woman. In those two sets, we see the V neck thing. Is that representing the ALBATROSS of breading? The weight of her secret and act of it all?
Midnights comes into play because the fact her relationship with Joe is still going, and she is still hiding in plain sight. The mask remains.
Looking at Lover, she wears a heavy chain necklace. Another weight on her neck. It's tighter. Choking her. Like a dog collar almost. Used to control her?
TTPD she wears a choker. She still has the burden of her secret. Though it's not solid. The secret is starting to break up a little.
Fearless and Speak Now have neither. Here she probably isn't being forced to beard. Maybe convinced. But doesn't feel the weight yet. Maybe agreed it was best for her career. I think she nods to that Chloe or Sam or Sophia or Marcus when she says, "too impaired by my youth to know what to do."
Rep has a high neckline. Here, she expected to be out after 1989, but Karma didn't happen. She's angry. She had some relief from the weight when she was allowed behind closed doors to be with Karlie, but it's not enough. But the secret is suffocating. Like a python, it squeezes her slowly.
Folklore/Evermore have high necklines, but they are sheer. I think some aren't, maybe, but I do think all the dresses have the nude sheer stuff at the neck. She was able to reveal many secrets in these albums by hiding behind characters. Her secret is known to those who see it. But there are plenty of people who keep the albatross on her. Plus because of COVID she didn't need to publicly beard. She didn't need to be seen with Joe. She could be with whoever she wanted to be with privately.
Secret songs have a low neckline because she can be LOUD with who she is and those who know will know.

I came to enjoy it a lot more when I leaned into the themes and looked at it as self examination. Songs like savior felt so pretentious that I just rolled my eyes on first listen. I still feel his 6 years too late complaints about “cancel culture” still elicit a cringe to this day. And auntie diaries is a level of tone deaf I haven’t heard since Macklemore on same love. They are less sensitive and a just a lot less informed to an extent that feels contradictory.
But listening to it with respect to the themes of self reflection, and how accountability shouldn’t run counter to self love or forgiveness was legitimately eye opening. Going back to savior, and hearing it in conversation with songs like mirror and mother I sober (The 3rd verse on FEAR actually tackles this too but I’ll try to keep it to Mr. Morale bc this already long as hell) actually brought me to tears. It became relatable.
Resistance is an inherent part of the black identity everywhere in the world. And we deserve relief from that in our private moments. Letting our every waking second be a fight to validate our existence in a space isn’t fair to us. And on some level that requires acknowledging that you have a life to live to. That you have more to your experience than a cause thrust upon you by a world otherizing you. That you’re not the savior.
It feels so important to have an album exist dedicated to unpacking that. And how healing yourself is a thing you can do to tangibly improve your world within and without. He deserves to just be an artist. To just be a flawed human being speaking from his and only his perspective. We all deserve that, and it’s easy to get caught so up in (rightfully) defending ourselves that we never give ourselves any room to feel peace.

I noticed a while back that there's a state website with contact info for tons of Texas bands and I think it was something affiliated with the Texas Music Office: https://gov.texas.gov/music . You could literally find at a glance, contact info for the bookers for most red dirt artists but also other kinds of bands. The other day Saving Country Music had an article about something else (Big Loud Records texas division) and it reminded me of this state project existing and how cool it is.
We have an poster here, u/Conscious-Group, who produced his album with the help of an Austin city program that gave grants to promote music projects. https://andrewblanton.bandcamp.com/album/laredo
Those are government examples, but tourism development happens at all kinds of levels, private, nonprofit, and public.
I'm always interested in how you can develop local scenes in places that supposedly don't have one and we've discsssed it on the sub quite a it in the past. I figured I'd put this out there in case it inspires anyone to look into creative opportunities for music promotion at their local level.
Of course Texas is up there with maybe 2 other US regions (which are just cities) in promoting music as a major part of their image. Nashville and New Orleans are the other two places I can think of.
There are sevearl towns or states where it seems like it could be an obvious tourism development project for local government or business development/chamber of commerce sorts of groups. Even developing a centralized website with info on local bands and resources for bands to promote themselvs like the Texas Music Ofice has on their website seems like a fairly affordable way to help nurture live music in your area:https://gov.texas.gov/music/page/resources
I've lived in other states with great music scenes in the South but there wasn't as much of an official push like this Texas one (Nashville is the obvious exception). Are any other regions doing stuff like this, outside of private businesses?

Written 5/8/2024- updates attached below

I tried posting this on kendrick almost a week ago and it got no response, I messaged the mods to ask about Karma restrictions or account age requirements and they never replied. I made a new account and it was the same issue, but I found out last night I wasn’t fully banned, so I figured I’d throw it up and see if anyone finds it valuable. It’s written for people who have no prior knowledge of the rap game/music business. I don’t have to go as hard on obscuring names this time. One of the influencers I mentioned in my last post is known for doxxing and threatening violence against people who mention the many contradictions in their stories. (Sorry for any typos/mistakes I want to go to bed.)
Origins
I believe the current Drake and Kendrick Lamar beef is either completely or partially fabricated by certain industry leaders or the parties involved in an effort to distract from something bigger going down behind the scenes. If you were an influential label owner facing major accusations, and you needed to deflect media attention from yourself, recreating one of the most defining moments in rap history during the social media era would be a way to do it. It also wouldn’t hurt that two of the biggest rappers in the world were already sending shots at each other in their music for years prior. The public consensus is they are simply two famous rappers who hate each other and fighting over the spot for the top like in the 90’s. Only people who were directly involved could paint a more cohesive picture of the whole story. Even when all the cards drop, there is a good chance the average person won’t be able to find direct sources on their own and will continue to support their favorite artists and dismiss any evidence of their crimes like the drizzy subreddit or Ak fans.

As I said the beef between Kendrick and Drake has been brewing in the background for years, with both rappers sending shots and sneak dissing each other over the course of at least 8 years. The most agreed upon origin story is the first diss was the 2016 Big Sean and Kendrick collaboration, “Control,” and Drake responded with, “The Language”. Things stayed relatively lighthearted for a while and both were intentionally vague for many years. Before I go deep into the Kendrick and Drake stuff, it’s really important to examine some of Drake’s prior beefs because they add a ton of context to my theory. In my opinion Kendrick and Co. started scheming all of this some time around Mid 2020-Mid 2022, well after the whole Pusha T beef had transitioned into the Kanye beef.

What exactly started the beef is debatable, but at the time many attributed it to rumors of Drake pursuing Ye’s ex Amber Rose. Unfortunately the timeline isn’t 100 percent clear, and if I included every detail this would be at least 200+ pages so I’ll stick with the important stuff. The ultimate outcome of the Pusha T battle in 2018 was the revelation of Drake’s son Adidon that he had previously been hiding from the world along with getting Ye directly involved in the beef.

Here are some more examples of Drake antagonizing Ye and of him trying to use women as pawns to get material for his diss tracks. The Drake line, “Yeah, I probably go link to Yeezy, I need me some Jesus, but as soon as I start confessin' my sins, he wouldn't believe us," could be a reference to sleeping with Kim Kardashian, trying to double down on his threats to harm him or his family, or it could be a double entendre. Another example is using the name Kiki in another song, which was apparently one of Kim’s nicknames. Some other possible examples include the theories he may have tried the same thing with Kendrick’s wife Whitney around 2020-2021 in an attempt to use as ammo against Kendrick, which I’ll go into later. I don’t listen to much of either artist's music, but there are probably many of other examples in Drake’s catalogue that I’m leaving out. There is also his song Omerta released in 2019, which I'll go into below.

“Your baby mother call me when she lonely My tailor see me twice a week, he like my homie Forever grateful, forever thankful Diamond necklace, but she wears it on her ankle”

(Probably referring to Kim Kardashian since she had a few pictures with her wearing diamond ankle bracelets and was trying to make it into a trend.

“I plan to buy your most personal belongings when they up for auction”

(There were various rumors floating around for a while that Drake was blackmailing Ye with something and he was fighting to keep it from the public. I thought about it and this line might be referencing a sex tape with Kim or her little sister who me was very touch before she turned 18. In 2022 there was a whole storyline on Kim’s show where Ye flies to LA to prevent her second sex tape from being released.)

West Hollywood, know my presence is menacing
Cosa Nostra, shady dealings
Racketeering, the syndicate got they hand in plenty things The things that we've done to protect the name are unsettling But no regrets, though, the name'll echo Years later, none greater
Death to a coward and a traitor, that's just in my nature, yeah
(Drake and Ye both frequented the Delilah Nightclub located in West Hollywood and lived closeby on the same street for a while.)
"I don't carry cash 'cause the money is digital
It's the American Expresser, the debt collector"

(Sounds a lot more like it could be crypto to launder or send large amounts of ill gotten gains. It started becoming mainstream around them)

"Last year, niggas really feel like they rode on me
Last year, niggas got hot 'cause they told on me
I'm 'bout to call the bluff of anybody the fold on me"

These lines stood out because they could be referring to Ye telling the public about Drake's alleged threats a couple months before the songs release. This happened not long after the release of Sicko mode which was towards the end of 2018 as well. Ye was discussing the incident on Twitter and reached out to Drake and Travis to talk to him in private. In the next set of tweets Kanye publicly accused Drake of threatening him and his family in a major way. Surprisingly Ye seemed genuinely scared and amongst his, “crazy rants,” some of the stuff he said makes a ton of sense in hindsight. This also the beginning of his second serious public struggles with Bipolar disorder after being committed in 2016 shortly after an on stage rant where he calls out Jay Z for selling out and says he's afraid he might kill him.. As someone who shares the same diagnosis, I have a pretty good understanding of mania and psychosis and firmly believe that it's important not to write people off right away due to their mental illness. Some of my most thoughtful, creative, and productive periods were inspired by mania. Industry bigwigs have also been using mental illness to discredit influential black celebrities and visionaries going back decades, but it really picked up in the 80’s.

Dave Chappelle has gone into this a lot in the past and claims he experienced something similar before he quit show business and dipped to Africa. Their stories have a lot of interesting parallels if you’re familiar or curious. I remember he actually visited Ye at his house in Wyoming after he was reported to have had a, "mental breakdown," during his presidential run in 2020 thus marking his third breakown in six years.. The reason I put it in quotes is because it happened right after he publicly accused Kim of cheating and delivered his legendary speech on abortion. Dave went as far as going on live tv and telling the public he wasn’t crazy, he was just really struggling because he was the only one at the time fighting against the narrative, which can often be a suicide mission or a ticket to obscurity. These are three examples of someone speaking up and being deemed crazy, two years later came the nazi stuff and I'm sure we'll have plenty in store for 2024.

This is just the tip of the iceberg when it comes to the very common pattern of artists dying or having their careers destroyed either after they try to leave their label or threaten to reveal industry secrets. A few more interesting industry connections I made in my research include the connections between:

T.U.G. records and J Cole's independent label Dreamville are both managed by Interscope Records, whose parent company is Universal Music Group.

Universal Music Group also hac Drake's label OvO label as well as Ye and Kendrick's old labels on their roster before they left to form their own independent labels in 2022 (around the same time the disses between Kendrick and Drake started escalating). Finally Bad Boy Records, which is owned by Diddy, and Motown Records who own Diddy's other R&B label Love Records, are also both owned by Universal. This means every label I mention is currently or was previously owned by Universal Music Group.

Ye tried for years to get out of his contract with Defjam, which happens to be ran by Jay Z who is known to be a close associate of Diddy. Jay would always used his money and power to fight against it. Ye even spoke out publicly on a few occasions, including when he said Jay Z was trying to kill him during one of his concerts. My theory is after years of getting nowhere and having his reputation skewered, in 2022 Ye finally said, "Fuck it," and dropped all the anti- Semetic stuff intentionally in a successful attempt to force his label to into using their morality clause, which requires labels to drop an artist if they're accused of any major controversy that could hurt the label’s profits. For the fourth time in four years the media reported he was having a breakdown. Even though they tried to punish him by cutting off all of his sources of income and freezing his accounts he still managed to bounce back pretty quickly. It was often reported how much he was losing, but it rarely discussed how he still was filthy rich in spite of the retrictions. His label wanted to discourage other artists from trying the same thing. My theory is he might have bought Kim or Kylie's alleged sex tape and used it for his own leverage. For Kendrick, his transition to his independent label ApLang went a lot smoother, but he had to split ownership of his new label with the previous manager owner Dave Free. Sadly it's still difficult for new or more niche artists to establish themselves without the some help.

He may be a lot of things but Ye isn’t dumb just because he has a mood disorder and the guys at the top know this, which is why I think he has really played up his diagnosis when it benefitted him. He’s still one of the most talented musicians in the game and I really think he sees his bipolar like a superpower as he says. It’s like his own invisibility cloak. He can go off his meds for a little, make an album after staying up for 72 hours, go on a “psychotic” twitter rant dropping facts throughout, then start up again once he makes enough news headlines. I think it’s worth noting the first divorce rumors in 2020 coincided with Ye’s abortion speech during his presidential run and the cheating accusations. that led to him dropping out and moving to Wyoming, and a couple months ago in February 2024 he was committed again.

The point I’m making is bipolar is complex, but pretty manageable especially if you have a ton of money to find meds that work for you and a good doctor and can keep substance abuse and stress at a manageable level. I think Ye is smart enough to know this, but it’s just safer for him to really play up the mental issues in the media. He’s proven he can literally say whatever he wants after getting cancelled and the average person is just going to write it off as psycho babble. While bias in health care is a sad fact of society, if you can use it to your advantage I say go for it. It might’ve just kept the microscope off of him long enough to plan his attack.

Ye v. Drake: Quotes of 2018
(Start of the beef, drake threats, and suspicion towards Kardashian family. )

“ It’s not about rap. It’s about family. We have to be close as a family and never let these people infiltrate just for radio spins”

“We need to show the world that people can talk without people ending up dead or in jail.”

”This is a man speaking to a man that has been placed in the program to fuck with Kanye West head and set me up“

”See when you care about your family you don’t let no man push you to do nothing that could risk your freedom“

These first four tweets by Ye were all in reference to perceived threats made by Drake after their beef escalated circa 2018. He began speaking on the industry and talking more about his psych hospital commitment two years prior and how he thought they were going to kill him. It's pretty obvious how the whole thing was planned by the sketchy doctor who called it in and his physical trainer who has a ton of connections to weird shit involving his celebrity clients.

I found interesting that Ye might not have been the first major league rapper whose life Drake threatened. During a similar period of mental illness the up and coming rapper XXXtentacion accused Drake of stealing his flow and dissed him a few times. Not long after he made a post online saying if he dies, it was Drake who did it. There are tons of conspiracies online, but none of the evidence is strong enough to draw a definitive connection. Also while it maybe be coincidental, Kendrick’s latest album Mr Morale also painted the picture that Kendrick was dealing with some serious personal issues. Some lines throughout the album may have been used to bait Drake into escalating, but it wasn’t until The Weekend, Future, and Metro Booming dropped, “We Don’t Trust You,” then Drake and J. Cole dropped, “First Person Shooter,” which was followed a couple days later with, “Like That,” where Kendrick started the chain of events that has led us to today.

Kanye vs. Drake: Quotes of 2020

Summary: Ye runs for president and gets suppressed for saying what very well could be the truth and was immediately deemed insane by the media. Kim did a couple interviews and everything he said was immediatly false. There is almost guarenteed to be some sketchy shit going down revolving her and her family. Ye was absolutely terrified of her keeping the kids away from him and it seems like there are still efforts being made to this day to paint a certain image of him for ulterior motives.

Below are six more quotes from a fan taking a deep dive into his 2020 tweets courtesy of u/ thehatstore42069 on Yeezy
”NORTHY I AM GOING TO WAR AND PUTTING MY LIFE ON THE LINE AND IF I AM MURDERED DON’T EVER LET WHITE MEDIA TELL YOU I WASNT A GOOD MAN,” West, 43, wrote in the tweet, adding, “WHEN PEOPLE THREATEN TO TAKE YOU OUT OF MY LIFE JUST KNOW I LOVE YOU”

"I need a public apology from J Cole and Drake to start with immediately... I'm Nat Turner... I'm fighting for us."

"the utmost respect for all brothers" and said "we need to link and respect each other... no more dissing each other on labels we don't own"

"Ye is constantly trying to tell people that his family does not have his or his kids best interests at heart. He goes on to list others, linking them together with the thinking emoji. These people include rap artist Drake and Larsa Pippen, wife of Scottie Pippe. Kim K is goddaughter to Pippen's daughter, showing how close the families actually are. All of these families that associate with Ye through Kardashian connections, as well as Drake, have been accused of the same thing Kris has. EVERY SINGLE ONE of these people have mixed race children that are groomed from a young age to fuck around with celebrities so the parents can remain famous. Drake on numerous occasions has been accused of grooming girls and then getting handsy on their 18th birthday.”

“These labels want their artists to make them money and they dont care about anything else. When Kanye says things like this in an attempt to expose him, the first thing they wanna do is drug him up and put him back in the studio.”
“Righteous indignation is typically a reactive emotion of anger over mistreatment, insult, or malice of another. It is akin to what is called the sense of injustice. This is how they keep the black man down. Keep people outraged about trivial things and distract them from the real issues in the world. The real problems in the industry. If you tell people enough times that they are unequal or discriminated against they start to believe it. Drug them when they step out of line and toss them aside when the checks run out. Ye is realizing he is pawn in a bigger game, and now that he has all these roots in the game such as Yeezy or the Gap or his music, too many people cant risk (Afford) a Ye who speaks his mind.”
(End of quotes)

Amongst the twitter rant, Ye warned about the predatory nature of record deals and discussed trying to get out of his own deal, and said again how his life may be in danger if it wasn’t already and was doing anything he could to protect his kids. The most fascinating part to me though is the public call to arms he made to Drake, J Cole, and Kendrick on twitter. After inviting them to all link up, he said, “It’s time to get free, we will not argue amongst each other while some guy we don’t know in Europe is getting paid and putting that money in a hedge fund.” I believe if Ye was able to pull off this meeting, there is an ever so slight chance that all four artists might be working together to take down a greater enemy. Weirdly there have been times throughout the last couple years where these supposed enemies were photographed together being friendly or praise each other in interviews, then out of no where the disses would start flying again.

To wrap things up I want to share my a few of my theories about the Drake/Kanye beef

A. Everything is exactly as it seems and the beef is over. Ye let his mental illness ruin his life and career so Drake simply picked another target after Ye stopped putting out disses. All of these connections are just a coincidence and all of this was choreographed to boost Drake and Kendrick’s music sales and possibly distract people from the Diddy trial and possibly the complicated geopolitical issues currently facing the U.S.

C. There is also the possibility that all four rappers are in cahoots and Drake’s dirt isn’t as extreme as people are theorizing, at least in comparison to the rest of the business. This could explain why everything has played out like a movie and how they were able to predict each other’s moves so well. This could either mean they’re all just trying to boost their sales or they’re all trying to take down the “slave masters,” as Ye calls them, and change the dynamic of the music industry in favor of the artist.

D. They may be trying to help their friends in the industry who are being abused or in shitty contracts. I know a lot of famous rappers have done a lot of collaborations with Jhene Aiko and Anderson Paak, who were both signed to T.U.G. records which I mentioned above in the connections to Universal Music Group. Considering they are both frequent collaborators with all of the artists involved on both sides, it’s not unlikely they may have played some part in influencing the takedown.

T.U.G was started by Chris Stokes with his partner Ketrina Askew. Back in the early to mid 90’s were gaining popularity attracting lots of young up and coming talent. They often collaborated with Diddy and his associates. In the 2000’s Raz B from the boy band B2K claimed he was molested by Stokes and his friend Marques Houston, then quickly retracted his claims. Years later he came forward again and said we was bribed into silence and that the rest of the victims were bribed with hush money and had another singer corroborate his story and they came forward together to level the accusations. After some of his former B2K members made fun of him for his claims and accused it of being a shakedown, Raz B revealed Stokes and Houston had preyed a lot of the children associated with the label including at least one of the former bandmates and paid them off.

I thought it was worth noting that the second whistleblower named Quindon Tarver died young in a car crash after mentioning his abuse again a few years prior. He seems to have left the industry not long after the incidents occurred and has few credits to his name. To this day Raz B is still trying to get his justice, while Stokes and his partner Askew, who was also involved in the abuse are still running the label to this day. Askew also has a ton of lawsuits, accusing her of using shady tactics to try to foreclose on houses. (Don’t quote me if a lawyer wants to take a look just google her full name), and has been tied to a ton of LLCs, similar to Drake. This is a good example of a shitty record deal, but I'm sure they have countless other friends in the industry who have even worse. While they were never convicted even Chris Stokes' wife confirmed it to be true.

E. The theory I personally think fits the narrative best and is the most realistic conspiracy is that Kendrick and possibly J. Cole went to the meeting, but not Drake due to his close relationship with Lucian Grange, the president of Drake’s label. Silence often speaks louder than words and this could explain why Kendrick was so ruthless and put so much effort into finding dirt on Drake. Ye, Cole, and Kendrick co-writing would be like the rap allstar team and if J. Cole wasn’t involved, it would also answer the question of whether or not he baited Drake into the battle by asking him to feature. I don’t think Drake is really their primary target though, which would explain letting him off easy. Compared to his bosses and their bosses he’s a small fish. If you take the big guys down you stand a better chance of landing a bigger blow on their operation.

Another really interesting connection is Kendrick and Ye were both signed under Universal Music Group and they both got out of their deals around couple months apart in 2022. As we speak U.M.G’s CEO Lucian Grange, who is often acccused of giving Drake special treatment, is facing charges related to sex trafficking by no other than P Diddy. This could very well explain the timing of it all. The craziest timeline would be Diddy masterminding all of this and using his connections to get it done and all the allegations are bullshit. The guy does seem pretty confident all things considered and constantly posts himself in his Batman costume which could mean he’s a vigilante.

It seems like there's a slight religious angle as well. (Ye and Diddy are both very vocal advocates of Christianity and Drake and Lucian Grange are both Jewish.) Obviously this is a reach, but they’ve been saying rap music was specifically promoted by mostly white label owners in the 80’s to help in the ongoing effort to expedite the systematic oppression of those living in black neighborhoods and the destruction of their family systems. Apparently it was an intentional decision to heavily promote rappers that promoted the very things that were destroying their neighborhoods. (So people know I'm and atheist and have zero agenda, I just thought it was interesting, please stay away from anything antisemitic. War is wrong on both sides.)

*** If my favorite theory is true, there is a possibility the Kendrick and Ye are going after Drake due to their mutual disdain for him and because he’s got a ton of power to dominate the charts and hog the radio airtime like Meek Mill and OG Maco claimed years ago. Even him dropping a record the same day as you could really fuck your album sales up. I’m also sure some of the many rumors throughout the years have had a least some truth and he will most likely snitch to avoid cell block one. I think that Drake could have been instructed to instigate this whole mess in order to draw attention away from the UMG charges brought about by Diddy. Or on the other hand it could be that Kendrick, Ye, and possibly Cole, may have had intel that Drake was going to be involved in the Diddy trial and are just gonna let the receipts show themselves. It might not have been the original plan, but they’ve already accomplished their mission of humiliating him, assuring he couldn’t use his influence to slide through the cracks, and taking over the throne.

Please take everything I say with a grain of salt I have no connection to this world or lifestyle. Regardless I believe all of the knowledge above does a pretty solid job at painting a picture of what may have let up to this and what may have been the source.
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More details found the last couple days…

Drake and Diddy Connections+Coincidences

Drake- In the P Diddy wig video from 2016 he talks about going to party with Drake, Cash, and The Weeknd in Toronto. Drake is also one of Birdman’s protégées who is known for being a predator and is rumored to have used label artists to lure young women.

Travis Scott- Interview where he comes out and says Diddy tried to lure him. Still has a long history of associating with him, video of him running from Diddy, his connection to Ruby Rose while underage.

Tim Westwood- Diddy had connections with sex offender Tim Westwood who also inspired the Drake song, “Westwood”. They also both were victims of drive by shootings along with The Weekend and they were all facing some type of allegations.

T.I.- Also has been associate with Diddy through the years, in 2021 his kid died and 11 women can forward at the same time to accuse him and his wife of drugging and assaulting them. Clearly someone wanted to fuck his life up. Possibly due to him getting arrested so many times for wild shit and people wondering how he continued to get away with it shining a light on how powerful industry lawyers are. He also had recently talked about having a gynecologist check to see if his daughter is still a Virgin, which sounds like it could have been an industrty secret. Could have been because he worried about someone trying to take advantage of her to get to him? Regardless that shit is fucking insane.

50 Cent- Has been saying pretty much the same thing as Travis Scott and has trolled Diddy for most of his career. It came out that his wife was a sex worker who was possibly recruited Diddy to help ruin his career. It sort of worked, which raises the question if 50 Cent is the only victim.

Ray J- Him and his sister worked with T.U.G. records when they were very young. Chris Stokes in the nineties who had connections with Diddy. He has been involved in a lot of sex scandals and allegedly may have played a part in Whitney Houston's death. (Which is also allegedly connected to Michael Jackson's death and both were deemed suspicious and happened during their final tours when their masters (song rights), became more valuable than their lives. Sony Records and Tommy Motolla, who also abused Mariah Carey when she was trying to start her career. These are just a few of the alleged examples of labels taking out musicians when they were worth more dead, another is the signing of high risk artists and requiring them to get life insurance so they can profit beyond releasing all their posthumous records. Also the ever so common story of the rising star artist that die at 21 after their first album or two.

He also partied with Diddy in Vegas with along Floyd Mayweather and a bunch of other famous industry people and athletes.

Tory Lanez- Tons of blackmail, also was signed by Interscope under UMG. got sent to prison for ten years after trying to leave his label. Also history of SA and and other allegations of violence towards women.

French Montana- On Diddy's label, close with Rick and Khaled, tons of drug and sexual assault allegations, also dated a Kardashian. Generally grimy.

DJ Khaled- Diddy said he could get anything in Miami, either referring to drugs or women, could explain his connections and lack of any notable talent. (New update, he was one of the first to promote Chris Alvarez’s instagram not long after he turned 18).

Rick Ross- Diddy said some weird shit about him and licked his lips and kissed him at a show. Ross is also signed to Bad Boy under Diddy. He ended up getting involved in the current feud and spamming social media nonstop dissing and threatening Drake.

A lot of the back and forth was both of them threatening to release dirt on each other. One strange coincidence I found was Drake recently trolled Ross about the 20 million dollar renovation to his home on Star island, where Diddy is currently residing. It’s rumored back in the day that P Diddy was caught in a room full of rich guys on ecstasy possibly at the beginning stages of a gay orgy. Drake also mentioned in the same tweets about Rick Ross that Birdman owned a house on the island and asked Rick Ross why he didn’t help him out.

Considering Ross is so sketchy and Drake claims the house isn’t that big, that’s a ridiculous amount of money. He may be covering up evidence, or creating tunnels in his house to escape if shit pops off and Drake might know what’s good. Interestingly enough Ross is very close with French Montana and also signed to Bad. He said his beef was related to something involving French, and Drake’s tweet popped up the same day the info came out concerning the Chris Alvarez stuff.

The famous line from U.O.E.N.O.

Meek Mill- “OG Maco called himself defending his friend Quentin Miller by substantiating the ghostwriting claims and agreeing with Meek. He hit up Twitter saying, "Some of us been knew. Meek just put it in the air. Sucks to have to compete with 6 n****s and get compared to”

Meek mill also had a short beef with Drake, some disses included lines referring to TI’s homie pissing on Drake at the movie theater, which is also interesting considering the current case against him. He also dropped a line saying Diddy almost got a domestic charge when he smacked Drake, which could either be saying that Drake is like a woman, or saying he was Drake’s boyfriend/sugar daddy.
( If you made it to the end comment with the number 8)
I thought it was interesting how the beef just kind of disappeared and even Meek said it didn’t seem genuine. Considering the allegations against Meek in the Diddy trial, and his rumored affair with Kim contributing to ending Kanye’s marriage, Meek Mill definitely did some dirt on him.

“Niggas frauds I told the truth, don't ask me shit
All this industry fake enemy and rap shit”

“Money make a sucker that told look trill again”

One of the many chapters in Drake's history in which he is seen paying his way out of trouble and starting beefs randomly.
“Now when that shit went down with Chris, you wrote a check”
This line is referring to Chris brown beef, another beef that was lost to time. All I can remember off the top was someone throwing a champagne bottle at the other’s entourage.

Ty Dolla $ign- Huge feature artist, close with Ye. Grew up in the industry and talks about growing up on the road and being in the studio with his dad and Rick James who was should have already been in prison for life for dragging, torturing, and S assaulting multiple women and children throughout his career and was himself a victim of the industry. May be part of Ye's motivation, considering their recent close working relationship.
The end.
Courtesy of,
The Randomest Moniker