Girls girls girls lyrics

Too much of the girls, girls, girls Will break your heart I say Find a woman and call her your baby Treat her kindly as a lady Give her all the respect you can find Then soon as the year roll by You'll have a little girl or a boy And that's the way Jah natural life Too much of the girls, girls, girls Will take your love away About Girls, Girls, Girls 'Girls, Girls, Girls' is a single by American heavy metal band Mötley Crüe. It is the first single from the album of the same name, and was released on May 11, 1987. Girls, Girls, Girls Lyrics: Friday night and I need a fight / My motorcycle and a switchblade knife / Handful of grease in my hair feels right / But what I need to make me tight are those / Girls ... Lyrics to Girls, Girls by Jay-Z from the Bravo Black Hits, Vol. 7 album - including song video, artist biography, translations and more! (Girls girls girls they love me) Don’t know whether it’s love or not So many temptations everyday This girl. That girl. All day long Oh better make up my mind on just one That’s what I wanna do but they simply won’t let go (hey) (Girls girls girls they love me) What’s with my body (Girls girls girls they love me) From birth until forever Girls, girls, girls At the Dollhouse in Ft. Lauderdale Girls, girls, girls Rocking in Atlanta at Tattletails Girls, girls, girls Raising Hell at the 7th Veil. Have you read the news In the Soho Tribune Ya know she did me Well then she broke my heart. I'm such a good good boy I just need a new toy I tell you what, girl Dance for me I'll keep you ...

The WALLS come down.

2012.12.28 04:40 tree4 The WALLS come down.

Discussion about Kings of Leon, the band. They originated in Oklahoma and formed in Nashville, TN in 1999. KOL consists of three brothers (Caleb, Jared, Nathan and a cousin (Matt) who named themselves after their grandfather, Leon from Talihina, OK. The Kings have released a total of seven albums. Welcome to /kings_of_leon
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2017.02.03 01:05 mikerichh Pop Rock

High pitched voices, lyrics directed at exes and catchy choruses welcome!
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2016.10.14 16:49 Foodyfactory Get latest halloween costume ideas Wallpapers images halloween wishes 2018

Halloween costumes,spirit halloween,halloween costume ideas,halloween 2018,halloween store,halloween city,halloween express,party city halloween,halloween horror nights,halloween decorations,party city halloween costumes,happy halloween,halloween horror nights 2018,easy halloween costumes,halloween movies,diy halloween costumes,when is halloween,halloween costume,sexy halloween costumes,halloween costumes for women,baby halloween costumes
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2020.07.10 22:55 Hot_Introduction_100 21M Anywhere/Europe - Avid gamer, movie lover, "philosophist", introvert, car enthusiast, BMTH fan, really open minded, positive vibes, dreamer, ambitious, nerdy, 3D artist, lonely, single looking for a best friend to talk to daily! Wall of text!

VERY long post I'd be really happy if you'd read it all! Mainly looking for girls but guys are welcomed too!
Hello there!
Alt or alt-ish girls and those who can reply to my greeting (it's a Star Wars reference) to my greeting instantly jump to the top of the line! If you are both I'll delete my post and talk to only you until the end of my life. Who am I kidding, there won't be any line, I'll be happy if even a single person read it all the way to the bottom.
Okay, let's get serious I'm not a funny guy anyway, I mean I love (dank) memes and every kind of humour (the darker the better) but I can't make good jokes even if my life would be depending on it.

Who am I and who am I looking for?

Me:
You:
I admit that I never had a girlfriend though this doesn't mean that I'm a horny virgin, I won't ask for your nudes and won't send you dick pics I swear! I mean we can talk about sex/sexuality or anything if you'd like, I'm open to most kinks, however getting off is not the point of this post and we are not going to talk about anything you don't want to.
I'm not specifically looking for a girlfriend but if we both feel something I'm open to anything. It doesn't matter if you live far away I've always wanted to move abroad anyway. Before anyone misunderstand me I don't want to use you or just marry you or something to get a visa lol However sadly I have a flaw, physical attraction is really important to me so keep that in mind. I don't have much preferences really, I don't care how big your boobs are just don't be chubby and have a cute face that's it. In general I like cute girls more. Of course if you are just looking for a friend it doesn't matter how you look like!
Hopefully I didn't sound like a complete asshole so let's continue.

My hobbies

Gaming:
I play on PC only, however I might buy a PS5 when it comes out. I play all kinds of games except a few. I'm not going to list popular story games since I like them all (AC, Witcher, Fallout, Metro, etc. I love every game with a good story) so some other games I like: Forza Horizon 4, F1 (I haven't bought the new one yet though), Assetto Corsa, Escape from Tarkov, Hearts of Iron 4, War Thunder, Fortnite (I'm utterly shit in fortnite I only like completing the BP and the ongoing story), SW Battlefront 2 and Minecraft just to name a few but I'm happy to play a lot of games! I also love mmorpgs, actually I'd like to start SWTOR sometime.
Games I don't want to play: any moba (so no LoL or Dota 2), csgo, Valorant (I've tried it it's nothing special imo), any CoD (just not my style), GTA V (let that game just die already), Overwatch and no offense really but please don't call yourself a gamer if you only play Animal Crossing. Absolutely no problems with Animal Crossing just please play something else too :)
I don't hate all competitive FPS though, R6 is pretty nice. Battle royale is getting kind of tedious though so I don't really want to start Apex or Warfare.
Please have a decent PC that can run most of the games! It's really sad when we can't play something because your PC can't handle it :(
It would be great if you'd like games as much as I do! E3 is one of the best thing in every year and I just love talking about games, their story, theories, etc.
Movies/TV shows
I love movies and TV show just as much as games! I love deep movies with a lot of meaning/things to think about! Two types I don't like is horror and idiot comedies. I mean I don't hate all horror movies, I love zombies, Alien and films like these but It, Annabelle and Saw is just not my cup of tea. I hate idiotic comedies they make nowadays (like Bad Moms, Dirty Grandpa). Comedies I like is Mr.Bean, Kingsman, Yes man, Knifes Out (it's not a full on comedy but I loved it), Johnny English and films like these.
My favourite ones: Star Wars, Interstellar, Blade Runner, Inception, The Shawshank Redemption, The Good, the Bad and the Ugly, Forrest Gump, Guardians of the Galaxy (probably the only Marvel film I like), Matrix, John Wick, Back to the Future, The Silence of the Lambs (love Anthony Hopkins) just to name a few but there are so many more I could write another post as long as this just with movies!
I also love animated and Disney movies though! Inside Out, Zootropolis or Ralph (both ones but 1 was better) was perfect films!
TV Shows I watch: Westworld and The 100. That's it. Planning to start The Mandalorian and Witcher though. Maybe even Star Wars: The Clone Wars
Philosophy
I just like reading quotes from great philosophers or think about deeper things about life, aliens, etc. So we can talk about anything really, nothing is too deep for me! Maybe we'll even make some theories!
Cars
I love driving, their sound, their looks, everything. I have a soft spot for 90s Japanase cars, if I could ever buy Skyline R34 GT-R or a MK4 Supra I'd just die from a heartattack. I'm not even joking lol The only electronic car I like is Tesla, those things are accelerating like spaceships.
Music
I like a lot of genres, from jazz to metal to celtic music. There are some I can't stand though like mumble rap, mainstream pop music (it's not that I hate them, they are just boring) or really brutal deathmetal where you can't even understand the lyrics.
My absolute favorite brand is probably Bring me the Horizon (I'm pretty much listening to Parasite Eve all day). I won't list all artists here because there are A LOT. Seriously from Louis Armstrong, to AC/DC and Guns n' Roses, to 50 cent, to Russian hardbass, to Grimes and Eskimo Callboy. Include, you can't trust freedom, when it's not in your hands, if you've read this far!
We could share Spotify playlists! I'm too lazy to make playlists for myself though but I'd do one for you haha
Sports
Uhm not much to say here I don't do any sports. Honestly never liked them. I want to start working out sometime so I'm not some lazy fat bastard haha I like Formula 1 though but honestly I like playing it on PC more than watching. That Alpha Tauri livery is fucking perfect though.
Space
Anything about space and aliens. It's one of my biggest dreams to travel to an another planet.
History
I also love History if someone wants to talk about it. Especially the wars and politics, diplomacy and famous people but we can talk about the everyday life of the common man back then too!
Arts
I'm interested in all kind of arts!
And a lot more!

My personality

So I'm easy going and positive in general but also an introvert and kind of shy. Me being shy doesn't mean that I'll reply with one word and it also doesn't mean that I'm submissive. I always write long replies and I'd be happy if you'd do the same! The conversation won't go anywhere if someone just always says "Lol, That's nice, Okay" etc. I'm available to chat all day so you can message me anytime!
I'm going to be a 3D Artist, preferably at a game developer studio. I'm a beginner though so don't expect some masterpieces lol I'm working on my portfolio or doing tutorials nowadays.
I live with my family, dad and mom, no brothers or sisters, and my cat! I love my cat, you can get as many pictures of him as you'd like!
Speaking of pictures I'm not really comfortable sending pictures about my face for some time so keep that in mind. In return I don't ask for your selfie either. I also prefer text chat over voice chatting in games and just in general!
I can procrastinate a lot and I'm sometimes lazy and unmotivated but I'm trying to work on that. I never complain to my friends though, I try to be positive and optimist!
Apparently I'm a INFP-T personality however it's not completly true when I read the description. Probably I'm a mix of a few personalities.
Anyway I can talk about myself more in private if you are interested.
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Sorry for the long post but I hope you read it all the way down here and find something we have in common! Feel free to hit me up anytime! Reddit chat doesn't really want to work so use DMs.
No TLDR, seriously just read it. Read one sentence a day or something.
Please don't message me with one sentence like "Hi, how are you?", write something longer, introduce yourself (you don't have to write a message as long as me of course haha) and you know things like these.
If you get NSFW warning it's because I posted a few times on Dirtypenpals.
Thanks for your time and hoping to hear from ya!
submitted by Hot_Introduction_100 to Needafriend [link] [comments]


2020.07.10 22:45 eric0510 JUICE WRLD - LEGENDS NEVER DIE (ALBUM REVIEW)

JUICE WRLD - LEGENDS NEVER DIE (ALBUM REVIEW)
Welcome back to another edition of Mr. D Likes Rap. Back in 2018, I was sitting in my old basement suite talking about Juice WRLD’s project Death Race for Love. That was an album that hit me like a bag of bricks, because I did not honestly expect Juice to throw so many hits at me.. The first half of that album is just hit after hit after hit. I still belt out Empty and Maze while I'm driving around!
Unfortunately late last year, the world lost Juice WRLD. A young up and comer figure in the hip hop community, everyone loved this guy. And this weekend, we get a posthumous release, “Legends Never Die”. Obviously the big fear with albums after an artist has passed away is what kind of treatment will the verses found in the vault get. Will be blessed with Circles, or cursed with whatever was put out under XXXTentacion’s name. I think it’s safe to say, we got a project that both showcases Juice’s talent and honors his legacy, let’s talk about it.
ANXIETY (INTRO)
This album has a lot of really profound and meaningful interludes, and I think this opener is the best one. Focuses on Juice’s passion for religion and his own self-confidence, reminding listeners that everyone can accomplish anything they set their minds to. Solid start.
CONVERSATIONS
My god this thing starts with a bang with these like bright synthy techno beats, and the whole song revolves around conversations with your demons, which could be addiction or anxiety. Verse 1 focuses on relying on pills and meds, but there’s a hint of the fear and issues that comes along with it. “Has not a care in the world, no, I’m lying” and then in verse 2, Juice moves away from the drug focus and hits those really intense verses about that panic and fear that comes with mental illness.
I'm waiting, waiting, waiting, sittin' up
Waiting, waiting, waiting, contemplating
My heart racing
Feels like I'ma die every second of the day
So I gotta get high
Ain't no coming down, ain't no coming down, why?
TITANIC
This already feels like a song I’m going to know all the words to in about a week. I like the metaphor of the titanic in a song like this. Certain feelings that come from drugs and mental illness can come with a sinking feeling. I love these lines here:
Just got a new house, gotta hide the skeletons in the closet
And keep 'em there, really tryna forget about 'em
They tell me God watchin' over me, I don't doubt it
But I can see 'em gettin' tired of me, sinnin' and wildin'
The idea of moving on but still acknowledging the demons and issues you’ve had in the past, and that message of believing in a higher power like God, but Juice is showing concern that God’s not going to be super impressed with how he’s acted during his time on Earth. There’s a lot of lines about prayer and redemption that I like in this song as well.
BAD ENERGY
Not a bad track. I’m not a big fan of the slow pace but there’s a verse on this one that I’ll really love, check it out:
Stab wounds in my chest, but I'm alright
I miss my friends, I hate this spotlight
I love my girl, I hate the thot life
Yellow diamonds, shiny pearls
I'm tryna give her the world
I'm tryna show her the world
She ain't no ordinary girl
I know she know, I know she know I'm down and out
Life is a ocean, demons I've been drownin' out
I watch the crowd and crack a smile
I have a job to lead them out
There’s a type of love and affection that Juice had for his partner Ally Lotti, and if you saw the video for Righteous, it was crazy clear how much he loved that girl. These lines really emphasize those feelings, stressing that she knew about his issues and addictions, but it didn’t matter, she was there for him. And that line I watch the crowd and crack a smile, uhh hits me in the feels for sure.
RIGHTEOUS
This was the first official single from Juice following his death. This one hits all the same notes that he’s been hitting on this project and in his career. Sipping codeine, planet-sized anxieties, that sort of thing. I will say that there’s this recurring imagery so far of a devil inside his head. AS someone who looks for themes and ideas that pop up often, I like that Juice is relying on this symbolism throughout the project. Next track.
BLOOD ON MY JEANS
Probably the first song that really isn’t for me. There’s some cockiness and arrogant bars that I can sort of appreciate the beat doesn’t really match the tone. Like it’s a fairly violent track played over these sappy guitar strings. Last point as well, there’s a few bars where we get him trying to rhyme up father, number, older and over, doesn’t really land for me. This one’s a miss.
TELL ME U LUV ME
I really tried to like this song, but it’s just not for me. I’ve scraped about as much enjoyment out of Trippie Redd for this lifetime, so his repetitive chorus doesn’t really add much to this track. And honestly, we’re getting some of that really garbage content that ties to the title of the song.
Yes, I got you on my brain, duh (Duh)
Um, you can't hide, you can't run (You can't run)
Um, we're forever in love (In love)
Um, if you leave there'd be torment, torment, torment, torment
Don't run from me
You can't have it any other way
It's me or no one
I’ve definitely seen bars like this from both Juice and Trippie, but I think it’s a dangerous slippery slope message. Threatening a partner, the “you can’t hide you can’t run”, this is a song that misses because I just can’t get behind the ideas that Juice is tossing out here. There’s other lines about reminding his partner that she needs to be fine with the drug addiction stuff too. Not a fan.
HATE THE OTHER SIDE ft POLO G & THE KID LAROI
This right here, is a god damn hit. I remember listening to this the first time, and just loving it. So friggin good. We get two artists from Chicago and the young rapper Kid Laroi who was beginning to follow in the footsteps of Juice WRLD. I’m going to go on a limb and say this is by far my favorite track on the project. This song focuses on how young people growing up in certain areas learn to hate certain people, to be a part of certain sides. There’s a lot of discussion on the trauma that can come from living in poverty, relying on the drug trade for income and being surrounded by violence in your formative years. Here’s Polo G’s bars
I was runnin' from the police in my trap shoes
Posted, tryna flip a hundred, I couldn't buy food
Come from nothin', but I blossomed to a tycoon
Betrayal scars, can't stop thinkin' 'bout them stab wounds
We might not catch him today but he gon' die soon
And then Kid Laroi’s:
Saw my uncle in the grave, that brought tears to my eyes
But I ain't gon lie, I done been through this shit too many times
My heart's still tryna recover from pain all my life
I really been to hell and back a couple hundred times
Couple hundred times, read between the lines
I'm still tryin', I'm still tryin' to get by (Get by)
I still got memories that lay deep inside
Outstanding song.
GET THROUGH IT (INTERLUDE)
A solid message from the man myth and legend, reminding listeners they have the strength to get through whatever they’re going through.
LIFE’S A MESS ft Halsey
You know the first time I heard this track I wasn’t that into it, but with the lyrics in front of me, my god, that’s some chill-inducing music right here. There’s this slight quietness and reservation in the way Juice is throwing out his verse on this one. Like he’s so floored by the emotions he can’t speak clearly and with confidence. And despite a title like Life’s a Mess, there’s this focus on destiny and fate and being thankful that you stumbled upon the person you want to spend the rest of your life with. Halsey is definitely a great boost on this song, when she starts singing the chorus alongside Juice, oh boy, that’s what gets the hairs on your neck standing up.
COME & GO
Keep the hits flowing Juice, this is sooooooo good. The slow burn of an intro, almost like the beat is in the background, and then just erupts with these crisp guitar riffs. This isn’t your standard love song, it’s got a real bite and punch to it. I am a huge fan of the second verse here:
We take drugs, then you hold me close
Then I tell you how you make me whole
Sometimes, I feel you like bein' alone
Then you tell me that I shoulda stayed in the room
Guess I got it all wrong all along, my fault
My mistakes probably wipe all the rights I've done
Sayin' goodbye to bygones, those are bygones
Head up, baby, stay strong, we gon' live long
It’s just an intimate look at the conversations that so many people have with their partners, saying one thing, when you mean another, admitting you were wrong, hoping that all the good things you do don’t get outweighed by your mistakes. And that last line… tough stuff right there.
I WANT IT
Here we have the classic I have sex song. We get lyrics about doing the deed in the back of a wraith, a private jet, and without using protection. I’m not crazy about the don’t run from me, I want it, but I’m being picky.
FIGHTING DEMONS
Here we get a bit of a new theme on this project, the idea of fame and money not bringing happiness. With what we know about Juice’s feelings towards anxiety and depression, it’s clear that no matter how much money he had in his bank account or how much glitz and glam he’s got, sometimes you’re still going to be unhappy. And again we get those demons and devils coming back into play. I almost see them as like a side character on the journey of this album. Song about drugs, there’s demons, song about love, there’s demons, song about fame, demons. To be on track 12 and we keep seeing these images coming up, is a testament to the level of consistency and thematic elements on this project as a whole.
WISHING WELL
Probably my second favorite track on the whole album. The hook is just so smooth and catchy:
I can't breathe, I'm waiting for the exhale
Toss my pain with my wishes in a wishing well
Still no luck, but oh, well
I still try even though I know I'm gon' fail
Stress on my shoulders like a anvil
Perky got me itching like a anthill
Drugs killing me softly, Lauryn Hill
Sometimes I don't know how to feel
The rhyme scheme just weaves its way through the whole course, that idea of struggling to even find words to sum up your emotions, and that message of trying despite failing so many times before. This one just hits you right in the gut. In the second verse, the lines, “If it wasn't for the pills, I wouldn't be here / But if I keep taking these pills, I won't be here, yeah.” That double edged sword of realizing that drugs are the only thing keeping you alive, but also killing you at the same time. Like, this is language I didn’t see on DRFL, and it’s just painful to listen to now considering the circumstances. One more line from this track that hits the same note,
This is the part where I tell you I'm fine, but I'm lying
I just don't want you to worry
This is the part where I take all my feelings and hide 'em
'Cause I don't want nobody to hurt me
Another double edge sword for addiction, Juice can’t tell people how he really feels because he doesn’t want to be a burden, and also realizing he has to hide his emotions because people could lash out against him for struggling with these problems. Just a fantastic track overall, this one will be on repeat for a while.
SCREW JUICE
This one’s a nice slow jam, we got Juice taking ownership for his mistakes and flaws, but at the same time highlighting how he’s dealing with some heavy stuff as well. The bar “made it this far,” definitely hits a bit harder now, but the message is still clear. He’s saying he’s been through hell and back and pulled himself up, you can too.
There’s some awesome imagery in the second verse that I want to highlight as well:
Cupid did a drive-by, shot me from the sunroof
Hit a n\*** ten times, Gucci shirt, I bled through*
Stains, stains, stains, stains, blood in the rain
Shame, shame, shame, shame
He used my chest as a firin' range
Um, fire away (Fire away)
He pairs up the classic violent drive-by scene with cupid firing arrows. Like this is some clever figurative language that often gets overlooked in this genre. A verse like this, you can actually picture a baby cupid figure with an assault weapon just firing at Juice, just emphasizing the overwhelming feelings that he feels for his significant other. Another great track here.
UP UP AND AWAY
A bit more of an upbeat tone on this, but we still get those “stuck in your head” bars that creep up all throughout the album. There’s something about these very positive instrumentals underneath these painful lines about being depressed, crying in your car, having anxious thoughts. The main message I can gather from this track is despite these negative thoughts, Juice is highlighting a very positive memory, most likely with his partner, and reminding himself of the happy thoughts he had in that moment. Again, these are some amazing lines that aren’t necessarily glorifying his mental health issues, but focusing on how Juice coped with the constant pain that he feels. Stellar song.
THE MAN, THE MYTH, THE LEGEND (INTERLUDE)
Another awesome interlude mixed into this tracklist. We get Eminem and Lil Dicky talking about the legacy that Juice Wrld leaves behind and his lyrical prowess during freestyles. If you haven’t seen them, they are definitely worth checking out. Juice had a masterful way of pulling bars and rhymes out of his head over beats for hours on end.
STAY HIGH
The only thing I want to highlight of this song are the absolute bars in verse 1. Take a listen:
Run up on me, get hit up
Ambulance, need to pick him up, uh
Six shots to the head like, woah
Run through the six, no woes
Throw money, throw hands, throw bowls
Up, down, left, right, A, B, cheat codes
Pull up, my gun sing like Glee show
Rick Owen on my coat, no superhero
VVS my wrist like Sub Zero
Play a bitch like guitar, no hero
Run the money up, stack it like Legos
Bad bitch wanna fuck, I say let's go, uh
Bravo Juice, love it.
CAN’T DIE
When it comes to tracks that take a new meaning because of the circumstances of Juice passing, this one takes the goddamn cake. The opening lines, “Sometimes it feels like I can't die, 'cause I never was alive / Every day it feels like someone new dies, hope the news is a lie.” Like that is some salt in the wound for the fans. I can’t die because I never was alive, that hits you in the soul. Not just this line, we get:
Cross my heart, hope to survive
That I'ma be the last rich n\*** alive*
They tell me that I'm finna OD in no time
I told 'em I'll do it on my time, not your time
Got my heart in a hellhole, it's on fire
But I won't let myself get trapped in here this time, time
Time will stop (Time stops), time will stop (Time, time stops)
Ughhhhhh. How can you do this to us Juice?? We get a track that predicts how he actually dies, on a song where he’s venting about all the losses that the hip-hop community faces on a regular basis. There’s a certain level of pain that listeners will get out of this song compared to the rest of the tracklist. A guy like him screaming for help, but at the same time, knowing where he’s heading. It hurts. It really does.
MAN OF THE YEAR
After that last track, we really needed this one. Just a pro-Juice anthem, there’s braggadocious bars, highlighting how his lyrics have helped listeners, and a focus on the positives and negatives of life. This is a fantastic closing track, it’s not a deep emotional cut, it’s a reminder that this guy has fun making the music he did. Here are some final words to wrap this up:
My ups and downs
I'll jot them down
In London town
Cheers to the golden years
Let's raise our hands, let's sing and dance
I know my lyrics saved you, I know my lyrics saved you
Let's raise our hands and sing and dance
I know my lyrics saved you, I know I helped you break through
An excellent closer to end on a higher and more positive note.
JUICE WRLD SPEAKS FROM HEAVEN (OUTRO)
So weird to hear Juice’s voice throw out lines about speaking from heaven. It’s a good closer because we get that support he always has for his fans and, throughout this whole project, we had those very predictive and prescient lines about death, to the point where we now have Juice sending his thoughts, “from heaven.” Wild stuff.
FINAL THOUGHTS
If you know anything about how much music Juice has in his arsenal, this is not the end. But, I want to close this review by highlighting how glad I am that I gave this kid a shot. I’m almost 30 years old, but this guy makes music that makes me belt out his lines in my car. There’s a passion, intensity and emotional vulnerability that hits so hard and makes his work so unique. If we can keep getting projects like this, I hope for more from the estate of Juice WRLD, but nothing will replace the evolution the entire hip-hop community wishes we could get out of this talented human being.
RIP JUICE
submitted by eric0510 to hiphopheads [link] [comments]


2020.07.10 22:39 Hot_Introduction_100 21 [M4F] Anywhere/Europe - Avid gamer, movie lover, "philosophist", introvert, car enthusiast, BMTH fan, really open minded, positive vibes, dreamer, ambitious, nerdy, 3D artist, lonely, single looking for a best friend (open to more!) to talk to daily! Wall of text!

VERY long post I'd be really happy if you'd read it all!
Hello there!
Alt or alt-ish girls and those who can reply to my greeting (it's a Star Wars reference) to my greeting instantly jump to the top of the line! If you are both I'll delete my post and talk to only you until the end of my life. Who am I kidding, there won't be any line, I'll be happy if even a single person read it all the way to the bottom.
Okay, let's get serious I'm not a funny guy anyway, I mean I love (dank) memes and every kind of humour (the darker the better) but I can't make good jokes even if my life would be depending on it.

Who am I and who am I looking for?

Me:
You:
I admit that I never had a girlfriend though this doesn't mean that I'm a horny virgin, I won't ask for your nudes and won't send you dick pics I swear! I mean we can talk about sex/sexuality or anything if you'd like, I'm open to most kinks, however getting off is not the point of this post and we are not going to talk about anything you don't want to.
I'm not specifically looking for a girlfriend but if we both feel something I'm open to anything. It doesn't matter if you live far away I've always wanted to move abroad anyway. Before anyone misunderstand me I don't want to use you or just marry you or something to get a visa lol However sadly I have a flaw, physical attraction is really important to me so keep that in mind. I don't have much preferences really, I don't care how big your boobs are just don't be chubby and have a cute face that's it. In general I like cute girls more. Of course if you are just looking for a friend it doesn't matter how you look like!
Hopefully I didn't sound like a complete asshole so let's continue.

My hobbies

Gaming:
I play on PC only, however I might buy a PS5 when it comes out. I play all kinds of games except a few. I'm not going to list popular story games since I like them all (AC, Witcher, Fallout, Metro, etc. I love every game with a good story) so some other games I like: Forza Horizon 4, F1 (I haven't bought the new one yet though), Assetto Corsa, Escape from Tarkov, Hearts of Iron 4, War Thunder, Fortnite (I'm utterly shit in fortnite I only like completing the BP and the ongoing story), SW Battlefront 2 and Minecraft just to name a few but I'm happy to play a lot of games! I also love mmorpgs, actually I'd like to start SWTOR sometime.
Games I don't want to play: any moba (so no LoL or Dota 2), csgo, Valorant (I've tried it it's nothing special imo), any CoD (just not my style), GTA V (let that game just die already), Overwatch and no offense really but please don't call yourself a gamer if you only play Animal Crossing. Absolutely no problems with Animal Crossing just please play something else too :)
I don't hate all competitive FPS though, R6 is pretty nice. Battle royale is getting kind of tedious though so I don't really want to start Apex or Warfare.
Please have a decent PC that can run most of the games! It's really sad when we can't play something because your PC can't handle it :(
It would be great if you'd like games as much as I do! E3 is one of the best thing in every year and I just love talking about games, their story, theories, etc.
Movies/TV shows
I love movies and TV show just as much as games! I love deep movies with a lot of meaning/things to think about! Two types I don't like is horror and idiot comedies. I mean I don't hate all horror movies, I love zombies, Alien and films like these but It, Annabelle and Saw is just not my cup of tea. I hate idiotic comedies they make nowadays (like Bad Moms, Dirty Grandpa). Comedies I like is Mr.Bean, Kingsman, Yes man, Knifes Out (it's not a full on comedy but I loved it), Johnny English and films like these.
My favourite ones: Star Wars, Interstellar, Blade Runner, Inception, The Shawshank Redemption, The Good, the Bad and the Ugly, Forrest Gump, Guardians of the Galaxy (probably the only Marvel film I like), Matrix, John Wick, Back to the Future, The Silence of the Lambs (love Anthony Hopkins) just to name a few but there are so many more I could write another post as long as this just with movies!
I also love animated and Disney movies though! Inside Out, Zootropolis or Ralph (both ones but 1 was better) was perfect films!
TV Shows I watch: Westworld and The 100. That's it. Planning to start The Mandalorian and Witcher though. Maybe even Star Wars: The Clone Wars
Philosophy
I just like reading quotes from great philosophers or think about deeper things about life, aliens, etc. So we can talk about anything really, nothing is too deep for me! Maybe we'll even make some theories!
Cars
I love driving, their sound, their looks, everything. I have a soft spot for 90s Japanase cars, if I could ever buy Skyline R34 GT-R or a MK4 Supra I'd just die from a heartattack. I'm not even joking lol The only electronic car I like is Tesla, those things are accelerating like spaceships.
Music
I like a lot of genres, from jazz to metal to celtic music. There are some I can't stand though like mumble rap, mainstream pop music (it's not that I hate them, they are just boring) or really brutal deathmetal where you can't even understand the lyrics.
My absolute favorite brand is probably Bring me the Horizon (I'm pretty much listening to Parasite Eve all day). I won't list all artists here because there are A LOT. Seriously from Louis Armstrong, to AC/DC and Guns n' Roses, to 50 cent, to Russian hardbass, to Grimes and Eskimo Callboy. Include, you can't trust freedom, when it's not in your hands, if you've read this far!
We could share Spotify playlists! I'm too lazy to make playlists for myself though but I'd do one for you haha
Sports
Uhm not much to say here I don't do any sports. Honestly never liked them. I want to start working out sometime so I'm not some lazy fat bastard haha I like Formula 1 though but honestly I like playing it on PC more than watching. That Alpha Tauri livery is fucking perfect though.
Space
Anything about space and aliens. It's one of my biggest dreams to travel to an another planet.
History
I also love History if someone wants to talk about it. Especially the wars and politics, diplomacy and famous people but we can talk about the everyday life of the common man back then too!
Arts
I'm interested in all kind of arts!
And a lot more!

My personality

So I'm easy going and positive in general but also an introvert and kind of shy. Me being shy doesn't mean that I'll reply with one word and it also doesn't mean that I'm submissive. I always write long replies and I'd be happy if you'd do the same! The conversation won't go anywhere if someone just always says "Lol, That's nice, Okay" etc. I'm available to chat all day so you can message me anytime!
I'm going to be a 3D Artist, preferably at a game developer studio. I'm a beginner though so don't expect some masterpieces lol I'm working on my portfolio or doing tutorials nowadays.
I live with my family, dad and mom, no brothers or sisters, and my cat! I love my cat, you can get as many pictures of him as you'd like!
Speaking of pictures I'm not really comfortable sending pictures about my face for some time so keep that in mind. In return I don't ask for your selfie either. I also prefer text chat over voice chatting in games and just in general!
I can procrastinate a lot and I'm sometimes lazy and unmotivated but I'm trying to work on that. I never complain to my friends though, I try to be positive and optimist!
Apparently I'm a INFP-T personality however it's not completly true when I read the description. Probably I'm a mix of a few personalities.
Anyway I can talk about myself more in private if you are interested.
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Sorry for the long post but I hope you read it all the way down here and find something we have in common! Feel free to hit me up anytime! Reddit chat doesn't really want to work so use DMs.
No TLDR, seriously just read it. Read one sentence a day or something.
Please don't message me with one sentence like "Hi, how are you?", write something longer, introduce yourself (you don't have to write a message as long as me of course haha) and you know things like these.
If you get NSFW warning it's because I posted a few times on Dirtypenpals.
Thanks for your time and hoping to hear from ya!
submitted by Hot_Introduction_100 to r4r [link] [comments]


2020.07.10 22:31 drumjedi76 Ever Rain [1-5]

CHAPTER 1
Kellerika Virtanen wasn’t a star that any astronomer would recall. No constellation requested her presence. The young lady’s warmth hadn’t accounted for a solitary spark in the nighttime skies. The darkness was where she did her best work.
Kell orbited the chair that held the young boy. Flames from her choir of blue and white candles sang their silent hymn around the bedroom. At twenty-two, the demon hunter had seen more shit than most could ever conjure in their worst nightmares.
“I know you take a name.” She stopped before the kid’s limp head. “Give it to me.”
A low gurgle emanated from deep within Toby’s ten-year-old gut.
Kellerika leaned in closer, her chestnut bangs fell around her face. Toby reeked of vomit, some of it dried to his grayed lips. His forehead glistened. Deep circles around his eyes. The burns on his cheek and across the left eye. They told the tale of the last twenty-three hours that his voice could not.
“Which of the Nine sent you?” Her Finnish lineage ornamented her words. Another deep gurgle, then a belch. The boy’s mouth erupted in a fountain of gore.
Toby’s mom shrieked and reached out for her youngest child.
“Don’t!” Kellerika backpedaled into Toby’s dresser. Some of the blood got her jeans and the side of her Maiden tee. She flipped to a page in her little blue book. Memories of her mentor’s teachings raced through her imagination as she turned to the proper incantation. Stay in control. Don’t give them an entry point. “In the name of the Supreme Creator of all things in the universe, I banish you back to the plane from whence you came.”
An unnatural chuckle. “Fuck you, cleric.” Toby’s voice wasn’t his own.
Kellerika inched forward. “I sever all tethers and ties to this child, and banish you back from whence you came!”
Another fit of maniacal laughter. “Sticks and stones, child.” The boy raised his head. His menacing gaze locked with her hazel one. “Do you even believe what you spout from that cocksucker of yours?”
She turned to the boy’s mother. The woman’s mask of astonishment said it all. Kell confronted her adversary once more. “Your name, demon.” She bent in eye to eye. “Give it to me.” Her words hissed through gritted teeth.
The creature growled. Toby’s collection of cross-country trophies rattled on the desk against the far wall. The floor quaked underfoot.
Kellerika stood her ground. “In the name of our Supreme Creator, I command you to say your name.”
A long fracture spread across the ceiling, showering the boy in white powder. Rumblings intensified. The room’s walls hummed like the driver in a subwoofer.
Kell’s voice rose over the cacophony. “Your name!”
Toby’s head flung back, snapping the top rungs of his chair. A cascade of cracks and pops radiated down his maturing spine. His mother regressed to reciting prayers in a huddled mass against the doorway.
Kellerika marched to the boy’s deformed head and whispered into his ear. “Either you give me your name,” her eyes crept up to his strained face, “or I make your master give it to me.”
The child’s features stretched beyond their natural limits like a piece of plastic wrap. One kneecap cracked and inverted followed by the other.
Kellerika moved to his other ear and continued. “What would your master do to you after I’ve had a chat with them, I wonder?”
An enraged howl. Pillars of fire shot from every candle around the room. She never saw them coming. The trophy collection pelted Kell in her face and torso, sending her to her knees.
“Toby?” The boy’s mother again. “Is he still alive?” Her gaze chased a glowing sphere into the bedroom wall.
Kell held up an arm. “Stay clear.” She wiped some blood from her nose and pushed herself to her feet. “Right now, it’s not your son.” Her gaze searched the air near the ceiling. “Toby?” Kell moved to a far corner near his closet. “Can you hear me? I know you’re still in this room somewhere.”
The rumbling and chaos subsided. Mommy? His voice was faint but there.
His mom sprung up from her praying.
“Toby?” She looked around the ceiling for her baby’s disembodied voice. “Honey?”
Where are you?
Kellerika trailed his words along the window overlooking their slice of suburban Virginia. “Toby. Listen to me. Follow my voice.”
Something bulged along the upper portion of the wall near a dark corner. For a fleeting moment, it resembled a running person.
His mom again. “Stay with us, baby.”
Something’s after me.
“Do not confront it!” Kellerika stepped up on his bed, tracking the bulge across the neighboring wall. She took cautious steps off the mattress next to his nightstand. A growing hum followed by a loud snap. Glass shrapnel and metal wire pierced her face and neck as the Nationals baseball lamp blew apart. Kell whimpered and dropped to the floor next to the boy covering her eyes.
Light footsteps bounced around in heavy air. Leave me alone!
His mother shuffled toward the other wall. “Don’t you dare touch---”
As Kellerika spun around, the woman sailed into the dresser with a dull thud. She blotted her right brow with the butt of her palm. It came back with a red smear. Fuck. She crawled to the motionless mass on the floor. “Ms. Allikson?” She inched closer and set a finger under the woman’s nostrils. Pulses of warm air. Kell rolled onto her haunches and got to her feet.
Momma!
Somewhere in the ethereal depths of the room, the demon roared. Claws ripped and shredded.
Kellerika staggered to the chair and took it in both hands. “In the name of the Creator of all things,” she summoned all the resolve she had left, “I banish you, demon!” She shook the chair. “I cut all tethers and ties to this body, the family, and property of the same!”
The boy’s head righted itself, returning to its natural shape. One kneecap corrected itself with a pop, and then the other. Toby rolled his head around on his neck cracking it. His nose sniffed the room. “Must be a challenge.” His voice still remained deep, inhuman.
Kell shook her head.
“Having to do such a monumental task while your own body’s shedding.” Again, it sniffed the air. “I can smell your blood, your monthly troubles.” It licked its cracked lips with a foul rotting mass.
“Such a waste of potential souls.”
She shook the chair with more force. “I cast you out, demon!”
“No need.” It sounded content like her dad after a holiday dinner. “I’ve had my fill.”
Her determined eyes searched the boy’s blue ones.
It smirked as it rolled Toby’s eyes into the back of his head. “His soul belongs to us.”
A sizzling sound. Kell bent closer and flinched at the pungent odor of burnt flesh. A nine formed in both eyes, branded by an invisible device.
“We’ll see you soon, bitch.”
Loud, dull cracks. It dislocated Toby’s lower jaw and inhaled. Powerful winds picked up as the boy’s throat turned into a spinning black void. Posters ripped from the walls and disappeared. The paranormal storm tore the curtains from the wall, rods and all, and crushed in his swirling maw.
“Ms. Allikson!” Kellerika shook her. “Tabitha!”
Shards of glass, bedsheets, everything… crushed in the vortex. Kell covered Tabitha’s body and held tight until the storm subsided. She turned her head as the thing’s mouth settled back to normal.
The demon’s head lulled as it let out a satisfying sight. “We’re done here.” With that, Toby’s terrestrial remains collapsed into a boneless pile of flesh and hair on the broken chair.
Chapter 2
Kellerika stared into the sun as it rose over the distant hills. Her exhausted body slumped over the steering column of her Highlander as she made her way back home. Fredrick, Maryland wasn’t a booming metropolis, but that’s what she loved about the quaint little town. Close enough to the bonfire to stay warm without having to deal with the smoke and sparks. She pulled her SUV into the cluster of townhomes off Route 144 and found a spot a short walk from her front door.
She shut off the engine and gave herself a once-over in the rearview. A few minor cuts over her eyes. Some scrapes along her jawline. A deep bruise on her high-set cheekbone. Kell winced. Not only for the damage, but her genetics. She’d been teased since coming here in the eleventh grade for her square chin. The other girls had picked on her relentlessly. As a foreigner, she was an easy target.
“Gonna be hard to explain this away.”
Her best friend in those hard times had been a gangly tall boy named Deke Simmons. They had remained pals long after graduation and even after her eventual drop out from Georgetown’s pre-med program. She told him all of her personal pains. All of them except her sworn oath of secrecy to the Ordo Tenebris, the Order of Darkness.
“When he sees this mess,” she slumped into her bucket seat, “Deke will think I got mugged.”
Kellerika gathered her things and moped to the cluster of mailboxes nestled under a young birch. She fished out her key and retrieved her mail.
“Hmm.”
She flipped through a few junk cards and studied the big padded manila envelope. “You came all the way from France?” Kell lumbered to her front door and unlocked it. “Not good.” She knew of one person in France, and he shouldn’t be sending her anything.
Once inside and bathed in that familiar scent of home, Kellerika tossed her stuff into a chair at her small dinner table and unlaced her sneakers. “Better already.”
She held her tee out from her body and surveyed the damage. “Ugh.”
Several large blood stains. She pulled it over her head as she ambled to the washer-dryer stack in the back corner of her kitchen. Kell spread her favorite shirt out on the washer’s surface. Her eyes welled as she blotted the last remnants of Toby’s existence with a stain stick. She had hung around until the EMS teams arrived and explained everything per the Order’s protocols. How did you console a mother whose son lay in a blob in his room? No chapter in the handbook for that one.
“That should get you clean.”
She unfastened her torn jeans, blotted them with stain remover, and pitched both into the machine. She got her underwear to her knees before her cell went off, forcing her to hike them back up.
“Fan-friggin-tastic.”
She glanced at its vibrating face:
Facetime request. Private number.
“Stazia.”
Her immediate superior in the Ordo Tenebris.
Kell plucked her cell from the coffee table and flopped into her sofa’s fluffy cushions. She propped her feet on the table and swiped right. “Hi, Stazia.”
The bust of her boss filled Kell’s screen. Spiked white hair that stuck out all over her head like a pissed off blowfish. Those eerie red irises and pallid skin. “Hello, Kellerika. Heard about last night.”
Kell’s head dropped onto the back of the cushion. “What about it?”
“We lost the client.” Her boss wasn’t pleased.
Kellerika teased her hair with a hand. She kept it no longer than shoulder length against her mom’s traditional wishes. ‘Grow it out,’ her mom would say. ‘At least to the small of your back. You’d look gorgeous.’ Way too much of a pain in the ass. Kell sat up and combed some brown hairs over her eyes. The frosted strips would have to be retouched. “I know. I used the same ritual I always have.”
Stazia’s emotionless red eyes blinked. “I believe you. We don’t like losing anyone---”
“It wasn’t my fault this time.”
Stazia ignored her interruption. “However, these things happen in our line of work.” Stazia’s chest deflated. “Did it give you a name?”
Kellerika flipped her hair out of her face. “No. I demanded it. Even threatened to imprison his master, but---”
“About that.” Stazia studied her face. “I take it you received our package?”
How does she do that? Kell leaned forward and unfastened her bra. “Got something from France. That it?” She flung the undergarment into the matching recliner.
The motherly Stazia wiggled in discomfort on her end. “That’s the one.” She scratched a smile line around her mouth. “We need to talk.”
Too late. Kell hopped up and strode to the table for the envelope. She sat her cell on an armrest of the couch and tore into it.
“It’s about Roger,” Stazia said from the couch.
Kellerika opened the package and caught the falling blue book.
Stazia went on. “Something happened.” Kell turned the small book over. Her eyes teared up at the sight of the telltale symbol embossed on its leather cover.
“His wayguide.” Tradition, as Roger had taught her, called for the mentor to pass on his or her wayguide to their protégé when
“He’s gone, Kellerika.” Stazia’s hurt eyes lowered. “I know he was like a father to you.” Her red eyes lifted once more. “I’m so sorry.”
Kell let the trash fall to the floor and padded back to the sofa with her memento. She wiped back some tears with a forearm. Weeping in front of anyone was a faux pas in her book.
Stazia pressed on. “He was on assignment at---”
“The McAllister estate.” A sniffle. “I know. He told me he had found one of them.”
Her boss nodded. “His remains were identified by local authorities a few days ago. He left the mailing address in France in his book.”
Kell flipped the front cover open. Sure enough, it was there.
“One of the Nine Kings.” Stazia had a somber tone. “We know one of them is linked to that estate.”
Roger Gordan had recruited Kell in her senior year. Her psychologist was his old friend. Kell’s vivid accounts of demons were too spot on. Roger had honed her natural talents and stood in as a dad where the genetic one failed.
“With his wayguide comes a big promotion.” Stazia blinked back her own tears.
“Wait a sec.” Kell sat up on the edge of her cushion. “You want me to hunt the Nine Kings?” She propped her weary head on an elbow. “I barley survived that job last night in Roanoke. The Nine?”
“I have a vacancy to fill,” Stazia said, “and he hand-picked you for the job.” “I---I don’t know,” Kell said. “My mind’s flying in a hundred directions. I just need some time to think on it.”
“This is the highest rank the Order can bestow on a member.” Her boss took up a dignified posture in her screen.
“I need some time to consider your offer. That’s all.”
Stazia’s guise hardened. “I can give you until midnight tonight your time. After that,” she said, “I’ll have to move on to other candidates.”
Chapter 3
Kell strolled through the Art District of downtown Fredrick. After a long shower and a nap, the hunter felt a thousand times better. She slipped into a café tucked in between an arts center and a holistic shop. The Café Moderne might never live up to the Café Bueno or the Dublin Grinders, but its retro French motif suited her. A blond college boy behind the counter perked up as she made her way through the front door.
“Well, well.” He cleared the counter and slung the dirty towel over a shoulder. “Haven’t seen you in a while.”
“Hey, Evan.” She couldn’t hold back the grin.
Evan leaned into the sales counter as
Kell approached. “Been busy then?” She bobbed her head and gave her hair a playful flip. “Sorry. Yeah, a little.”
His big blue eyes peered into hers. “What’ll ya have?”
Kellerika eyed the board over his head.
“Lemmie guess.” Evan’s pecs flexed under his tee as he shifted his stance. “Café au lait. Easy on the lait. Two shots of vanilla. French, of course.”
Stop grinning like a buffoon. “You guessed it.” Kell fished out her card and waited for the kiosk to prompt for payment.
Evan tapped a few button on his screen and set to work on her order. She held her card over the kiosk until it flashed: Payment accepted!
He poured some milk into a carafe and placed it under the machine. “Work around here? I don’t see you in town very much.”
She spoke up over the coffee machine. “No. I’m a paralegal down in Gaithersburg.” What works on Deke should work on sexy barista boy.
Evan turned a smile toward her. “Ah. That explains it.” He poured the frothy milk into the coffee. “You like doin’ all that legal stuff?”
Oh, god. Don’t ask me too many questions. “It pays the bills,” she pointed to his handiwork, “right?”
Evan pumped some vanilla into her drink. “Exactly.” He set her drink in front of her. “Say, maybe if you’re free sometime…”
Kellerika took a nip from her steaming cup. Rejuvenation.
He gulped and continued. “Would you maybe like to uh,” he gave the back of his head a nervous scratch, “go out with me?”
Kell buried her ear-to-ear grin behind her paper cup. She took another drink, regaining some composure. “That would be nice.”
Evan’s face perked up. “It would?”
She chuckled. “Yeah. I could use a break.” She leaned against the display case of pastries and muffins. “What did you have in mind? Dinner? A movie?”
“Pssh.” He tossed his rag on the rear counter. “Hell, no.” He rested a muscular arm on the display case. “There’s this murder-mystery dinner thing that they put on Thursdays through Saturdays.”
Kell raised a brow.
“Interested?”
She took a pen from the cup on the counter. Kell jotted her number on the back of a napkin and slid it across the countertop. “Today’s going to be kinda bad, but call me closer to the weekend, and we’ll work something out, okay?”
Evan snatched it up and stuffed it into a pocket of his jeans. “It’s a deal.” He waved as she strode back toward the door. “Have a nice day,” he pulled the napkin back out, “Kellerika.”
“You, too Evan.” She raised her cup as she propped the door open on a hip.
Once outside, she found a table an made camp long enough to savor her coffee. She sipped her concoction and unlocked her phone. Guess I should give Deke a call and let him know I’m not dead. Kell flipped through some pics in her gallery while his end rang. She landed on one of her huddled close to her ex-fiancé, Dylan. She wore her gray Georgetown sweatshirt. Her hair was back in a pony that day. The Shenandoah River gurgled behind them. The whitewater trip. Her disdain for the boy softened. Such a beautiful day. Kell flipped past it as the line picked up.
“Deke here. What up?”
“It’s Kell.”
A laugh from his end of the line. “Saw that already. So, what’s goin’ on?”
She took another sip. “Hangin’ out. Drinking some coffee.”
“You sound dejected.”
She scoffed. “No, I don’t.”
“Too.”
Kell went back to some pictures of her mom, Camilla and dad, Alvar back in Tampere. Holiday pics around the tree in their best ugly sweaters. “Am not.”
“I’ve known you for how long---since junior year of high school?” A scoff. “Girl don’t think I know when she’s upset. Man.”
“Fine.” She ran the pad of a thumb over the picture. “Say you’re right. So what?”
“Ah.” A hearty chuckle. “Ole Deke got one right, huh? So, what’s gotcha down?”
She mustered a, “Meh.”
“Him again?”
A pair of birds sailed to a soft landing a few feet away.
“Thought as much. You gotta let him go, Kell. Old news, an ‘at.”
She spun her cup in slow circles. “Yeah, but we were planning our lives together. Our entire lives, Deke.”
“Yeah, and home boy waltzed out with his roomie’s younger sister, if memory serves.”
Kellerika groaned. “He’s a dick. I get it.” She downed another gulp.
“Forget him.”
“Maybe it was a one-time mistake.” She tapped the cup’s lid with a nervous nail. Deke guffawed. “Right. So, what’s on your mind, Kell?”
“If I’m keeping you, I can---”
“Not that. Sorry.” He fidgeted with something on his end. “I’m just gettin’ everything ready for the big drop tonight. TO-NOIIGHT!”
Kell giggled. “You’re a dork. What’s dropping?”
“New MMO VR game, baby.”
She leaned back in her chair. “You lost me at M.”
“Never mind. What did you wanna talk about?”
Kell raised her cup. “Got an offer for a promotion.”
“Whaaaat?”
She grinned through a drink.
“You’re gonna take it, right?”
She swallowed and wiped her lips. “Dunno.”
“That legal firm would be straight up dumb not to keep you around.”
She had kept up the masquerade for two years thus far. “It’s more money.”
“’Zactly! That’s why you’re gonna take it.” Deke sounded like the big brother she’d never had.
“I’m thinking about it.”
“Kellerika.” He’d gone into full-blown parental mode. “If you don’t take this promotion---"
“You’ll what? Ground me?”
Deke cleared his throat. “Didn’t know you were goin’ there. We might have to redefine the nature of our association.”
Kellerika dropped her head into an open palm. “You’re impossible. The money would be great, but there’s a lot more responsibility with it, too.”
“It can’t be that bad.”
Her hazel eyes spun in big orbits.
“Guess it is. You should take it anyway, Kell. It’ll be good for you.”
She gripped her cup in a chokehold. “God. You sound like my dad.”
Deke laughed. “How is Alvar these days?”
“Don’t know.” Kell took another hit from her cup. “Haven’t talked to them in a while.”
“Did they have another kid somewhere along the line that we don’t know about?”
This got a genuine chuckle from her. “No! They’re---It’s just… complicated.”
“Well,” Deke said, “in their stead, I have to reiterate: you’re takin’ the promotion, right?”
“What if I don’t like the new job?”
“Ride it out for a while, then find something better.” Fingers snapped on his end. “Simple as that.”
“It’s not that easy.”
“Sure, it is.”
Kell downed the last dregs of her brew. “Coming from a computer genius that has companies banging down his door with amazing offers.” She got up and tossed her cup in the trash. “It’s not the same for a college dropout.”
Deke groaned. “Maybe go back and finish that degree.”
“Eh.” Kell fluttered her fingers in reply to Evan’s final wave.
“You’ve gotta summon that Viking spirit and power through this.”
“What are you into later this evening?”
“Lots of gaming,” Deke said. “Wanna swing by and join me?”
“I’m not that coordinated, Deke.”
“It’s gonna be a full-on virtual fest all night long. Don’t need to mash any buttons.”
“I dunno.”
“Come on!”
She laughed. “Fine. Let me handle this work thing---”
“Take. The. Job.”
“And then maybe I’ll swing by for a while.”
A whoop from Deke. “You won’t regret this, Kell. I promise.”
She winced and started down the sidewalk toward her Highlander. “I always do.”
Chapter 4
She carted her dirty dishes to her sink and ran some water over them. Kell may not have had the best hand-eye coordination, but what she lacked there she more than made up for in the kitchen. She had loved cooking all her life. If not for her father’s insistence on taking the pre-med scholarships to Georgetown, she would’ve wound up as a Michelin chef in a high-end restaurant somewhere.
As she ran warm water over a plate, Kellerika’s mind sped around several corners of how the upcoming call with Stazia might go. I could always throw in some stipulations to the deal.
“Nah.” She sat the plate into the dishwasher. “She’d never go for any of that.”
Kell swished some tap water around in her cup before setting it in the washer as well. She dried her hands on the towel and tossed it on the counter. “Damn it.”
Her phone beckoned her from its sliver of warm sunlight on the coffee table. Her mentor’s words resounded in her mind: ‘Things won’t ever be the same once you’re sworn into this rank.’ Kellerika snagged her beer by its slender neck and settled in on the couch for the inevitable.
Her gaze fell on Roger’s wayguide next to her cell. “But, before all of that…” She picked up the book and flipped through it. She caressed its penned words with a gentle touch. Some of his final entries caught her attention.
‘I have met my old friend Doug and his team. After touring the home and property with them and the suspected medium, Sean, I am confident that one of the Nine Kings is bound to this land. For what reason, I haven’t a clue.’
And, from later that same day:
‘We’ve located the missing team member, Donna. She’s a filthy mess. Doug says she’s been missing for days, and likely hasn’t eaten much (save the rat I saw her eat raw) in that time. I have subdued the girl and bound her to a chair in the dining area with ropes and railroad spikes.’
Then, Roger’s final entry:
‘I’ve attempted to cast the demon from her. Though I’ve succeeded, I fear that I’ve enflamed the situation here. Donna’s soul is somewhere in the walls of this house. A portal has opened up in the dining hall fireplace. After a heated huddle, Doug and I have agreed to let Sean go in after her. This thing is far more powerful than the others. Creator save me.’
Again, Kell used the butt of a palm to clear the tears from her eyes. “God damn it, Roger.” She knew he had done what he swore to do, but it did nothing to numb her loss.
She cleared her throat and took a swig of her beer. “Let’s do this.”
Kellerika patched into a VPN server and requested a hidden connection into the backdoor one of her employer’s many international nodes.
Stand by for your party’s connection…
Kell’s screen blinked up with Stazia. “Ah, Kellerika.” She laced her hands on a desk. “I take it you’ve come to a decision.”
“I have.”
Stazia sat in stoic quietude.
A reluctant grumble. “I’ll take the job.”
Stazia brought her hands together over the desk. “Ah. Very well. Then, on to the next order of business in that regard.”
She took a large leather tome and cracked it open in front of her. “The Oath of the Legion.”The Legion. The most elite of the Ordo Tenebris.
Stazia held up her right hand and set her left on a golden relic resting on the book. “Raise your right hand, and repeat after me.”
Kell did as instructed and echoed the oath: “I, Kellerika Virtanen, do avow and swear that I will defend all creatures large and small from those know as the Nine Kings and any and all emissaries anywhere on this plane of existence. I further attest that, being of sound mind and spirit, I do solemnly vow to seek out and combat these same entities until the end of my days. Should I fail or break any of these vows of my Oath of the Legion taken on this day, any of my brothers or sisters holds the right to take my life by forcing my heart upon their blade and, in the event of my disclosure of any secrets of our Sacred Order, administer the same.”
Her boss closed the book and set it to one side. “Welcome to the Legion, Miss Virtanen. Your first assignment should be an investigation into the McAllister estate, as it’s the one known location of one of the Nine.”
Kellerika’s muscles tensed. Talk about salt in the wound.
“However,” Stazia said, “we have a more pressing proposition that has surfaced.” Kellerika knocked back another dose of booze. “I’m all ears.”
“Dozens of people are either being killed or disappearing entirely around the world. It began today. As of now, most of these have occurred in Japan, China, and the Far East.”
Kell rubbed her hands together. “That’s no big deal. Mafia murders and human trafficking happen all the time.”
“No.” There was a firm resolve in her voice. “These were not isolated incidents. It’s moving like a tidal wave across central Europe.”
“Do we have any leads? Anything that connects the Kings to this?”
Stazia’s face lowered to the desktop. “Not many, I’m afraid. All victims were in their homes at the time of their murders or disappearances.” The fifty-something leader sipped from her porcelain cup.
“A serial killer wouldn’t move that fast,” Kell said.
“We suspect something,” Stazia patted the big leather book, “more sinister afoot, but I need you to investigate.”
Kellerika flipped on her TV. “Where do I start with this?”
Stazia set her cup on a saucer. “I’ll send you the articles and some contacts. See what you can come up with from these while I keep digging from here.” She laced her hands on the tabletop. “We’re all here for you should you need us, Kellerika.”
Chapter 5
Hagerstown traffic was a bitch. Then again, there weren’t many days when it was anything better. Kellerika maneuvered her SUV around a slow couple coaxing their puppy through the crosswalk and made the turn into Deke’s apartment complex.
She scanned the barren parking lot in front of his building. “Not much action around the homestead tonight.” She pulled into a visitor’s spot and shut if off. “Must be a party going on somewhere in town.”
She stopped at the base of the stairs leading up to his second level unit. Even if she were blind, she could find it by following the thumping bass line and Mick Jagger’s voice. “He’s going to get himself evicted.”
Once at the top, she could clearly make out the lyrics to Brown Sugar coming from behind his front door. One set of raps on the door, then another.
Nothing.
“Deke?” She beat on it with a fist. “It’s me. Open up!”
“Hey, Deke!” Kell turned to one side and kicked on the door. Footfalls padded across the apartment’s interior.
Deadbolt followed by the door lock.
Deke bopped to the music and mimicked Jagger into his bottle of root beer. “Oh, you made it.” He danced aside and ushered her inside. “I was beginning to wonder.”
Kell poked an index finger at the floor. “Turn it down.”
Her host bopped to his player and dialed it back.
“Better.” She caught the bottle of Barq’s he tossed at her and popped its top. “I told ya I had to deal with some work stuff before I came over.”
“Oh, yeah.” Deke strode into his living room. “How’d that go, by the way?”
Kell took a drink. “I took it.”
“Whoo!” Deke raised a hand. “Up top.”
She gave him a weak high five and sat in a recliner next to his gaming chair. Deke was a serious gamer: big screen TV, console, surround sound system, VR accessories… the works.
Her eyes focused on the thumbnail image on the screen. “So, what’s the big deal with this new game of yours?”
Deke grabbed a fresh bag of Doritos from the counter and strolled into his chair. “It’s not just a game.” He leaned closer to the screen. “Sweet. It’s loading.” He eased back into his throne. “It’s more than that, Kell. Ever Rain is the most realistic and anticipated multiplayer game ever.”
Kellerika lounged into her chair. “Why is everyone flipping out over one game?”
He readied his VR goggles as he watched the green bar on his screen fill. “The realism. The fact that it nearly gave some of its beta testers a heart attack.”
“And, you want me to play this thing?”
Deke hooked up the spare goggles and passed them to her. “Of course. I’ll go in one-player mode, so you can side saddle and see what I’m doing.”
With reluctance, Kell slipped them on. “Good. You’re less likely to lose belongings this way.”
The game loaded to its opening screen. They stood on a lone suburban street. A sidewalk to their right. A row of tall elms to the left. Nightfall. Fresh rain glistened on the black street under their feet and up ahead. One truck parked a stone’s throw away on the left curb. A distant flash illuminated the low-lying clouds beyond the crest in the road. A shallow peel of thunder grew until it rattled their controllers and goggles.
“Friggin’ awesome,” Deke whispered.
Rain to pattered on the truck’s windshield, the leaves, the road… everything. Words materialized in front of her.
A delicate thunder
.
.
.
Blood like rain
Then, the title surfaced from beneath the gathering water on the street:
Ever Rain
A low droning note accompanied by an almost native pulsating rhythm underneath. A tall muscular silhouette stood on the crest of the road. Deke again. “Sweet.”
Player select 1 or 2 player mode?
“Last chance,” he said. “You wanna?”
“Nope.” Kell didn’t have to think twice.
“No way in hell.”
In a few seconds, a box flashed over one player mode. It blinked and disappeared. The dark figure let his machete hang to his side as he advanced on them.
Male or Female?
Deke hits some buttons. “Just for you, bae.”
The word female blinked and disappeared.
The dark figure was even with the front bumper on the truck. Kell squirmed in her seat. “Oh, shit.” His steel-toed boots echoed off the pavement. Oiled jeans. An old plaid shirt with ivory buttons. Dried blood across the breast pockets. His face covered in a burlap sack. Nasal slits, a mouth hole, and eye holes. He had painted his eyes and mouth with clown makeup: blue on white and red on white. A taught rope secured the sack at his neck.
He chuckled. “This scarecrow’s got brains, bitch.”
He wound his blade up and brought it down, hacking a wide gash across the screen in blood.
“Fuck me!” A jolt of pinpricks coursed through Kellerika. The screen went black, and then…
Chapter One
Her face was covered in some sort of black cloth. Deke tried to move the character’s arms, but they were bound to something. From the hole near her left eye, Kell could make out a stone wall ahead. Dirt floor. Her slender left arm was tied to an old wooden chair.
Something held her neck in place, too. Couldn’t see what. A naked bulb swung in a slow orbit around the chair. Deke hopped the character around. The chair budged, but not much. An inventory folder opened at the bottom of the screen. Nada.
“Damn.” Deke turned to the right some. A small basement window. “Right. Now, how the hell am I?”
“Wait a sec,” Kell said. “Go back.”
The far wall filled the screen again. Deke hopped the chair around until its back’s faced it. The fake leather of Deke’s gaming chair creaked. He was up and into it. Their character crouched.
Kellerika nodded. “Ah. I get it. Very cool.”
Their character backpedaled until her gear rumbled. Wood splinters all around as the girl fell to the floor. The ropes and pieces fell free.
“That’s that.” Deke’s weight shifted on the floor causing it to groan.
Floorboards creaked overhead.
They had the same thought. “Jesus!”
Kell shook the goosebumps from her arms. “Was that you or the game?”
“Son of a bitch,” Deke said. “He’s in the house.”
The character picked up a chunk of its shattered armrest and started up the wooden stairs. Creaks and groans with each one.
“Shit.” Kell inched to the edge of her seat. Her voice dropped to a whisper. “Keep it quiet.”
Deke giggled. “Why are you whispering?”
She scoffed. “Shut up.”
The door stood cracked at the top of the stairs. Deke maneuvered the line of sight toward the home’s front door.
“A good thirty foot sprint to get there.”
Deke hummed in accord. More heavy footsteps around a corner ahead and to their left.
“Man,” Kell whispered, “it swings outward.”
“Can’t budge the door unless I’m ready to run,” he said.
The killer’s voice growled close to the corner. “Goddamn females. Now, I gotta gut the bitch.”
“Hell with it.” Deke’s weight shifted once more.
The basement door flung open and the girl took off. She collided with a burlap sack two paces past the corner.
Kell’s view was close enough to see the dried and cracking face paint around his maniacal black eyes. “Where you think you’re goin’, whore?”
His right arm reared back. Soon, a blade buried deep into the character’s chest. Splotches of blood showered the VR screen.
Replay?
“Son of a bitch!” Deke tossed his wands into his chair in disgust. “It’s way more intense than I expected.”
Kellerika pushed her goggles up on her forehead. “That’s an understatement.”
“Insane, right?”
She laughed. “I can see why this whole VR thing is so popular now.”
Deke stood in front of her, goggles up. “Damn.” He ran his hands over his disquieted expression. He turned and studied the screen. “Maybe we should try it again as a guy.”
“I don’t know if my ticker can take it,” Kell said.
Deke flopped into his chair. “Maybe there’s something different with a dude.”
Kell slumped into her recliner, massaging her eyes with the butts of her palms. Then, a stroke of brilliance. “Wait. That’s it.”
“What’s it?”
She moved to the edge of the cushion. “The shoes. We lose them and then go up the steps.”
“Holy shit.” Deke’s voice trembled. “That might do it.”
He dropped his goggles and grabbed the wands. A blinking box flashed on Yes and restarted the level.
“Jesus, Deke. You’re gonna kill me.”
Once they had freed their girl from the chair again, she reached down and removed her heels.
Kell was pissed. “Why do they always assume a girl wears high heels?”
Deke maneuvered the girl up the steps, this time, nice and quiet. At the top, the killer shuffled around farther away in the same area. The door pried open. So far, so good. Deke pushed farther ajar.
“Front door’s still a shot.”
Deke’s body bounced. “Here goes nothing.” The character wielded a shoe as a weapon and then bolted for the front door. The killer came after her, but this time, she had made it to within a few paces of her escape. Their character got spun around and thrown against the wall beside the front door.
“Goin’ somewhere?” His masked face moves to within inches. He lifted his machete up next to his head. “We haven’t even had dinner yet.”
Deke grunted. The girl swung her heel at his left eye socket. “Light’s out, asshole!”
Kellerika found herself punching the empty space in front of her.
“You all right over there?”
She took a deep breath. “Better.”
The murderer staggered away, groping at the footwear lodged into his socket. The girl’s hand spun the knob and threw the door open.
“Fuckin’ bitch!” The killer wrestled with the irritant.
She stumbled down the lopsided front step and leaped into the grass in the yard. As she ran past the battered and rusted out mailbox, the screen showed parts of its numerals: a two, something that might have been the leg of a one or a seven, the bottom half of a three, and an eight blotted out by black paint. The girl took off down the dirt road. An old F-150 sat parked along the right-hand side.
Deke looked around. “Nothing else for miles, but fields.”
The girl jogged to the pickup and yanked on the driver’s side door.
“Get in the damn truck.” Kell’s hand clamped down on the arm rest.
The car door jiggled. “I’m tryin’. It’s jammed.”
Heavy footfalls across the front porch. “You’re gonna die, bitch!”
Kell’s grip on the armrest intensified. “Damn it, Deke.”
The girl yanked on the handle again. The pickup rocked, but refused to surrender.
“Fuck.” Kellerika pounced out of her seat. “Beat on it with something. Anything!”
Deke shifted the view toward the old farmhouse. Blood oozed from his mangled eye socket. The killer stormed across the front lawn and turned at the wire fence. His machete dropped along the top line, shooting up occasional sparks as he advanced.
“Got it!”
The truck door groaned open. Torn upholstery. Chunks of foam cushion missing. Rust-colored stains on the floorboards and passenger side window. Deke moved the girl inside as the killer kicked the bumper.
“Shit!” Kell stood beside him now. “Fire it up.”
The view surveyed the entire cabin. “There’s no key, Kell.”
A gloved hand shattered the driver’s side window.
Deke stumbled back into Kell. “No, damn you.”
With one thrust, the machete plunged deep into the girl’s chest. Again, blood splattered into their field of view until all was consumed.
Game over. Replay?
“Shit.” Deke heaved his wands into his chair and tossed his goggles on the stand next to the TV.
Kell slid her goggles off and set them next to his.
He paced the room. “Where the hell’s that key?”
Kellerika stopped him on his way back to her and shook his bony shoulders. “Chill out. You can try again later.”
His head of tight black curls bobbed. “Yeah. I need some time to cool off.” Deke paced to the front window and stretched out his back. “That was intense.”
submitted by drumjedi76 to WritersOfHorror [link] [comments]


2020.07.10 22:19 Nimrasha Party Girl Lyrics - Madhu Valli & Muza - Song Ka Lyrics

Party Girl Lyrics - Madhu Valli & Muza - Song Ka Lyrics submitted by Nimrasha to u/Nimrasha [link] [comments]


2020.07.10 22:00 kosi559 Armed Forces Survivor Round 9

Armed Forces Survivor Round 9
Party Girl is out. This song has always been a top 3 track for me. Everything about it is perfect. The lyrics describing a tumultuous relationship that is frowned on by the rest of the world. The clever wordplay ("grip-like vise", "you'll never be the guilty party girl"). The sound of this song. The outro where he keeps yelling "give you anything but time!". Normally, when Elvis Costello songs end with a repeated phrase, I'm not much of a fan, but it works this time because the playing gets better and better. I'm really sad to see this go so soon, but I'm not surprised because people hardly talk about it.
On an unrelated note, check out Linda Ronstadt's version of the song.

VOTE A SONG OUT HERE

SONGS IN

SIDE ONE
SIDE TWO

SONGS OUT


Rank Song Votes Percentage
13th Sunday's Best 18/71 25.4%
12th Moods for Moderns 15/61 24.6%
11th Chemistry Class 15/48 31.3%
10th Senior Service 14/65 21.5%
10th Busy Bodies 14/65 21.5%
8th Big Boys 25/57 43.9%
7th Goon Squad 23/67 34.3%
6th Two Little Hitlers 24/61 39.3%
5th Party Girl 24/67 35.8%
submitted by kosi559 to ElvisCostello [link] [comments]


2020.07.10 21:30 CrypticCarti Long Time (Intro)

Today I will start with my 1st short essay on Playboi Carti's debut album Die Lit which was released on May 11, 2018, by AWGE Label and Interscope Records. I will try to write an essay per day on each song on the album going in order. I will give a breakdown of the song's lyrics and instrumental and at the end I will give a rating of the song based on MY enjoyment of the song so feel free to disagree with my opinion and give your own ranking on the song and your reasoning.
Listen to Long Time (Intro) using the links below:
Youtube
Spotify
Apple Music
Breakdown: Long time starts the album with Carti showing determination to continue reaching new heights in the music industry after his recent success with the year before with his breakout song Magnolia and his successful self titled mixtape Playboi Carti, with brand deals with Nike & Adidas and Carti even featured Louis Vuitton's SS18 runway.
At the beginning of the track, Carti expresses his determination:
No cap and gown, I ain't go to class (Uh, yeah)
I'd rather die before I come in last (Yeah, VLONE thug, what?)
Carti would rather die trying to progress in his music career than give up and settle for a regular life and have a regular job that he knows won't make as happy as being a successful artist in the 2010's era of rap music.
Carti's determination is heard in the hook of the track:
I ain't felt like this in a long time(You know what I'm saying? RIP Fredo)
I ain't felt like this in a long time (I ain't feel like)I ain't had shit in a long time (Feel like)
Just to feel like this it took a long time, yeah (Slatt, feel like)
Just to feel like this it took a long time, yeah (Slatt, feel like)
Just to look like this it took a long time, yeah (Slatt, feel like)Just to look like this it took a long time, yeah (Slatt)
Carti is at an all time high he has never felt the way he does currently and he finally gets to enjoy the luxuries of success and wealth. It took Carti years of hard work and Carti had to stay on the grind to get a break in the mainstream to further his career. 2017 was the break he wanted with the aforementioned single, Magnolia.
The song also discusses Carti having a girl or he named her "bad ass bitch" and describes his relationship with her. He mentions that she will perform oral sex for him and wants to have relations with Carti and his homie. Carti will not take his relationship with her further stating "I can't wife no thot, yeah (I can't wife no thot) Pass that bitch to the homie, yeah (I can't wife no thot)"
The end of the song you can hear Carti's use of repetition emphasizing that he has made it:
I ain't had shit in a long timeI ain't had shit in a long time
I ain't had shit in a long time
I ain't had shit in a long time
Just to feel like this it took a long time, yeah
Just to feel like this it took a long time, yeah
It is expressing a feeling of determination with the repetition giving you a clear picture of the amount of effort Carti has put in his craft. Carti wants to make it clear that this was not just through luck that he made it, he wants to inform us that it was through hard work and being consistent in terms of how he wanted to present himself to truly build a foundation.
Enjoyment: I enjoyed this intro thoroughly and it is one of my favorites. The production caught me off guard at the first listen when this album initially dropped because Carti is not one to use beats that are not upbeat or fun (this isn't the first time he's used a gloomy instrumental). Carti's delivery and the instrumental by Art Dealer compliment one another and it is a strong opener to the project. Although this song is enjoyable I felt as though the intro felt a little slow and it drags towards the end of the song but it is not something that drastically takes away enjoyment from the song
Ranking: 9/10
submitted by CrypticCarti to playboicarti [link] [comments]


2020.07.10 20:33 DarlingDemonic Staying present and trusting the process vs. having a nervous breakdown. Help.

Chaser here. It’ll be fourteen years in October. I cut off contact with him three years ago because I got sick of him running and refusing to give me a straight answer about anything. We never spent time alone; just with mutual friends in group settings. He’d either be all over me or he’d act like I was the plague, with no middle ground. (The girls he dated couldn't stand me and vice versa. We flirted a lot, but nothing came of it. I'd invite him to spend time alone with me and he was always "too busy.") After eleven years, and with the help of a therapist, I was able to get over him. In 2017, during this process, I sent him a long, heartfelt email, telling him that I’d always loved him. I explained the ways his erratic behavior had harmed me, while making it clear that I knew he’d meant no ill will and I was still hoping to hash things out. He never wrote back.
I didn’t even know what a twin flame was until February of this year, while working with an energy healer, and he’d come up in conversation. I’d shown her a tarot reading I’d gotten in 2013 where he had come up in two of the cards. The energy healer told me what a twin flame was, and suddenly everything made sense—the sensation that looking at him was like looking in a mirror, the creepy synchronicities, the ghosting, the sensation that we were feeling the same things, feeling like my skin was shaking when I was in his presence. She reminded me that just because we have a mirror soul doesn’t mean we upend our lives; we have to live for ourselves and our twin flame will attract back after we’ve both healed enough. She remarked that more and more people are “waking up” and healing earlier in life, and we had a whole conversation about that. After the session, I felt a strong impulse to look at my twin flame’s Twitter page, where I discovered that he’d written me a love song whose lyrics read like a response to my 2017 email. I found it through an interview he’d done a few months earlier, where he’d been discussing the EXACT same subject matter: people waking up, healing, and realizing that everything we do matters—which was the explanation he’d given for the song’s meaning. I knew the song was about me before I even watched the music video. And after watching it, I was suddenly in love with him all over again. I could see how much he’d evolved, and how healthy and calm he looked. It was like looking at an upgraded version of him and it took my breath away.
I was both excited and worried that I’d failed, because I was determined to believe that my current soulmate relationship was for life....but then a month later, problematic things my partner had been doing reached a tipping point and I realized I’d eventually need to leave him because we were no longer compatible, and really hadn’t been for years. It was yet another creepy synchronicity. (He doesn't know about the song.)
A week ago, I decided to finally bite the bullet and email my twin and ask him if the song was about me. He has not responded. I don’t know if it’s because he’s ghosting me again or he’s just losing his shit trying to figure out what to say because can't believe I'm actually willing to give him another chance after all the shit he pulled. Either way, it’s difficult not to worry that I fell for him again for no good reason, and now I’m back to where I was over a decade ago. The chest pains are unbearable and the sick feeling in my stomach will not go away. I’ve dropped weight. I can barely eat or sleep. I don’t know how to just relax and trust the process, and I fear that I truly will break down if he doesn’t reply to my email. How hard is it to say “Yes, this is about you” or “No, it isn’t?” Geez. What scares me the most is that I'm finally being honest with myself and admitting that I can’t imagine being with anyone else. I have never loved anyone the way I love him. I know I need to live for myself, which I have been getting better at doing this year, but his silence over my email is casting a huge shadow and I’m afraid for my sanity. I don’t know what to do.
Thank you for reading this long post. Any advice is appreciated.
submitted by DarlingDemonic to twinflames [link] [comments]


2020.07.10 20:30 ghanaclassic Lekaa – Kiss & Tell Ft. Peruzzi x Kwesi Arthur Lyrics

Lekaa – Kiss & Tell Ft. Peruzzi x Kwesi Arthur Lyrics She said she wanna take me up for dinner Tell her ? baby Carolina Confirm am before you start to ginger
Girl you fine Whine am for me well well Clear like a picture Kodak Baby just throw back for me yeh I wanna make you mine But I no like to kiss and tell This kain thing they cause commotion Baby just slow down for me yeh Girl you fine Whine am for me well well
Full Lyrics : Lekaa – Kiss & Tell Ft. Peruzzi x Kwesi Arthur Lyrics
submitted by ghanaclassic to LyricInterpretations [link] [comments]


2020.07.10 19:46 fritosdoritos [TOMT][Music][2010s] Japanese song, music video has a ghost of a girl

There's this fairly recent Japanese song I found on Youtube about a year or two ago which has a (live-action, not animated) music video. The actual song started a minute or two into the video, before that was just a dark room (auditorium or gym) with a ghost/spirit of a girl.
I'm completely clueless about music, so here's my best attempt at making the melody at the beginning of the song.
https://onlinesequencer.net/1548227
Regarding lyrics, it's in Japanese but I remember there's a part in the song where the singer repeats "I love you" in various languages, such as "Wo ai ni" (Chinese), "I love you" (English), and maybe Spanish too.
Since this song has a music video, I wonder if it's just not searchable in US nowadays because of copyright or licensing issues.
submitted by fritosdoritos to tipofmytongue [link] [comments]


2020.07.10 19:45 GalaxyFrauleinKrista Monsters Album Lyrics

Just thought I'd post the fantastic lyrics for the new album here! Haven't found them all in once place yet so collected from scattered around

America Online
If I love you, will you love me? If I want you, will you want me? I am reaching, are you reaching out? If I touch you, will you touch me now? Through the wires to the heart Phantom fingers fumble in the dark I thought I did; I felt a spark Are we all one beating heart?
Are we all one beating heart? x2 If I love you, will you love me? If I hurt you, will you hurt me? I am reaching, are you reaching out? If I touch you, will you touch me now? Through the wires to the heart Phantom fingers fumble in the dark I thought I did; I felt a spark Are we all one beating heart? Are we all one beating heart? x2
Are we all one beating heart? Or are we strangers? Am I a stranger? x4 Are we all one beating heart?

Dance With Somebody
Take off your armor, friend of mine I have no arrows, but I got time All your sorrow keeps you glued to your seat Can we get you out of your head and into your feet? And it's not that the rest of us don't have the blues It's just that some dance partners need a dance partner, too Is that you?
Some dance partners need a dance partner, too Is that you? Life's too short to dance by yourself Think you should dance with somebody Dance with somebody, dance with somebody Not by yourself Life's too short to dance by yourself Think you should dance with somebody Dance with somebody, dance with somebody Not by yourself Take off your armor, let down your hair You could sit on your hands or you could get closer, if you dare And it's not that the rest of us don't have to fight For every bit of love and every bit of light But tonight, it's Friday night
Some dance partners need a dance partner, too Is that you? Life's too short to dance by yourself Think you should dance with somebody Dance with somebody, dance with somebody Not by yourself (repeat)

Seventeen
I was a runaway and you were a queen Our tongues tied in the mezzanine We were free No strings on you, no strings on me I was a cannonball and you were the sea When I crashed into your blue dream We were free Time takes no prisoners, you'll see When you're seventeen The thought of a spark could start a fire Tube top and faded jeans How we forget how we desire We were seventeen, seventeen We had city dreams, city dreams (repeat) I was a runaway and you were a jewel It was paradise in the land of fools We were free No strings on you, no strings on me Free Time takes no prisoners, you'll see When you're seventeen The thought of a spark could start a fire Tube top and faded jeans How we forget how we desire We were seventeen, seventeen We had city dreams, city dreams (repeat) Seventeen, seventeen City dreams, city dreams (repeat)
Dream Away
I was busy dreamin' Buildin' us a world Daydreamin' up a good life That wouldn't hurt and wouldn't spoil The sun never set there The water, clean and pure In the beauty, there was purpose So certain, safe, and sure I could live this lie forever But from far, far away I thought I heard you callin' You said I could not stay And I woke up in a fever My calculations were wrong The pillars could not hold us And the angels are gone
When hope makes you bleed When life gets you down There's all the love you need Underground To make a way for the dark hearts To feel the love I found There's all the love you need Underground
We dream away x4
Picture of a sunset Above a turquoise tide The beauty of a just world And the convenience of a lie I tore down that picture There is no other perfect life But in the dirt under my fingers Maybe something will survive When hope makes you bleed When life gets you down There's all the love you need Underground To make a way for the dark hearts To feel the love I found There's all the love you need Underground
We dream away x9

Prom Night
There's an open road And now an open door And a pretty girl's hand beside yours Do you know what to do As she looks at you? Can you leap from the ledge and Bridge the two halves of the world? Hold her hand We'll never pass this way again Hold her hand Forever or a slow dance A breath is deep as you make it There's a chance if you take it And a heart that you break is still a heart Hold her hand x2 There's an open floor As the chorus soars And a pretty girl's hand beside yours Who knows what you'll find? But the threshold shines Can you leap from the ledge and Bridge the two halves of the world?
Hold her hand We'll never pass this way again Hold her hand Forever or a slow dance A breath is deep as you make it There's a chance if you take it And a heart that you break is still a heart Hold her hand x2 Prom night turns to daylight rediscovered Friends become lovers under covers Hold her hand We'll never pass this way again Hold her hand Forever or a slow dance A breath is deep as you make it There's a chance if you take it And a heart that you break is still a heart Hold her hand x2
Fire in the Sky
I wasn't looking for forever or a one night stand I was just hoping for a smile or a quick slow dance But when I saw you, there was nothing I could ever do To ignore the smell of smoke across the room I found my mistakes, but my heart was clean I'm made of matches, you're made of gasoline I was just hoping for a smile or a quick slow dance Fighting fire with flames If I burn down, would you do the same? You tell me it's wrong, but we're both to blame I wasn't looking for a sign I see fire in the sky x8 When I touched you, your skin was hot and eyes were clear And the room around began to catch fire and disappear I told my heart that I would keep it safe and locked away But I found myself walking to you through the flame I saw the flashes, I saw the fire grow I see the ember, I see the cinder smoke And the room around began to catch fire and disappear
Fighting fire with flames If I burn down, would you do the same? You tell me it's wrong, but we're both to blame I wasn't looking for a sign I see fire in the sky x16
Monster Put two beating hearts together Stitched the seams and pull the lever Strange desires, sparks and wires I signed the dotted line That tethered yours to mine No anesthetic for hearts electric Parts start to decay When just your shadow half remains The operation had complications And the part of you that died I'll carry all my life Lovers slowly decomposing So it goes It could've been paradise It could've had diamond eyes I held so tight that I lost her We could've been fireflies But that fire died Dead and gone I was wrong Love's a con I'm a monster Hope lingers on After the one you love is gone Thought I smelled your ghost in my winter coat And our love became a void Another echo in the noise I can't erase what we became It could've been paradise Could've been you and I I played the fool And you played the martyr We could have been fireflies But some fires die I meant no harm We were both wrong Moving on I'm a monster
Brooklyn
There's traffic on the bridge But the skyline shines with a certain light And I know you're sick of it But I know a happy hour nearby And there's a possibility That one day, things'll get better For the huddled masses in between The shadows and the stars Floating empire Held up by fraying wire I'll cover you in winter Like a blanket by the fire And when the rent's too high We'll just buy cheaper wine And hang on to see if whether Constellations hold together or not Four years in Brooklyn And happy birthday, darling When we feel young again I'd like to take you dancing 'Cause there's a possibility That one day, things'll get better For the huddled masses in between The shadows and the stars And there's a possibility That we'll both go down together Or free ourselves from gravity And tumble through the dark Floating empire Held up by fraying wire And I'll cover you in winter Like a blanket by the fire And when the rent's too high We'll just buy cheaper wine And hang on to see if whether Constellations hold together or not I never placed too much faith in the stars I never placed too much faith in my heart But the siren call of the chandelier city And inch-by-inch, we're breaking apart As we're rising through the dark From the sky, I bet the lights look pretty
Floating empire Held up by fraying wire And I will cover you in winter Like a blanket by the fire When the rent's too high We'll just buy cheaper wine Hang on to see if whether Constellations hold together or not, or not

Deep Blue
I wasn't looking for action, just some distraction Just a little weeknight, booth in the back I wasn't looking for romance, just a quick slow dance On the off chance that an off night and a side glance Might lead me to the wrong hands I wasn't looking for you I wasn't after forever, just for whatever I was one of the dark hearts who thought that they'd never Truly be opened, but this is an explosion Of star-crossed and blood-rushed And hair-tossed and cheeks flushed and weeks lost I wasn't looking for you I said, "I've never felt my heart like this" She said, "I've never felt my body" I always thought the point of love was just To keep from, to keep from Falling into the deep blue, the deep blue Falling into the deep blue, the deep blue
I wasn't looking for devotion, just cheap emotion But I found love, I found love like an ocean On my second whiskey, your eyes try to miss me They lost control, I didn't know I had a soul Until the moment you kissed me I wasn't looking for you I said, "I've never felt my heart like this" She said, "I've never felt my body" I always thought the point of love was just To keep from, to keep from Falling into the deep blue, the deep blue Falling into the deep blue, the deep blue I wasn't looking for action, just some distraction Just a little weeknight, booth in the back I wasn't looking for romance, just a quick slow dance On the off chance that an off night and a side glance Might lead me to the wrong hands

Night Skies
Your house is on fire, won't you let me in? x2 I'm drowning in desire, your hair, your skin The flame burns hotter the deeper you go in Your house is on fire, won't you let me in? x2 I'm drowning in desire, your hair, your skin The flame burns hotter the deeper you go in
One thousand miles an hour, how does it feel? A million horse power, no steering wheel Running off the shoulder, asleep on the stage Exposing cold steel, fire, beauty, and rage Your ship is sinking, let me climb aboard x2 The flames burning hotter, oh my Lord Your ship is sinking, let me climb aboard
The Last Train
The top shelf tumbles and the wall clocks run Well scotch bottles and the soda guns You missed the last train from the city tonight Old friends see each other in a different, different light You missed the last train tonight The Alphabet City's dive bars drone And two pilgrims seek a makeshift home Missed the last train from the city tonight Old friends see each other in a different, different light You missed the last train tonight There is a song singing in the dark Don't get too close or it'll tear you apart There is a reason for every season of the heart There is a song singing in the fire Don't get too close, it cuts like a wire There is a reason for every season of desire The subway rumbles under Union Square And the morning finds an unlikely pair Hotel lobby, holding hands Don't blink, don't think, don't look in her eyes Is this for forever or is this goodbye? Goodbye
There is a song singing in the dark Don't get too close or it'll tear you apart There is a reason for every season of the heart There is a song singing in the fire Don't get too close, it cuts like a wire There is a reason for every season of desire Half in light and half in dark Is where we start (repeat x4)
We are one beating heart x4
submitted by GalaxyFrauleinKrista to TheMidnight [link] [comments]


2020.07.10 18:49 Pastelchanu_u Rap songs make me horny

I ain't talking about the rap music videos because it's very obvious to see that it's just like soft porn due to the girls in bikinis twerking and doing all kinds of arousing things. I'm talking about the actual music and lyrics. The music is usually pretty lit and catchy so it makes me feel good and make the song stick into my brain but the problem is in the lyrics, they keep talking about sex, drugs and money. When the song is playing into my head, it makes me fantasise about sex, drugs and money which builds up an urge to fap.
submitted by Pastelchanu_u to NoFap [link] [comments]


2020.07.10 18:34 11110111010101zzz111 some of my weirder misheard strokes lyrics

i thought it'd be funny to share some of my misheard strokes lyrics. the thing is i also have pretty bad hearing in general so some end up being waaaayy off the mark...but i still like to keep even though i know they're wrong, it feels like my own secret story every time i sing along :'~)
soma (my misheard version)
Soma
Here's what they will take when
Our times have in their eyes
Something of a new age
I said but a few things
Racing against side beams
Losing against daydreams
In your eyes
i think the misheard lyrics here probably aren't that interesting language-wise but i think what's funny was the story i always made up for myself about soma... first off, i didn't know soma was a fictional drug at the time so i always imagined it was a name, like in some future post-3000 year people would be naming their kids "soma" and such. SO, because of that i always thought this song was this weird dystopian/apocalyptic love song. i thought julian was singing to this girl named soma, & together they were fighting against & on the run from this dystopian government. like the line "here's what they will take when / our times have in their eyes / something of a new age" referred to the dystopian government that would kill/destroy them when they were no longer young and useful, so they had to run from this bizarre nightmare together (that's why they're racing against sidebeams!! also i don't really know what sidebeams would mean, i just always heard that.) julian only says "but a few things" because he doesn't want the dystopian government to wiretap and hear their plans... they're "losing against daydreams" because escaping from the dystopian government, which they dream about, is still super super hard in this apocalyptic post-3000 universe. and then the line "in your eyes" kinda gives it that love-song feeling to me, like he's looking into soma's eyes & even though they're on the run in this dystopian nightmare at least they still have each other...
i know that interpretation is totally wrong but i still love it lol!!! i probably read too many dystopia novels as a kid though...
someday (my misheard version)
Promises, they break me forever
i always used to hear that instead of "they break before they're made" & i always thought it fit so well into the nostalgic themes of the song... you make all these promises throughout your life -- promises to keep in touch with an old friend, or like when you're a kid promising you'll always hang out with your friends at the treehouse, stuff like that -- that you inevitably break. and it's not like you purposely want to break the promises, but they can't sustain themselves forever & they have to end as life progresses.... but the memory of the promise, the memory of the times associated with the promise, & the thought of the never-ending barreling of your life that caused this promise to end just "breaks" YOU, you know. you're not really the one breaking the promise, you're more just passively letting it go, but the knowledge that you're doing so kills you, it breaks you.
the modern age (my misheard version)
Flying in the breeze, nostramus in the breeze
I took too many etymologies
this one is kinda weird...but still i just have really really bad hearing like i said before. the thing is now i can hear the "uh-varieties" really clearly, but at the time i was convinced it was "etymologies". it made sense to me -- especially since the song was titled "the modern age", i liked the idea of sort of popping "etymologies" like they were pills, mixing up the origins & meanings of words & suddenly creating new "modern" language in this youthful party-fueled haze. i also didn't know what "nostramus" was supposed to be: the word sounded familiar but i never actually searched it up, i just figured it was some science/space-age/modern crazy cool thing. (i looked it up now and the closest i could find was Nostradamus, a french astrologer who could apparently predict future events? i might've picked up the word from like a film poster or something though lol). but i liked the idea of some wild, crazy new-age thing just floating in the breeze on a sunny day as a group of teenagers go about like reckless gods, creating a new modern age with new language & everything...
so yeah those are my misheard strokes lyrics & such!! i know they're all wrong but i keep them anyways....i like the fun stories, my own secret strokes experience, it's like this weird film reel in my head. i'll probably always instinctively think "i took too many etymologieeesssss" even though i know know know julian doesn't say that....lol
submitted by 11110111010101zzz111 to TheStrokes [link] [comments]


2020.07.10 17:51 ghanaclassic Blackbear – ​Queen 0f Broken Hearts lyrics

Blackbear – ​Queen 0f Broken Hearts lyrics I’m the queen of broken hearts Break you in a thousand parts Used to be a shooting star When did I become so dark?
Yeah, you need to chill, girl, don’t play me I’m too far gone, you can’t save me And I don’t care, fucking hate me I popped a pill and I’m faded Take anything, make it about me It’s a heavy crown, it might drown me I know it sucks bein’ around me So does life, don’t @ me, don’t doubt me
I’m the queen of broken hearts Break you in a thousand parts Used to be a shooting star When did I become so dark? I’m the queen of broken hearts
Full Post : Blackbear – ​Queen 0f Broken Hearts lyrics
submitted by ghanaclassic to LyricInterpretations [link] [comments]


2020.07.10 15:01 Tehvitan The Pledge, the Turn, and the Prestige: A narrative-focused analysis of The Last of Us Part II. (originally posted on r/gaming)

Disclaimer and Disclosure: This review contains spoilers of nearly all major plot points in The Last of Us Part II. I completed The Last of Us on grounded mode because I am a masochist. I am currently playing through The Last of Us Part II, but have watched my wife play through the entirety of the game.
The framing device for The Prestige (a film primarily about two magicians whose fates are brutally and inextricably linked) is a monologue by Michael Caine’s character about the three parts to a magic trick. With echoes of the three-act structure, Caine explains that the first part, the “Pledge,” is the presentation of something the audience is familiar with. The second part, “the Turn,” brings awe and disbelief—in the film, this is the magician’s disappearance from the stage. At this point, Caine says, the audience is trying to find the secret, waiting for the resolution, because making something disappear isn’t enough—you have to bring it back. And that journey, the “Prestige,” is the hardest part.
The Pledge
The end of The Last of Us has Joel and Ellie safe on the outskirts of Jackson, having survived a nearly endless onslaught of horrors ranging from the horde of infected that plague the world to the innumerable factions of tattered survivors the plague created. Ellie’s safety, however, comes at an incredible cost—the obvious societal cost is the devastating loss of a cure, but the personal cost is a destabilizing force in Joel and Ellie’s relationship, buried just below the surface. Despite everything they’ve gone through together and all they mean to each other, Joel risks undermining the whole of Ellie’s trust in him by taking away Ellie’s agency and choice as to what she does with her own life. This is what the audience knows at the outset of The Last of Us Part II.
Entering the game, you play as Ellie wandering through the streets of Jackson after a tough night, surrounded by burgeoning life and community—there are stores and pubs, theaters and children playing about. This hard-won slice of freedom from the infected is small compared to the wide world, but it’s a sanctuary, and it’s theirs.
Soon after, we switch to playing as Abby, an initially nameless girl who arrives in Jackson on a desperate mission. When we first meet her, we’re not sure who she is, what role she has to play, or how long we’ll be playing from her perspective—in retrospect, this is not only the beginning of the interweaving of Abby and Ellie’s storylines, but also our first experience with asymmetric information. As the audience, we carry Joel’s devastating secret to be kept safe from Ellie, but as the narrative unfolds, we become keenly aware that many characters in the story harbor secrets from us as well.
A short while into the game, we see the brutal killing of Joel at the hands of Abby. When the game was first released, several reviewers noted that the game was being review-bombed by users, leading to extremely disparate critic and user scores. They also noted that these reviews had come in just several hours after the release of the game, suggesting that most of them had been posted without the user having played through the entire game.
I think it’s clear that the review-bombing was in part a reaction to Joel’s murder—not just the fact of it happening, but the confluence of events that leads to it. As you play as Abby for the first time, you feel out of place—you play a character you don’t know or understand, but you are carrying out whatever semblance of a plan she has. This is different from the player experience in the original. In The Last of Us, you play as Joel and Ellie, knowing for the most part what their intentions are, and what they feel at each turn. Their choices are hard, but understandable, and players are well within the moral window to rationalize and support those choices.
As Abby, you run into Joel and Tommy and you help each other escape a terrifying onslaught of infected. Moments of extreme pressure and survival make for fast friends, but Abby uses that trust to bring Joel and Tommy back to her campsite where she ultimately tortures and kills Joel. It feels bad because a seemingly random girl wandering the mountains in search of Joel overcomes immensely improbable odds to kill a hero. It feels bad because she betrays a trust forged in the chaos of survival to do so. And it feels bad because the game makes the player complicit in Joel’s murder. But needling in the back of my mind is Joel’s secret. Watching Ellie witness Joel’s murder is heart-wrenching—I had to actively take some time to process it—but even in the moment, I couldn’t help but think that it had to be related to the cure Joel took from the world, and that Abby had a deeply personal stake.
The response from the community since the release of The Last of Us Part II has ranged from a deep appreciation for the game’s invocation of strong emotion to the misdirected anger and despicable death threats toward Abby’s voice actor, Laura Bailey. Joel’s death is a catastrophic event that shakes the player and the entire town of Jackson, but the fact of his secret cannot be forgotten. Obvious but obfuscated, Joel’s act of saving Ellie is the center of the story. It represents the love and restoration of a man who lost his daughter, lost everything. It represents the pain of betraying a loved one’s trust to keep that person safe. But it also represents the irretrievable cost of that choice to the whole of humanity.
Once you believe that Abby’s mission was personal and certainly related to Joel’s choice, a parallel forms—Abby is the dark half of Ellie. Fierce, even when alone, she is a survivor, fighting against impossible odds, against the professed wisdom of the collective, toward a singular goal in the chaos of the world. What we see in Abby is what vengeance looks like, even in the face of wrongs that are far past undoing.
The Turn
Ellie and Tommy are left alive by Abby and her crew, and they each embark (Tommy first, Ellie second, accompanied by her love interest, Dina) on a journey to avenge Joel. The player understands Ellie’s journey: Joel may have taken the cure from the world, but Ellie has no idea. As the narrative progresses, we see beautiful, comparatively serene flashbacks interwoven with the intense horror and stress of Ellie’s present journey. All the while, we see shadows of Joel’s secret echoing around Ellie in the past—the memories of a former Firefly who committed suicide after the group’s failure to stabilize society, Ellie unsuccessfully pushing Joel for answers when her doubts inevitably resurface. The player understands—Ellie is blameless here, because she was robbed of her choice, and cannot fathom why a group of people would travel nearly a thousand miles to murder Joel in cold blood.
But we learn that she knew all along. After Ellie confronts Nora (who Ellie later tortures for information on Abby), we are brought to a flashback several years prior where Ellie issues an ultimatum, and demands answers from Joel after she revisits the Firefly hospital where they were going to develop the vaccine.
He gives them. He tells her that creating a cure meant that she would have to die. That he couldn’t let that happen. And (through subtext) that even if she grew to resent him for his choice, it would still mean she was alive to do so.
This drastically changes the tenor of our outlook on Ellie’s journey to Seattle—it’s not that she doesn’t know why Abby killed Joel, it’s that she doesn’t care. We aren’t severed from our connection with Ellie as a character by any means, but we begin to understand it a little less. Nora’s conversation with Ellie tells us that Abby killed Joel because of what he did. Ellie knows this, but against her need for vengeance, it does not matter. She pushes forward, and we understand her a little less with each kill, with Ellie ultimately murdering Owen (Abby’s close friend and love interest) and Mel (a WLF medic pregnant with Owen’s child) before returning to her Seattle hideout, and abandoning the hunt for Abby.
All the while, the narrative neatly slots in parallels between Ellie and Abby—Ellie’s mission essentially traces Abby’s mission in reverse, both having love interests involved in pregnancies with another person. We begin to see that Abby may not be the dark half of Ellie, but rather an opposing reflection.
The end of Ellie’s journey in Seattle dovetails with Abby’s, just as we are brought back to the movie theater that Ellie and her crew use as a local base for the last time. The morning that Ellie and company prepare for their journey back to Jackson, Abby arrives, killing Jesse (the father of Dina’s child), and injuring Tommy. As Abby holds a gun to Ellie, telling her that she found the bodies of her friends that Ellie killed, telling her that Ellie and Tommy squandered their chance at living after she chose to leave them alive, we wake up as Abby on the morning of her first day back from killing Joel.
Abby’s story begins with a feeling of community within the WLF stadium not dissimilar to what we experience when we first walk through Jackson as Ellie. We walk in her shoes, experiencing life and all the little moments that make us human. We see the faces of those that Ellie killed, living their lives in the haven this group built. We see the aquarium Owen discovers with Abby, echoing Joel’s birthday gift to Ellie of the natural history museum tour. And we learn that Abby’s father was the first doctor that Joel shot as he entered the operating room to rescue an unconscious Ellie.
As we are introduced to Abby’s world, we see her wrestling with her part in an ongoing war between the WLF and the Seraphites. By the end of her first day back, she finds herself captured by the enemy, narrowly being rescued by two defectors from the religious sect—a sister and a brother (Yara and Lev). Yara’s left arm is shattered by the Seraphites, but the trio manages to escape together. After they reach a place of safety, Abby splints Yara’s arm and leaves.
That night, Owen tells Abby a story about an old Seraphite he encountered during a skirmish. The old man didn’t try to retrieve his weapon or continue fighting when his unit was overwhelmed—he just looked tired, and ready to die. That story wandering in her mind, Abby returns for Yara and Lev the next day and brings them to the aquarium for treatment and safekeeping.
Unfortunately, the conflict between the WLF and the Seraphites escalates into all-out war, and Abby finds herself rushing into the fray with Yara to rescue Lev, who has gone back to save his mother. The Seraphites’ island is in chaos and ruin—fire engulfs nearly everything in sight, Lev kills his mother in self-defense, Yara dies saving Abby, and Abby and Lev narrowly escape the island.
At this point, Abby has had a real challenge of a day. Her world has been turned upside-down, her closest friend is leaving for Santa Barbara to chase rumors of the Fireflies regrouping, and she just fought through the front lines of an active warzone to save the life of a former Seraphite. She returns to the aquarium for a bit of rest, but finds Owen, Mel, and her dog, Alice, all dead.
This brings us back to the intersection of Ellie and Abby’s stories. Abby holds a gun at Ellie after having killed Jesse, with Tommy cowering on the floor. She’s prepared to shoot when a sudden scuffle leaves Tommy badly wounded, with Abby chasing Ellie through the theater.
The ensuing battle is emotionally difficult to play. You control Abby, chasing and beating Ellie down, at one point, nearly strangling her to death. But as I watched the fight play out, my misgivings about Ellie’s intentions evaporated—it didn’t matter that she was single-minded in her vengeance, it didn’t matter that she knew about Joel’s secret. All that mattered was that she lived.
Abby ultimately defeats Ellie, moving to slit Dina’s throat before finishing Ellie off, but Lev intervenes. The former Seraphite, the boy who was told by his mother and clan that he was wrong about who he was, embodies whatever forgiveness and peace Abby can muster. And in the end, it’s enough. Abby leaves Dina and Ellie alive, warning Ellie to stay away from her, and heads to Santa Barbara with Lev.
The Prestige
We wake up as Ellie on a small farm with Dina and her newborn child, Potato (given name J.J., probably for Joel and Jesse). You find Dina in the kitchen doing something or other, you search for a toy elephant of Potato’s in the front yard, you meander through your vegetable garden before tending to your flock of sheep in the backyard—everything is idyllic, peaceful, at rest.
It could end here. Ellie could be content and live out the rest of her life on a small, self-sufficient farm with her love and their child. She could spend her days just living, traveling the short path between her hard-won slice of solace and the town of Jackson, wandering into town to see familiar faces, come and go as she pleased.
It could end here, and Ellie might be happy—but it’s not that simple. The sound of metal cracking against a hard surface—a shovel in the barn—brings Ellie right back into the basement where Joel was tortured. She relives that moment in her mind over and over, with stray sounds able to leave her stranded in the memory, alone. She hears him begging for her to rescue him, for her to be strong enough, but of course, she can’t. She hears him die thousands of times—she can’t sleep, she can’t eat—until finally, one night, she begins packing her backpack.
Dina finds Ellie in the middle of the night preparing for the journey. She doesn’t want to think it, but she knows that Ellie is going after Abby. Ellie tells her so. Dina says that she can’t handle waiting anymore, wondering day after day if Ellie is dead or alive, but Ellie won’t change her mind—she’s going.
Ellie’s departure feels like a ghastly unearthing. I can understand this as an attempt to rid herself of her PTSD—in fact, with everything she’s gone through, I’m surprised she doesn’t have infinitely more triggers. I can also understand the heat-of-the-moment promise she made to Tommy to make Abby pay after she shot him and he was left for dead. But watching everything unfold in what felt like an epilogue, I wondered if vengeance alone was sufficient to drive her to what almost certainly was her final journey.
We switch to Abby’s perspective one last time as she searches for the Fireflies with Lev. She finds a way to rendezvous with the regathering group, but is immediately captured by a brutal frat-like group that seems to pit their prisoners against infected in cage matches for their amusement.
You arrive as Ellie in Santa Barbara a couple of months later. You cut a swath through the Rattler ranks, ultimately finding Abby bound to a tall post on the beach, delirious, emaciated, tired. Ellie cuts Abby down, who in turn, cuts Lev down. Abby tells Ellie there are a few boats nearby they could use to escape. Ellie says nothing, but follows quietly.
What follows is an emotionally brutal battle between Ellie and Abby. When they reach the boats, Ellie tells Abby she can’t just let her go with Lev. Your heart sinks—why, Ellie—but Abby refuses to fight, until Ellie threatens to kill an unconscious Lev.
In my mind, I was fairly convinced that Ellie and Abby would both live. The combat sequence made me unsure. Each punch or grapple in the prolonged back-and-forth fight scene was agony, waiting for something to give, waiting for the end to come, until finally Ellie pins Abby beneath the water. She strangles and begins to drown her, holding Abby’s head underwater as she flails helplessly. A moment passes. Another. And then it happens—a single frame of Joel with his guitar, bathed in porchlight, flashes in her mind, and she stops. Ellie releases Abby, and tells her to just leave with Lev—and Abby does.
In one of the first scenes of the game, Joel visits Ellie at night, and plays a song for her on guitar: Future Days by Pearl Jam. The first lines: “If I ever were to lose you / I’d surely lose myself.” Throughout the game, we watch Ellie pick up various guitars and play a few notes of that song here and there, in remembrance. There is, however, a reason she never finishes it. It’s not because she can’t, although she is missing several fingers after her final confrontation with Abby—it’s because the song isn’t hers. The lyrics are beautiful, but the refrain is really Joel’s. The Last of Us was about Joel finding someone to live for, someone to love, and someone worth dying for, after having nothing and no one for so long. When Ellie lets Abby go, it’s not because she realizes that cycles of violence are pointless. I believe it’s because she realizes that she is more than just her relationship with Joel.
For the longest time after Joel tells Ellie the truth, she believes that she was supposed to die in that Firefly hospital, and that her death would be a gift to the world. Once Joel took that away, her purpose vanished as well—if she was not a cure, then she was nothing at all, just a husk of what could have been.
Whatever you may think of what Joel did, he gave Ellie a chance at life. He was willing to sacrifice everything to do it, and if given the chance to do it all over again, as he tells her in our final flashback, he would make the same choice. For Joel, the loss of Ellie would be the loss of himself, but what Ellie realizes in her moment of clarity is that her loss of Joel does not mean she has to lose herself too. We are more than what we can do for others, and we have value simply in living our lives.
The Last of Us Part II is a stellar piece of storytelling. Imperfect, sure, but it feels silly to magnify the imperfections until they blot out what is an eminently worthy conclusion to the original game. What everyone on The Last of Us Part II team crafted was nothing short of magic—through music, narrative, details, and gameplay, they unearthed the shallow-buried secret that defined the first installment, complicating our heroes and making us complicit in their questionable decisions and actions, journeying through fresh hellscapes and endless cycles of violence, until we arrive at the end with our hero, her humanity alive, and our faith in her just a bit worse for wear.
submitted by Tehvitan to lastofuspart2 [link] [comments]


2020.07.10 14:55 Tehvitan The Pledge, the Turn, and the Prestige: A narrative-focused analysis of The Last of Us Part II. (originally posted in r/gaming)

Disclaimer and Disclosure: This review contains spoilers of nearly all major plot points in The Last of Us Part II. I completed The Last of Us on grounded mode because I am a masochist. I am currently playing through The Last of Us Part II, but have watched my wife play through the entirety of the game.
The framing device for The Prestige (a film primarily about two magicians whose fates are brutally and inextricably linked) is a monologue by Michael Caine’s character about the three parts to a magic trick. With echoes of the three-act structure, Caine explains that the first part, the “Pledge,” is the presentation of something the audience is familiar with. The second part, “the Turn,” brings awe and disbelief—in the film, this is the magician’s disappearance from the stage. At this point, Caine says, the audience is trying to find the secret, waiting for the resolution, because making something disappear isn’t enough—you have to bring it back. And that journey, the “Prestige,” is the hardest part.
The Pledge
The end of The Last of Us has Joel and Ellie safe on the outskirts of Jackson, having survived a nearly endless onslaught of horrors ranging from the horde of infected that plague the world to the innumerable factions of tattered survivors the plague created. Ellie’s safety, however, comes at an incredible cost—the obvious societal cost is the devastating loss of a cure, but the personal cost is a destabilizing force in Joel and Ellie’s relationship, buried just below the surface. Despite everything they’ve gone through together and all they mean to each other, Joel risks undermining the whole of Ellie’s trust in him by taking away Ellie’s agency and choice as to what she does with her own life. This is what the audience knows at the outset of The Last of Us Part II.
Entering the game, you play as Ellie wandering through the streets of Jackson after a tough night, surrounded by burgeoning life and community—there are stores and pubs, theaters and children playing about. This hard-won slice of freedom from the infected is small compared to the wide world, but it’s a sanctuary, and it’s theirs.
Soon after, we switch to playing as Abby, an initially nameless girl who arrives in Jackson on a desperate mission. When we first meet her, we’re not sure who she is, what role she has to play, or how long we’ll be playing from her perspective—in retrospect, this is not only the beginning of the interweaving of Abby and Ellie’s storylines, but also our first experience with asymmetric information. As the audience, we carry Joel’s devastating secret to be kept safe from Ellie, but as the narrative unfolds, we become keenly aware that many characters in the story harbor secrets from us as well.
A short while into the game, we see the brutal killing of Joel at the hands of Abby. When the game was first released, several reviewers noted that the game was being review-bombed by users, leading to extremely disparate critic and user scores. They also noted that these reviews had come in just several hours after the release of the game, suggesting that most of them had been posted without the user having played through the entire game.
I think it’s clear that the review-bombing was in part a reaction to Joel’s murder—not just the fact of it happening, but the confluence of events that leads to it. As you play as Abby for the first time, you feel out of place—you play a character you don’t know or understand, but you are carrying out whatever semblance of a plan she has. This is different from the player experience in the original. In The Last of Us, you play as Joel and Ellie, knowing for the most part what their intentions are, and what they feel at each turn. Their choices are hard, but understandable, and players are well within the moral window to rationalize and support those choices.
As Abby, you run into Joel and Tommy and you help each other escape a terrifying onslaught of infected. Moments of extreme pressure and survival make for fast friends, but Abby uses that trust to bring Joel and Tommy back to her campsite where she ultimately tortures and kills Joel. It feels bad because a seemingly random girl wandering the mountains in search of Joel overcomes immensely improbable odds to kill a hero. It feels bad because she betrays a trust forged in the chaos of survival to do so. And it feels bad because the game makes the player complicit in Joel’s murder. But needling in the back of my mind is Joel’s secret. Watching Ellie witness Joel’s murder is heart-wrenching—I had to actively take some time to process it—but even in the moment, I couldn’t help but think that it had to be related to the cure Joel took from the world, and that Abby had a deeply personal stake.
The response from the community since the release of The Last of Us Part II has ranged from a deep appreciation for the game’s invocation of strong emotion to the misdirected anger and despicable death threats toward Abby’s voice actor, Laura Bailey. Joel’s death is a catastrophic event that shakes the player and the entire town of Jackson, but the fact of his secret cannot be forgotten. Obvious but obfuscated, Joel’s act of saving Ellie is the center of the story. It represents the love and restoration of a man who lost his daughter, lost everything. It represents the pain of betraying a loved one’s trust to keep that person safe. But it also represents the irretrievable cost of that choice to the whole of humanity.
Once you believe that Abby’s mission was personal and certainly related to Joel’s choice, a parallel forms—Abby is the dark half of Ellie. Fierce, even when alone, she is a survivor, fighting against impossible odds, against the professed wisdom of the collective, toward a singular goal in the chaos of the world. What we see in Abby is what vengeance looks like, even in the face of wrongs that are far past undoing.
The Turn
Ellie and Tommy are left alive by Abby and her crew, and they each embark (Tommy first, Ellie second, accompanied by her love interest, Dina) on a journey to avenge Joel. The player understands Ellie’s journey: Joel may have taken the cure from the world, but Ellie has no idea. As the narrative progresses, we see beautiful, comparatively serene flashbacks interwoven with the intense horror and stress of Ellie’s present journey. All the while, we see shadows of Joel’s secret echoing around Ellie in the past—the memories of a former Firefly who committed suicide after the group’s failure to stabilize society, Ellie unsuccessfully pushing Joel for answers when her doubts inevitably resurface. The player understands—Ellie is blameless here, because she was robbed of her choice, and cannot fathom why a group of people would travel nearly a thousand miles to murder Joel in cold blood.
But we learn that she knew all along. After Ellie confronts Nora (who Ellie later tortures for information on Abby), we are brought to a flashback several years prior where Ellie issues an ultimatum, and demands answers from Joel after she revisits the Firefly hospital where they were going to develop the vaccine.
He gives them. He tells her that creating a cure meant that she would have to die. That he couldn’t let that happen. And (through subtext) that even if she grew to resent him for his choice, it would still mean she was alive to do so.
This drastically changes the tenor of our outlook on Ellie’s journey to Seattle—it’s not that she doesn’t know why Abby killed Joel, it’s that she doesn’t care. We aren’t severed from our connection with Ellie as a character by any means, but we begin to understand it a little less. Nora’s conversation with Ellie tells us that Abby killed Joel because of what he did. Ellie knows this, but against her need for vengeance, it does not matter. She pushes forward, and we understand her a little less with each kill, with Ellie ultimately murdering Owen (Abby’s close friend and love interest) and Mel (a WLF medic pregnant with Owen’s child) before returning to her Seattle hideout, and abandoning the hunt for Abby.
All the while, the narrative neatly slots in parallels between Ellie and Abby—Ellie’s mission essentially traces Abby’s mission in reverse, both having love interests involved in pregnancies with another person. We begin to see that Abby may not be the dark half of Ellie, but rather an opposing reflection.
The end of Ellie’s journey in Seattle dovetails with Abby’s, just as we are brought back to the movie theater that Ellie and her crew use as a local base for the last time. The morning that Ellie and company prepare for their journey back to Jackson, Abby arrives, killing Jesse (the father of Dina’s child), and injuring Tommy. As Abby holds a gun to Ellie, telling her that she found the bodies of her friends that Ellie killed, telling her that Ellie and Tommy squandered their chance at living after she chose to leave them alive, we wake up as Abby on the morning of her first day back from killing Joel.
Abby’s story begins with a feeling of community within the WLF stadium not dissimilar to what we experience when we first walk through Jackson as Ellie. We walk in her shoes, experiencing life and all the little moments that make us human. We see the faces of those that Ellie killed, living their lives in the haven this group built. We see the aquarium Owen discovers with Abby, echoing Joel’s birthday gift to Ellie of the natural history museum tour. And we learn that Abby’s father was the first doctor that Joel shot as he entered the operating room to rescue an unconscious Ellie.
As we are introduced to Abby’s world, we see her wrestling with her part in an ongoing war between the WLF and the Seraphites. By the end of her first day back, she finds herself captured by the enemy, narrowly being rescued by two defectors from the religious sect—a sister and a brother (Yara and Lev). Yara’s left arm is shattered by the Seraphites, but the trio manages to escape together. After they reach a place of safety, Abby splints Yara’s arm and leaves.
That night, Owen tells Abby a story about an old Seraphite he encountered during a skirmish. The old man didn’t try to retrieve his weapon or continue fighting when his unit was overwhelmed—he just looked tired, and ready to die. That story wandering in her mind, Abby returns for Yara and Lev the next day and brings them to the aquarium for treatment and safekeeping.
Unfortunately, the conflict between the WLF and the Seraphites escalates into all-out war, and Abby finds herself rushing into the fray with Yara to rescue Lev, who has gone back to save his mother. The Seraphites’ island is in chaos and ruin—fire engulfs nearly everything in sight, Lev kills his mother in self-defense, Yara dies saving Abby, and Abby and Lev narrowly escape the island.
At this point, Abby has had a real challenge of a day. Her world has been turned upside-down, her closest friend is leaving for Santa Barbara to chase rumors of the Fireflies regrouping, and she just fought through the front lines of an active warzone to save the life of a former Seraphite. She returns to the aquarium for a bit of rest, but finds Owen, Mel, and her dog, Alice, all dead.
This brings us back to the intersection of Ellie and Abby’s stories. Abby holds a gun at Ellie after having killed Jesse, with Tommy cowering on the floor. She’s prepared to shoot when a sudden scuffle leaves Tommy badly wounded, with Abby chasing Ellie through the theater.
The ensuing battle is emotionally difficult to play. You control Abby, chasing and beating Ellie down, at one point, nearly strangling her to death. But as I watched the fight play out, my misgivings about Ellie’s intentions evaporated—it didn’t matter that she was single-minded in her vengeance, it didn’t matter that she knew about Joel’s secret. All that mattered was that she lived.
Abby ultimately defeats Ellie, moving to slit Dina’s throat before finishing Ellie off, but Lev intervenes. The former Seraphite, the boy who was told by his mother and clan that he was wrong about who he was, embodies whatever forgiveness and peace Abby can muster. And in the end, it’s enough. Abby leaves Dina and Ellie alive, warning Ellie to stay away from her, and heads to Santa Barbara with Lev.
The Prestige
We wake up as Ellie on a small farm with Dina and her newborn child, Potato (given name J.J., probably for Joel and Jesse). You find Dina in the kitchen doing something or other, you search for a toy elephant of Potato’s in the front yard, you meander through your vegetable garden before tending to your flock of sheep in the backyard—everything is idyllic, peaceful, at rest.
It could end here. Ellie could be content and live out the rest of her life on a small, self-sufficient farm with her love and their child. She could spend her days just living, traveling the short path between her hard-won slice of solace and the town of Jackson, wandering into town to see familiar faces, come and go as she pleased.
It could end here, and Ellie might be happy—but it’s not that simple. The sound of metal cracking against a hard surface—a shovel in the barn—brings Ellie right back into the basement where Joel was tortured. She relives that moment in her mind over and over, with stray sounds able to leave her stranded in the memory, alone. She hears him begging for her to rescue him, for her to be strong enough, but of course, she can’t. She hears him die thousands of times—she can’t sleep, she can’t eat—until finally, one night, she begins packing her backpack.
Dina finds Ellie in the middle of the night preparing for the journey. She doesn’t want to think it, but she knows that Ellie is going after Abby. Ellie tells her so. Dina says that she can’t handle waiting anymore, wondering day after day if Ellie is dead or alive, but Ellie won’t change her mind—she’s going.
Ellie’s departure feels like a ghastly unearthing. I can understand this as an attempt to rid herself of her PTSD—in fact, with everything she’s gone through, I’m surprised she doesn’t have infinitely more triggers. I can also understand the heat-of-the-moment promise she made to Tommy to make Abby pay after she shot him and he was left for dead. But watching everything unfold in what felt like an epilogue, I wondered if vengeance alone was sufficient to drive her to what almost certainly was her final journey.
We switch to Abby’s perspective one last time as she searches for the Fireflies with Lev. She finds a way to rendezvous with the regathering group, but is immediately captured by a brutal frat-like group that seems to pit their prisoners against infected in cage matches for their amusement.
You arrive as Ellie in Santa Barbara a couple of months later. You cut a swath through the Rattler ranks, ultimately finding Abby bound to a tall post on the beach, delirious, emaciated, tired. Ellie cuts Abby down, who in turn, cuts Lev down. Abby tells Ellie there are a few boats nearby they could use to escape. Ellie says nothing, but follows quietly.
What follows is an emotionally brutal battle between Ellie and Abby. When they reach the boats, Ellie tells Abby she can’t just let her go with Lev. Your heart sinks—why, Ellie—but Abby refuses to fight, until Ellie threatens to kill an unconscious Lev.
In my mind, I was fairly convinced that Ellie and Abby would both live. The combat sequence made me unsure. Each punch or grapple in the prolonged back-and-forth fight scene was agony, waiting for something to give, waiting for the end to come, until finally Ellie pins Abby beneath the water. She strangles and begins to drown her, holding Abby’s head underwater as she flails helplessly. A moment passes. Another. And then it happens—a single frame of Joel with his guitar, bathed in porchlight, flashes in her mind, and she stops. Ellie releases Abby, and tells her to just leave with Lev—and Abby does.
In one of the first scenes of the game, Joel visits Ellie at night, and plays a song for her on guitar: Future Days by Pearl Jam. The first lines: “If I ever were to lose you / I’d surely lose myself.” Throughout the game, we watch Ellie pick up various guitars and play a few notes of that song here and there, in remembrance. There is, however, a reason she never finishes it. It’s not because she can’t, although she is missing several fingers after her final confrontation with Abby—it’s because the song isn’t hers. The lyrics are beautiful, but the refrain is really Joel’s. The Last of Us was about Joel finding someone to live for, someone to love, and someone worth dying for, after having nothing and no one for so long. When Ellie lets Abby go, it’s not because she realizes that cycles of violence are pointless. I believe it’s because she realizes that she is more than just her relationship with Joel.
For the longest time after Joel tells Ellie the truth, she believes that she was supposed to die in that Firefly hospital, and that her death would be a gift to the world. Once Joel took that away, her purpose vanished as well—if she was not a cure, then she was nothing at all, just a husk of what could have been.
Whatever you may think of what Joel did, he gave Ellie a chance at life. He was willing to sacrifice everything to do it, and if given the chance to do it all over again, as he tells her in our final flashback, he would make the same choice. For Joel, the loss of Ellie would be the loss of himself, but what Ellie realizes in her moment of clarity is that her loss of Joel does not mean she has to lose herself too. We are more than what we can do for others, and we have value simply in living our lives.
The Last of Us Part II is a stellar piece of storytelling. Imperfect, sure, but it feels silly to magnify the imperfections until they blot out what is an eminently worthy conclusion to the original game. What everyone on The Last of Us Part II team crafted was nothing short of magic—through music, narrative, details, and gameplay, they unearthed the shallow-buried secret that defined the first installment, complicating our heroes and making us complicit in their questionable decisions and actions, journeying through fresh hellscapes and endless cycles of violence, until we arrive at the end with our hero, her humanity alive, and our faith in her just a bit worse for wear.
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2020.07.10 14:52 Tehvitan The Pledge, the Turn, and the Prestige: A narrative-focused analysis of The Last of Us Part II. (originally posted in r/gaming)

Disclaimer and Disclosure: This review contains spoilers of nearly all major plot points in The Last of Us Part II. I completed The Last of Us on grounded mode because I am a masochist. I am currently playing through The Last of Us Part II, but have watched my wife play through the entirety of the game.
The framing device for The Prestige (a film primarily about two magicians whose fates are brutally and inextricably linked) is a monologue by Michael Caine’s character about the three parts to a magic trick. With echoes of the three-act structure, Caine explains that the first part, the “Pledge,” is the presentation of something the audience is familiar with. The second part, “the Turn,” brings awe and disbelief—in the film, this is the magician’s disappearance from the stage. At this point, Caine says, the audience is trying to find the secret, waiting for the resolution, because making something disappear isn’t enough—you have to bring it back. And that journey, the “Prestige,” is the hardest part.
The Pledge
The end of The Last of Us has Joel and Ellie safe on the outskirts of Jackson, having survived a nearly endless onslaught of horrors ranging from the horde of infected that plague the world to the innumerable factions of tattered survivors the plague created. Ellie’s safety, however, comes at an incredible cost—the obvious societal cost is the devastating loss of a cure, but the personal cost is a destabilizing force in Joel and Ellie’s relationship, buried just below the surface. Despite everything they’ve gone through together and all they mean to each other, Joel risks undermining the whole of Ellie’s trust in him by taking away Ellie’s agency and choice as to what she does with her own life. This is what the audience knows at the outset of The Last of Us Part II.
Entering the game, you play as Ellie wandering through the streets of Jackson after a tough night, surrounded by burgeoning life and community—there are stores and pubs, theaters and children playing about. This hard-won slice of freedom from the infected is small compared to the wide world, but it’s a sanctuary, and it’s theirs.
Soon after, we switch to playing as Abby, an initially nameless girl who arrives in Jackson on a desperate mission. When we first meet her, we’re not sure who she is, what role she has to play, or how long we’ll be playing from her perspective—in retrospect, this is not only the beginning of the interweaving of Abby and Ellie’s storylines, but also our first experience with asymmetric information. As the audience, we carry Joel’s devastating secret to be kept safe from Ellie, but as the narrative unfolds, we become keenly aware that many characters in the story harbor secrets from us as well.
A short while into the game, we see the brutal killing of Joel at the hands of Abby. When the game was first released, several reviewers noted that the game was being review-bombed by users, leading to extremely disparate critic and user scores. They also noted that these reviews had come in just several hours after the release of the game, suggesting that most of them had been posted without the user having played through the entire game.
I think it’s clear that the review-bombing was in part a reaction to Joel’s murder—not just the fact of it happening, but the confluence of events that leads to it. As you play as Abby for the first time, you feel out of place—you play a character you don’t know or understand, but you are carrying out whatever semblance of a plan she has. This is different from the player experience in the original. In The Last of Us, you play as Joel and Ellie, knowing for the most part what their intentions are, and what they feel at each turn. Their choices are hard, but understandable, and players are well within the moral window to rationalize and support those choices.
As Abby, you run into Joel and Tommy and you help each other escape a terrifying onslaught of infected. Moments of extreme pressure and survival make for fast friends, but Abby uses that trust to bring Joel and Tommy back to her campsite where she ultimately tortures and kills Joel. It feels bad because a seemingly random girl wandering the mountains in search of Joel overcomes immensely improbable odds to kill a hero. It feels bad because she betrays a trust forged in the chaos of survival to do so. And it feels bad because the game makes the player complicit in Joel’s murder. But needling in the back of my mind is Joel’s secret. Watching Ellie witness Joel’s murder is heart-wrenching—I had to actively take some time to process it—but even in the moment, I couldn’t help but think that it had to be related to the cure Joel took from the world, and that Abby had a deeply personal stake.
The response from the community since the release of The Last of Us Part II has ranged from a deep appreciation for the game’s invocation of strong emotion to the misdirected anger and despicable death threats toward Abby’s voice actor, Laura Bailey. Joel’s death is a catastrophic event that shakes the player and the entire town of Jackson, but the fact of his secret cannot be forgotten. Obvious but obfuscated, Joel’s act of saving Ellie is the center of the story. It represents the love and restoration of a man who lost his daughter, lost everything. It represents the pain of betraying a loved one’s trust to keep that person safe. But it also represents the irretrievable cost of that choice to the whole of humanity.
Once you believe that Abby’s mission was personal and certainly related to Joel’s choice, a parallel forms—Abby is the dark half of Ellie. Fierce, even when alone, she is a survivor, fighting against impossible odds, against the professed wisdom of the collective, toward a singular goal in the chaos of the world. What we see in Abby is what vengeance looks like, even in the face of wrongs that are far past undoing.
The Turn
Ellie and Tommy are left alive by Abby and her crew, and they each embark (Tommy first, Ellie second, accompanied by her love interest, Dina) on a journey to avenge Joel. The player understands Ellie’s journey: Joel may have taken the cure from the world, but Ellie has no idea. As the narrative progresses, we see beautiful, comparatively serene flashbacks interwoven with the intense horror and stress of Ellie’s present journey. All the while, we see shadows of Joel’s secret echoing around Ellie in the past—the memories of a former Firefly who committed suicide after the group’s failure to stabilize society, Ellie unsuccessfully pushing Joel for answers when her doubts inevitably resurface. The player understands—Ellie is blameless here, because she was robbed of her choice, and cannot fathom why a group of people would travel nearly a thousand miles to murder Joel in cold blood.
But we learn that she knew all along. After Ellie confronts Nora (who Ellie later tortures for information on Abby), we are brought to a flashback several years prior where Ellie issues an ultimatum, and demands answers from Joel after she revisits the Firefly hospital where they were going to develop the vaccine.
He gives them. He tells her that creating a cure meant that she would have to die. That he couldn’t let that happen. And (through subtext) that even if she grew to resent him for his choice, it would still mean she was alive to do so.
This drastically changes the tenor of our outlook on Ellie’s journey to Seattle—it’s not that she doesn’t know why Abby killed Joel, it’s that she doesn’t care. We aren’t severed from our connection with Ellie as a character by any means, but we begin to understand it a little less. Nora’s conversation with Ellie tells us that Abby killed Joel because of what he did. Ellie knows this, but against her need for vengeance, it does not matter. She pushes forward, and we understand her a little less with each kill, with Ellie ultimately murdering Owen (Abby’s close friend and love interest) and Mel (a WLF medic pregnant with Owen’s child) before returning to her Seattle hideout, and abandoning the hunt for Abby.
All the while, the narrative neatly slots in parallels between Ellie and Abby—Ellie’s mission essentially traces Abby’s mission in reverse, both having love interests involved in pregnancies with another person. We begin to see that Abby may not be the dark half of Ellie, but rather an opposing reflection.
The end of Ellie’s journey in Seattle dovetails with Abby’s, just as we are brought back to the movie theater that Ellie and her crew use as a local base for the last time. The morning that Ellie and company prepare for their journey back to Jackson, Abby arrives, killing Jesse (the father of Dina’s child), and injuring Tommy. As Abby holds a gun to Ellie, telling her that she found the bodies of her friends that Ellie killed, telling her that Ellie and Tommy squandered their chance at living after she chose to leave them alive, we wake up as Abby on the morning of her first day back from killing Joel.
Abby’s story begins with a feeling of community within the WLF stadium not dissimilar to what we experience when we first walk through Jackson as Ellie. We walk in her shoes, experiencing life and all the little moments that make us human. We see the faces of those that Ellie killed, living their lives in the haven this group built. We see the aquarium Owen discovers with Abby, echoing Joel’s birthday gift to Ellie of the natural history museum tour. And we learn that Abby’s father was the first doctor that Joel shot as he entered the operating room to rescue an unconscious Ellie.
As we are introduced to Abby’s world, we see her wrestling with her part in an ongoing war between the WLF and the Seraphites. By the end of her first day back, she finds herself captured by the enemy, narrowly being rescued by two defectors from the religious sect—a sister and a brother (Yara and Lev). Yara’s left arm is shattered by the Seraphites, but the trio manages to escape together. After they reach a place of safety, Abby splints Yara’s arm and leaves.
That night, Owen tells Abby a story about an old Seraphite he encountered during a skirmish. The old man didn’t try to retrieve his weapon or continue fighting when his unit was overwhelmed—he just looked tired, and ready to die. That story wandering in her mind, Abby returns for Yara and Lev the next day and brings them to the aquarium for treatment and safekeeping.
Unfortunately, the conflict between the WLF and the Seraphites escalates into all-out war, and Abby finds herself rushing into the fray with Yara to rescue Lev, who has gone back to save his mother. The Seraphites’ island is in chaos and ruin—fire engulfs nearly everything in sight, Lev kills his mother in self-defense, Yara dies saving Abby, and Abby and Lev narrowly escape the island.
At this point, Abby has had a real challenge of a day. Her world has been turned upside-down, her closest friend is leaving for Santa Barbara to chase rumors of the Fireflies regrouping, and she just fought through the front lines of an active warzone to save the life of a former Seraphite. She returns to the aquarium for a bit of rest, but finds Owen, Mel, and her dog, Alice, all dead.
This brings us back to the intersection of Ellie and Abby’s stories. Abby holds a gun at Ellie after having killed Jesse, with Tommy cowering on the floor. She’s prepared to shoot when a sudden scuffle leaves Tommy badly wounded, with Abby chasing Ellie through the theater.
The ensuing battle is emotionally difficult to play. You control Abby, chasing and beating Ellie down, at one point, nearly strangling her to death. But as I watched the fight play out, my misgivings about Ellie’s intentions evaporated—it didn’t matter that she was single-minded in her vengeance, it didn’t matter that she knew about Joel’s secret. All that mattered was that she lived.
Abby ultimately defeats Ellie, moving to slit Dina’s throat before finishing Ellie off, but Lev intervenes. The former Seraphite, the boy who was told by his mother and clan that he was wrong about who he was, embodies whatever forgiveness and peace Abby can muster. And in the end, it’s enough. Abby leaves Dina and Ellie alive, warning Ellie to stay away from her, and heads to Santa Barbara with Lev.
The Prestige
We wake up as Ellie on a small farm with Dina and her newborn child, Potato (given name J.J., probably for Joel and Jesse). You find Dina in the kitchen doing something or other, you search for a toy elephant of Potato’s in the front yard, you meander through your vegetable garden before tending to your flock of sheep in the backyard—everything is idyllic, peaceful, at rest.
It could end here. Ellie could be content and live out the rest of her life on a small, self-sufficient farm with her love and their child. She could spend her days just living, traveling the short path between her hard-won slice of solace and the town of Jackson, wandering into town to see familiar faces, come and go as she pleased.
It could end here, and Ellie might be happy—but it’s not that simple. The sound of metal cracking against a hard surface—a shovel in the barn—brings Ellie right back into the basement where Joel was tortured. She relives that moment in her mind over and over, with stray sounds able to leave her stranded in the memory, alone. She hears him begging for her to rescue him, for her to be strong enough, but of course, she can’t. She hears him die thousands of times—she can’t sleep, she can’t eat—until finally, one night, she begins packing her backpack.
Dina finds Ellie in the middle of the night preparing for the journey. She doesn’t want to think it, but she knows that Ellie is going after Abby. Ellie tells her so. Dina says that she can’t handle waiting anymore, wondering day after day if Ellie is dead or alive, but Ellie won’t change her mind—she’s going.
Ellie’s departure feels like a ghastly unearthing. I can understand this as an attempt to rid herself of her PTSD—in fact, with everything she’s gone through, I’m surprised she doesn’t have infinitely more triggers. I can also understand the heat-of-the-moment promise she made to Tommy to make Abby pay after she shot him and he was left for dead. But watching everything unfold in what felt like an epilogue, I wondered if vengeance alone was sufficient to drive her to what almost certainly was her final journey.
We switch to Abby’s perspective one last time as she searches for the Fireflies with Lev. She finds a way to rendezvous with the regathering group, but is immediately captured by a brutal frat-like group that seems to pit their prisoners against infected in cage matches for their amusement.
You arrive as Ellie in Santa Barbara a couple of months later. You cut a swath through the Rattler ranks, ultimately finding Abby bound to a tall post on the beach, delirious, emaciated, tired. Ellie cuts Abby down, who in turn, cuts Lev down. Abby tells Ellie there are a few boats nearby they could use to escape. Ellie says nothing, but follows quietly.
What follows is an emotionally brutal battle between Ellie and Abby. When they reach the boats, Ellie tells Abby she can’t just let her go with Lev. Your heart sinks—why, Ellie—but Abby refuses to fight, until Ellie threatens to kill an unconscious Lev.
In my mind, I was fairly convinced that Ellie and Abby would both live. The combat sequence made me unsure. Each punch or grapple in the prolonged back-and-forth fight scene was agony, waiting for something to give, waiting for the end to come, until finally Ellie pins Abby beneath the water. She strangles and begins to drown her, holding Abby’s head underwater as she flails helplessly. A moment passes. Another. And then it happens—a single frame of Joel with his guitar, bathed in porchlight, flashes in her mind, and she stops. Ellie releases Abby, and tells her to just leave with Lev—and Abby does.
In one of the first scenes of the game, Joel visits Ellie at night, and plays a song for her on guitar: Future Days by Pearl Jam. The first lines: “If I ever were to lose you / I’d surely lose myself.” Throughout the game, we watch Ellie pick up various guitars and play a few notes of that song here and there, in remembrance. There is, however, a reason she never finishes it. It’s not because she can’t, although she is missing several fingers after her final confrontation with Abby—it’s because the song isn’t hers. The lyrics are beautiful, but the refrain is really Joel’s. The Last of Us was about Joel finding someone to live for, someone to love, and someone worth dying for, after having nothing and no one for so long. When Ellie lets Abby go, it’s not because she realizes that cycles of violence are pointless. I believe it’s because she realizes that she is more than just her relationship with Joel.
For the longest time after Joel tells Ellie the truth, she believes that she was supposed to die in that Firefly hospital, and that her death would be a gift to the world. Once Joel took that away, her purpose vanished as well—if she was not a cure, then she was nothing at all, just a husk of what could have been.
Whatever you may think of what Joel did, he gave Ellie a chance at life. He was willing to sacrifice everything to do it, and if given the chance to do it all over again, as he tells her in our final flashback, he would make the same choice. For Joel, the loss of Ellie would be the loss of himself, but what Ellie realizes in her moment of clarity is that her loss of Joel does not mean she has to lose herself too. We are more than what we can do for others, and we have value simply in living our lives.
The Last of Us Part II is a stellar piece of storytelling. Imperfect, sure, but it feels silly to magnify the imperfections until they blot out what is an eminently worthy conclusion to the original game. What everyone on The Last of Us Part II team crafted was nothing short of magic—through music, narrative, details, and gameplay, they unearthed the shallow-buried secret that defined the first installment, complicating our heroes and making us complicit in their questionable decisions and actions, journeying through fresh hellscapes and endless cycles of violence, until we arrive at the end with our hero, her humanity alive, and our faith in her just a bit worse for wear.
submitted by Tehvitan to thelastofus [link] [comments]


2020.07.10 14:31 DreamPirates Rihanna - Only Girl in the World (The Bimbo Jones club) Lyrics DreamPirates

Rihanna - Only Girl in the World (The Bimbo Jones club) Lyrics DreamPirates submitted by DreamPirates to dreampirates [link] [comments]


2020.07.10 14:31 DreamPirates Rihanna - Only Girl (in the World) (Rosabel's Only dub in the World) Lyrics DreamPirates

Rihanna - Only Girl (in the World) (Rosabel's Only dub in the World) Lyrics DreamPirates submitted by DreamPirates to dreampirates [link] [comments]


2020.07.10 13:53 bkwc2014 Unpopular opinion

No hate, but does anyone else think Cinnamon Girl is overhyped? It’s not a bad song but EVERYBODY seems to love it and claim it one of her best, and I’ve personally never seen anything interesting about it. Lyrics are okay and production is meh. Idk just wondering if anyone else agrees
submitted by bkwc2014 to lanadelrey [link] [comments]


2020.07.10 13:10 Lierdamusic Need Female Vocalist ASAP

Hey guys !
We're an indie/Pop Band and we're looking for a girl to collab with!
We already have a beat ready and most of the lyrics done, we just need your part!
I'll link our YouTube for references on past songs we've created,
Please let us know if anyone is interested !
https://www.youtube.com/watch?v=NkOcQD4BcA8&list=OLAK5uy_m2EQXN5SdZxQ53CKC440Z1d-JxV9-wrOY
https://www.instagram.com/lierdamusic/
submitted by Lierdamusic to MusicInTheMaking [link] [comments]


2020.07.10 13:01 mobiuscherry888 So What Happened in So What? (Continuation of my Kim Lip Timey Wimey Theory)

So What Happened in So What? (Continuation of my Kim Lip Timey Wimey Theory)
HELLO!! As the title says, this is a continuation of my previous theory about X X.
Part One & Part Two
So as we saw at the end of the previous theory, Kim Lip, through several attempts at time travel, ended up creating alternate timelines with different iterations of the girls. Those iterations are the ones in the Butterfly MV and B#RN teaser, implied by them imitating Loona's actions in previous MVs.
Butterfly showed the creation and existence of these girls through X X era's teasers and the music video, and I believe even subtleties in the choreography. Steps like this one and this one, show them 'splitting up' into different entities and causing a ripple effect.
It must be noted that there are no interactions between the other girls and Loona in Butterfly, because Butterfly wasn't a particular, separate event; but just the creation of these alternate girls as yyxy carried out their mission to meet the girls of 1/3.
Now onto the theory. I didn't include anything about the B#RN teaser in the previous theory, so let me begin from there.
The teaser for B#RN has been dissected to death but I think it's fairly simple. It shows the yyxy girls carrying out their mission but obviously unable to complete it; and instead causing new complications with the alternate timelines and alternate selves and whatnot. Olivia Hye is the one who notices this, she's the only one to interact with an alternate girl.

https://preview.redd.it/gqiwvcersz951.png?width=1063&format=png&auto=webp&s=9ab777096f1a14c341d9a3bd5ed32afd940c3805
https://preview.redd.it/z38f7ytmsz951.png?width=1045&format=png&auto=webp&s=550af07556a6bd2272af639e72d01328dfdd4b67

The girl, however, does not notice her and walks by. This has been one of the biggest hurdles in their journey so far. Due to the shape of the universe, the girls have been unable to see each other and interact with each other properly; as implied in several music videos.
So the attempt to break the loop and meet the 1/3 girls through time travel was unsuccessful. What now? Well, the teaser ends with a shot of Olivia Hye, then GoWon and then this:

Butterflies flying and sparks flying.

Olivia Hye comes up with a plan to burn the moon to truly free them and their alternate versions (butterflies representing them). I think this is implied by her pulling off the choker that she had, she's not going to be bound by anything anymore. She's setting them all free.
But why the moon? Because, since the beginning, the moon has been an important factor in the Loonaverse and it is the center on the mobius strip universe in the lore. The moon keeps the strip held together, but also simultaneously prevents the girls from being able to interact with each other. Especially the girls from 1/3 and yyxy, due to the shape of the mobius strip.

1/3 is in front of the moon, and yyxy is behind.

So the plan ensues. Olivia Hye travels to the back of the moon as the #2 teaser shows us the moon turning and showing it's back, which is shrouded in darkness.

https://preview.redd.it/vc0s4i7820a51.png?width=781&format=png&auto=webp&s=ca90cd2da29989f197cfbfbdec2b9c1adc9c7639

Now you must be thinking: Wait, but the teaser said that no one knows what's on the back of the moon. Then how is yyxy behind it? Wouldn't they know what's on the back?
Well, it is clear that the Loonaverse is a different fictional universe that doesn't correspond with the laws of our universe. In the teaser "to all Loonas around the world", the dialogue piece that is used is very clearly of our own universe rather than the Loonaverse. The piece said that the moon orbits around the Earth, while in the Loonaverse, anything close to the our 'Earth' is 1/3's plane. This plane, however, is on the mobius strip wrapped around the moon which would make it hard for the moon to orbit around it.
Instead, I think the dialogue is used to contrast our universe with the Loonaverse. When the voice says that no one knows what's on the back of the moon, we get an ominous shot of GoWon with the music getting louder and the speaker more clear. It is also significant that she is the only Loona member in the teaser, which only had the alternate girls, and that she is appearing at this point of dialogue.
It's as though the teaser is trying to say: These are facts of the moon, that pertain to our universe (all while showing the girls), but these don't apply to the Loonaverse (revealing GoWon and the music).
Moving on to the music video. Here is the snippet from the start:
Do not accept the fate of the moon
Get off the track
Reveal to the world the hidden side
Burn yourself.
The fate of the moon and the track refers to the loop that they are stuck in. The fate that the moon has determined for them through its existence that they will never be able to all meet. The solution? Burning it.
(This piece, of course, has real world implications too through its message and we love it, but I will only focus on the events in the Loonaverse.)
The concept of burning yourself is reminicent of the lore of the phoenix) and also in a way, of the bird from Demian. Self-love and self-discovery have been and continues to be a part of the Loonaverse through yyxy and the lyrics of both Butterfly and So What. In the Loona lore itself, this concept can be in relation to Olivia burning down the moon, to open up infinite new possibilities without it blocking their way. Destroying one thing, to birth another.
I think, rather than the MV taking place in a linear structure, Olivia Hye burns down the moon before any of the interactions in the MV. This is supported by the MV beginning in the red light and the rest of the music videos in celebration and during the daytime.

https://preview.redd.it/e404xxc490a51.png?width=958&format=png&auto=webp&s=eb4548d260d421a3986f0041528b5262515723df

Olivia Hye went to the back of the moon, and set it on fire, burning it, and thus destroying it.

https://preview.redd.it/3jv45b57a0a51.png?width=845&format=png&auto=webp&s=7fd6caa68200695608257e5e8f2a1948fc886d19
The fire is shown to begin from behind.
https://preview.redd.it/x12g5e4da0a51.png?width=1025&format=png&auto=webp&s=8d692571b35bd88cbbfb0c977f7f28f9896da609

The moon is now destroyed. It doesn't stop them from getting together anymore. Olivia Hye and Yves are seen with JinSoul, Choerry and HyunJin in the train. Olivia Hye hangs out with HeeJin, YeoJin and Kim Lip on that car. They can interact not just with each other, but also with their alternate selves. Loona are all together, they're whole now. They're free.

https://preview.redd.it/5e2kerx6b0a51.png?width=1109&format=png&auto=webp&s=a7ad87ca138c0c3d4fcca604b1ba6aab6d7cccdb

But wait!! They aren't all together yet. GoWon went back in time to find HaSeul but all she found was a feather. She had missed Haseul again. Olivia just removed what was obstructing them and united all the girls. But still, HaSeul isn't there with them.

https://preview.redd.it/24711h6jb0a51.png?width=977&format=png&auto=webp&s=e01a056a51227e9e13eed1f0452c61626ffc95b8

YeoJin, while celebrating the removal of their obstacle, looks at the sky forlorn.

https://preview.redd.it/c8ybdaubf0a51.png?width=979&format=png&auto=webp&s=4dbf0ae8554541f0fd72c347a847cf6389547823

GoWon, who was sent to find HaSeul, too looks around her. And while the butteflies that flickered in XIIX because of the barrier making them unable to come together, now fly smoothly and freely, She can sense that everything isn't solved yet.

https://preview.redd.it/y0l10acsf0a51.png?width=1039&format=png&auto=webp&s=a92ff017d194284075a66f2124738c0bd9c18b9c

So where is HaSeul? What is stopping her from joining the rest of the girls?
Well, I don't know. I think this is what we will see in their next comeback. With the moon gone and them uniting, albeit without HaSeul, this opens up a new frontier for the Loonaverse.
So that's the theory! What are your thoughts about this all? Most of all, thank you very much for reading!
submitted by mobiuscherry888 to LOONA [link] [comments]


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50+ videos Play all Mix - Motley Crue - Girls Girls Girls (With Lyrics) YouTube Mötley Crüe - Girls, Girls, Girls (The End, Live In Los Angeles) - Duration: 4:30. Eagle Rock 2,931,737 views 50+ videos Play all Mix - Aramis - 21 Girls (Lyrics) YouTube Blake Shelton - God's Country (Official Music Video) - Duration: 3:28. Blake Shelton Recommended for you Song: Girls! Girls! Girls! Artist: Emilie Autumn Album: Fight Like A Girl done by using Adobe Premier Pro and After Effects CS5.5 Enjoy and as always, support the artists whose work you enjoy. 50+ videos Play all Mix - Motley Crue (girls girls girls with lyrics) YouTube Mötley Crüe - Girls Girls Girls (Official Music Video) - Duration: 4:35. Mötley Crüe 20,738,847 views Song Girls, Girls, Girls; Artist Mötley Crüe; Album The Dirt Soundtrack; Licensed to YouTube by [Merlin] Eleven Seven Music Group (on behalf of Mötley Records); AMRA, ASCAP, LatinAutor - Warner ... 50+ videos Play all Mix - Marcus & Martinus - Girls Lyrics YouTube Marcus & Martinus - Girls ft. Madcon - Duration: 3:35. Marcus & Martinus 143,182,701 views 50+ videos Play all Mix - Beastie boys - Girls(lyrics) YouTube; Beastie Boys - So What Cha Want (w/lyrics) - Duration: 3:38. MrDukeman48 1,515,675 views. 3:38. 50+ ... Girls, Girls, Girls - Motley Crue (Lyrics Karaoke) ===== Friday night and I need a fight My motorcycle and a switchblade knife Handful of grease in my hair feels right But what I need to make me ... Requested by: jennifer morton, Kim Kyungsoo, chuixy, Kyria Chong Check out the album tracklist in the links below Color Code: JB - Red Youngjae [YJ] - Green Yugyeom - Orange Mark - Blue Jackson ... Song Girls; Artist RITA ORA feat. Cardi B, Bebe Rexha & Charli XCX; Licensed to YouTube by WMG, SME (on behalf of Rita Sahatciu Ora); Sony ATV Publishing, LatinAutor - SonyATV, Kobalt Music ...