#poetic justice lyrics

[thisisnotthenerd]

started thinking about lyrics to dawn of justice

like:

watch me rise on this dawn of justice rebel fire for saviors and righteous eyes on me when the fucking bass hits ‘cause you know i’m coming for you bitch

or

fiery sun emerge from the dark clouds scales of law turned hammer of war now find conviction pure from love or doubt best prepare ‘cause i will not bow down

or

clawed the fire from sundown as she fell powers shift as followers compel carved bakur out of athenriel giant devil bursting forth in hell

or

sunlight breaking out of the darkness summer’s peace give way to the conquest crystals red now coming to harvest bringing power to rage incarnate

#dimension 20 #dimension 20 spoilers #fhjy #fhjy spoilers #figueroth faeth #d20 ankarna #dawn of justice #idk i just started thinking of lyrics #might add this to my song series #songs of the celestine #even though it doesn’t technically fit #fantasy high junior year #fantasy high #fantasy high junior year spoilers #d20 prose & verse #d20 poetic thoughts

[violetvisionss]

If a flower bloomed in a dark room do you think you could trust it?

Snapshots from 2023

Captured with fuji film with colorization in davinci resolve

#poetic justice #filmisnotdead #kendrick lamar #rap lyrics #fresh flowers #nightcrawler #lyric aesthetics #nighttime #neon lights #rainyweather #spring #loveislove #overcome #twinkling lights #trap #2000s aesthetic #original photography blog #art #photographers on tumblr #austin texas #film photography

[allmypink]

#kendrick lamar #lyrics #poetic justice

[mothlingmeg]

poetic justice

#me #mine #selfie #personal #instagram #lyrics #quotes #poetic justice #petals for armor aesthetic #flowers #grunge outfits #pale grunge #grunge aesthetic #dark grunge #grunge #soft grunge #journal #journaling #my diary #diary entry #2014 tumblr #2014 aesthetic #2014 indie #bring back 2014 #2014 nostalgia

[lovesinistra]

#kendrick lamar #poetic justice #love #lyrics #music

[musicaddictt]

#poetic justice #kendrick lamar #rap #lyrics

[djsneakrfreak]

#poetic justice #Drake #lyrics

[urfavnegronerd]

right there- alina baraz

summary: lazy day w miles (either 1610 or 42) 

pairing: miles x black coded reader  

w/c: 839

sum slight

warnings: lowk suggestive if you squint, fem (?) reader (miles refers to reader as ma and mama and princesa, but no use of pronouns so idk if it counts as fem reader), grammarly edited, but nothing really lmk if i missed something

published: august 7, 2023

song lyrics are italicized

ven aquí- come here, vení- come here (informal), princesa- princess

s/o @lunarfleur for this concept, luv u babycakes smooches

i get so caught up

The day had effortlessly slipped away, like sand through your fingers in a lazy, syrupy, and euphoric haze.  

“Mama? baby?” Miles mumbles, his face halfway nuzzled into your stomach, his hands absent-mindedly kneading at your hips, listlessly raising his head to meet your half-lidded gaze, lifting your chin to meet his eyes. 

“Mmm?” 

“Ven aquí,” 

might of forgot us, can you remind me? 

His voice is a tired kind of raspy as he’s pressing his lips into yours in a mixture of lenience and hunger, his calloused hands cradling your cheeks, pulling away, and kissing your nose. Returning to his original position on your stomach, nuzzling his face into your stomach once again to watch an older CoryxKenshin video. Confused and blushing, you return to your copy of When Dimple Met Rishi, dreamily running your nails across his durag massaging his hair through the silky fabric. 

His bedroom was a small oasis, far away from the usual Brooklyn noise, a quiet dream far far away from everything you were running away from. The dazey smog of cigarette smoke permanently hanging in the air of your apartment, the smog that got caught in the fibers of your clothes, irreversibly weaving its way into your braids. You’d evolved to the point that it smelled comforting, but at the same time, it was a permanent burden on your shoulders, the scent weighing your shoulders down.   

tell me to come back, i got a lot on my mind

“Ma, come back,” he mumbles, pressing his face into your cheek. “Want another kiss,” 

Laughing and leaning into his mouth, adjusting your face up to him, you comply. The kiss was a warm envelope, encasing the two of you in a heavy and exultant moment of obscurity.  

i know it’s been a while, been a while, but i need you this time 

The two of you pull away and you return to your book as he returns to the animated lull of his video. The two of you stay like that, kissing every couple of minutes and going back to your respective past times. It was moments like this that you savored, the tenderness of his room, the soft scent of peppermint oil mixed with sandalwood, and the delicate warmth of the musky cologne he wore like a second skin. He never wore too much though, enough for you to associate him with that smell and the light menthol of his chapstick. The boy did wonders on you, he and his mother had shown you the kind of love you’d only seen on old reruns of Love and Basketball, Poetic Justice, Love Jones, and The Preachers Wife when it aired during Christmas.  

i’ll be in the city, get dressed don’t keep me waiting

Tender and loving, the kind of love the older woman preaches about on her doorstep, the one that’s like that one bible verse. The love in this boy's heart was patient and kind, comforting. A soft place to land, a small escape from everyday life. The kind that helps you take down your braids, and helps wash your hair. The kind where he’ll let you braid and unbraid his hair, gently raking your hands through his thick and luscious inky curls, half adoring his bed of curls, half detangling them.  

can you be my shotgun? be my all-time, be the right one

His eyes are half-lidded as he glances up at you furtively, warily drinking in your beauty. The ethereal glow to your soft brown skin, the brown eyes that hide under your eyelashes with an alluring light to them. The eyes that never failed to make Miles’ heart skip a beat when he looked deep into them, his eyes pouring into you like hot wax in a candle. 

“Whatchu need, baby?”  

you ready? let me know 

“Vení,” he whispers, eyes set low, drunk on lust, fatigue barely lining his eyes. As per routine, he reconnects the two of you, this time he’s above you one arm resting on the wall behind you. Deeping the kiss as he pulls you upward, he exhales a sharp, ragged, yet blissful breath. The kind that makes you pull back and look up at him quizzically. 

“Everything okay, sueñito?” 

“ ‘s all good ma,” 

“You was just breathing all weird, is all,” 

“ ‘m okay, princesa,” 

“Okay,” you smile and exhale, angling up to him more. 

ima need you right there

The youtube video is long forgotten, the book haphazardly discarded beside you, you softly tug his chain forward as he runs his hands along the side of your hoodie, his right hand finding yours and timidly fusing your hands together. Using your left hand, you gently run your fingers over his eyebrows, in an attempt to unfurrow them as he smiles and leans into you. 

“You’re so beautiful, mama,” he mumbles into your lips, and then the two of you are lost in an enraptured oblivion. 

ima need you right there, right there wimme  

🩷 reblogs are always appreciated for reach <3

taglist: @lunarfleur @hearts4hobie@mayeluvsu@nagi3seastorm @n1cole-ghost@hummusxx@milesmolasses@kombuuuu

xoxo,

rae <3

#urfavnegronerd #across the spiderverse #into the spiderverse #fanfiction #miles morales #miles molares #spiderverse #atsv #astv #spiderman atsv #across the spider verse #spiderman itsv #spiderverse itsv #itsv #spiderman into the spiderverse #earth 1610 miles morales x reader #earth 42 miles #miles x reader #miles morales x you #miles morales x reader #earth 42 miles x reader #miles morales fluff #earth 42 miles fluff #1610 miles x reader #miles morales 1610 #earth 1610 #spiderman 1610 #morales #into the spider verse #webslinger

[stupidspidey]

DRAKE VS KENDRICK LAMAR

(Hey! here’s all of the songs i referenced that i cns actually add here! Plewse note i literally forgot to cover *meet the grahams*, but, fuck it, whatever.)

With the recent ongoing war between Kendrick Lamar and Drake, i feel like as someone with way too much time on their hands and nothing else going on for the day, what better than to write a cohesive timeline of literally *everything* that’s happened? And i don’t mean from **First Person Shooter**, i mean from **good kid, m.A.A.d city** type everything. Yeah, the Drake stuff isn’t exactly as recent as it may appear. Saying as theres no more ‘intro’ for me to give, here i go.

***Buried Alive Interlude (ft. Kendrick Lamar) - Take Care (2011)***

This was the beginning of the relationship between Drake and Kendrick, both of them considering eachother peers in the industry, despite being in such different lanes. (Lamar conceptual, and Drake more mainstream.), In an interview Lamar describes Drake as “A good guy.” (paraphased), regardless, things seemed alright for the two, the only real “beef” being their opposing views on how they views on their wealth and fame, Lamar keeping personal details quiet, while Drake frequently posts his lavish life to his thousands of followers.

***Poetic Justice (ft. Drake) - good kid, m.A.A.d city (2012)***

To say the two artists were always in some sort of feud would be wrong. On Kendrick’s debut album later rap classic, ***’good kid, m.A.A.d city’***, we see a feature from Drake on the track Poetic Justice. A few things of note though, is that this time period shows us a good natured relationship between Drake and Kendrick, even Drake going as far to say that *“GKMC was the last great concept album.”,* though there was definitely tensions between the two, as Drake’s refusal to work with Kendrick again began after the lyric **”I’m usually homeboys with the same n——s i’m rhymin’ with, but this is hip-hop and them n——s should know what time it is. And that goes for J.Cole, Big KRIT, Wale, Pusha T, Meek Mills A$AP Rocky, Drake, Big Sean, Jay Electron, Tyler and Mac Miller, I got love for you all, but i’m tryna slaughter you n——s.”**

Drake took an offence to this, and spited a refusal to work with Kendrick over it, seeing it as a diss, though nowadays most view this as friendly competition from Lamar. After the fact of Drake’s refusal though, Lamar did go back on another song to say **”Yeah, and nothings been the same since they dropped Control. Tucked a sensitive rapper back into his pyjama clothes.”**, this line being aimed at Drake, and actually being considered the starting point between the two’s feud, having Drake in interviews act nonchalantly and saying he isn’t “taking the bait”, he was the only rapper to have taken offence to Lamar’s initial lyric. Some also found Drake’s initial compliments to *GKMC* offensive, as the term “concept album” usually gives the idea that everything on the album is a story, or ‘made up’, implying that Drake believes Kendrick’s story in Compton was fiction, though i find that to be a bit of a stretch personally. Some people also found it as a fairly backhanded compliment because of this.

***Control (ft. Kendrick Lamar) - Big Sean***

I mentioned earlier about how this song sparked the real aggression between the two artists, and that statement still stands. Coming off of tour alongside Drake and A$AP Rocky, we saw Lamar feature on this song alongside Big Sean, in which he aims not just for Drake, but the rap industry as a whole. To repeat the lyric from earlier, **”**I’m usually homeboys with the same n——s i’m rhymin’ with, but this is hip-hop and them n——s should know what time it is. And that goes for J.Cole, Big KRIT, Wale, Pusha T, Meek Mills A$AP Rocky, Drake, Big Sean, Jay Electron, Tyler and Mac Miller, I got love for you all, but i’m tryna slaughter you n——s.”** This lead the press to obviously inquire Drake on his thoughts on this, to which he responded: *”I didn’t really have anything to say about it. It just sounded like an ambitious thought to me. That’s all it was. I know good and well that [Lamar] ‘s not murdering me, at all, in any platform. So when that day presents itself, I guess we can revisit the topic.”* This quote came with the claims that Lamar’s ‘dream’ of murdering him (metaphorically) was simply a fantasy, and that he simply couldn’t live up to what Drake had established. In other words, Drake believes his star power keeps him away from the threats Lamar proceeds.

***King Kunta - To Pimp a Butterfly/100 - The Game***

In these tracks, Drake begins to show a response to Lamar’s claims. In *King Kunta*, from Kendrick’s sequel album **To Pimp a Butterfly**, now widely considered one of the most influential albums in rap, Lamar pens **“I can dig rapping! But a rapper with a ghostwriter? What the fuck happened?”** this lyric is aimed at allegations that some of Drake’s music is written by a team, rather than himself—— more commonly referred to as ‘ghostwriting’, I haven’t heard much about this, but i do believe the lyric **”I got a bone to pick! I don’t want these monkey-mouthed motherfuckers sitting in my throne again!”** could be a potential dig at not just Drake, but the industry as a whole— something Lamar has done a few times as we’ve covered. Either in coincidence or response, Drake released a jab at Lamar around the same time, penning **”I would have all your fans if i didn’t go pop and stayed down on some conscious shit.”** these two lyrics are really the last time in the 2010’s we hear of the beef between Drake and Kendrick up until the recent events, with both of them seemingly simmering, nothing is really said as far as i’m aware between this point and the next.

***First Person Shooter (ft. J.Cole) - FOR ALL THE DOGS (2023)***

Oh J.Cole. you poor, poor man.

*First Person Shooter*, one of the lead singles for Drake’s album ***FOR ALL THE DOGS***, is with no doubt a victory lap for Drake and his colleague Jermaine Cole (more frequently, J.Cole). On the track, Cole pens **”People argue who’s the hardest MC, is it K.Dot, is it Aubrey or me? We the big three like we started a league, but right now i feel like Mohammed Ali.”** Now to most, this would come off as a compliment, with Cole stating that the big three of rap is him, Kendrick Lamar and Drake, though a few people saw this as fairly backhanded, seeing the following Mohammed Ali comment along with the fact that Drake was also on the song to be placing Lamar in third, implying that Cole believes those two usurp Kendrick, putting him in the top 3 out of pity in a sense. This is what set the current ball in motion, and more importantly, set off Metro Boomin and Future. (Well, not really, but the next instalment happens to come from their album ***We Don’t Trust You*,** so…)

***Like That (ft. Kendrick Lamar) - We Don’t Trust You (Metro Boomin and Future) (2024)***

This is where the games begin. Lamar is featured as a surprise feature on Future and Metro Boomin’s collaboration album, **We Don’t Trust You**. In this surprise however, Lamar comes in full force. Penning **”They think i won’t drop the location, i still got PTSD, motherfuck the big three, n——a it’s just big ME! (n——a bum!)”**, being the most iconic of the shots thrown from Lamar, as for after Kendrick continues to call Drake and Cole ‘bums’. It’s obvious that this is aimed at the two, as Kendrick starts his verse with **”Fuck sneak dissing, First Person Shooter? i hope they came with three switches, i crash out like ‘FUCK RAP!’ diss Melly Mells if i have to, got 2 tees with me, i’m snatching chains and burning tattoos.”** This is, of course, the beginning of what i like to call “the war” between Drake and Kendrick (and J.Cole, who immediately backs out, respect to him though, shit gets crazy.), for the first few weeks, neither artists really respond to these lyrics, up until J.Cole.

***7 Minute Drill - MIGHT DELETE LATER (J.Cole) 2024***

This is where the responses come in. J.Cole fires back at Lamar after a few weeks of seemingly nothing from the two aimed at in FPS, on this track, Cole aims singularly for Lamar, using a multitude of lyrics and phrases to insult him. This isn’t actually the first time Lamar and Cole have been in a sort of “battle”, though with the brotherly bond between the two, it’s been seemingly in good hearted nature. On the track, Cole raps **”He’s averaging one hard verse like, every 30 months or somethin’.”** in reference to the large release windows between Kendrick’s albums, GKMC, TPAB, DAMN. and Mr Morale. Following this, he states that **”If he wasn’t dissing, then we wouldn’t be discussing him.”** Implying that if he hadn’t been aiming for the two, nobody would be discussing Kendrick Lamar at all. This most likely comes from the radio silence from Kendrick since Mr. Morale outside of surprise features like **America has a Problem.** Cole also claims that he’s **”Front of the line, with a comfortable lead, how ironic, soon as i got it, now he wants something with me.**” Telling us that Cole’s belief is Lamar’s aiming is out of jealousy or envy, rather than the usual friendly competition between the two. In a more extended line proceeding this, he pens **”Your first shit? A classic. Your last shit was tragic. Your second shit put n——s to sleep but the gassed it. Your third shit was massive, and THAT was your prime, i was trailing right behind, and i just now hit mine.”** Each line in this lyric is directed to a different Kendrick Lamar album. His first shit (***good kid, m.A.A.d city***) is considered a classic in the rap genre, and is considered by some to be Lamar’s best album. His last shit (**Mr. Morale and the Big Steppers**) is taken in a completely different direction than most of Lamar’s previous work, this leads it to be more negatively reviewed among the rest of his works. His second shit (**To Pimp a Butterfly***)* Is the follow-up album to GKMC, showing us the first instance of Lamar’s social commentary (though, present in GKMC), this making Cole claim it as putting people to sleep, as it was too introspective and political (This line is heavily disagreed with, as most people perceive TPAB as the best rap album of all time.) His third shit (***DAMN.***) is considered by most to be Kendrick’s prime, and also the peak of his fame. Featuring artists like Rhianna and with hit classics like DNA. and HUMBLE., the album is considered some of Lamar’s most iconic work to date. After the release of ***7 Minute Drill***, J.Cole immediately backed out and apologised, stating “Do y’all love Kendrick Lamar? Cause so do i.” And basically apologising to him. To this day it’s unknown wether or not this was out of either respect or fear for Lamar, though we do know that ScHoolboy Q, a colleague of Cole’s, told him to simply not get involved, as he knew it was more of a thing between Kendrick and Drake.

***Push Ups (Drop and Give Me 50) - Drake (2024)***

This transitions is smoothly into where we really are today, the consistent stream of tracks between Drake and Kendrick that seemingly antagonise eachother to no end. We begin with **Push Ups**, a track where Drake goes not just for Kendrick, but for everyone involved with ***We Don’t Trust You***. Drake starts the track with **”Drop, drop, drop, drop…”**, a seeming triple entendre to a multitude of things relating to Kendrick. First off, some interpret this as Drake telling Lamar to “drop” something, either being a response to him, or just solo music in general. Another interpretation follows the idea that he is telling Kendrick to “drop and give him 50%”, as it’s suspected that Lamar’s label takes a 50% cut of whatever he releases. A third (and less interesting) interpretation is that it’s in reference to Lamar’s frequenting of the parks to do his exercise routines, namely doing 50 pushups. following this we hear **”I could never be nobodies number one fan, your first number one, i had to put that in your hands.”**, Implying Drake believes Kendrick’s fame comes from his features on Drake’s album ***Take Care***, and Drake’s features on ***Poetic Justice*** (both covered earlier.), following this, we get **”How the fuck you big-stepping with a size seven men’s on?”**, this is both a reference to Lamar’s album ***Mr. Morale and the Big Steppers***, and also Lamar’s height, being 5’5. Later on, we get **”Maroon 5 need a verse, you better make it witty. Then we need a verse for the Swifties, Top says drop, you better drop and give em 50!”**, this is in reference to how Kendrick has previously featured on songs for both Maroon 5 (***Don’t Wanna Know**)* and Taylor Swift (***Bad Blood***), Drake uses this almost in mocking. The “drop and give me 50” line is repeated through the song. Following this is **”Its like your label, boy, you’re in the scope right now. And you’re gonna feel the aftermath of what i write down.”**, this references both of the labels Lamar has been signed to, Interscope Records and Aftermath Records. To cap off what i’m gonna cover for this song (lest i be here for hours), Drake pens **”Pipsqueak, pipe down. You ain’t in no big three, SZA got you wiped down, Savage got you wiped down, Travis got you wiped down—“**, this line tells us seemingly whay Drake *a*ctually believes to be the big three, unlike what Cole claimed on First Person Shooter, this also seemingly a jab at Cole aswell, as Drake seems to ‘remove’ him from the big three. He later also says **”I don’t care what Cole think, that Dot shit was weak as fuck.”** seemingly solidifying this line of thought. Drake is now out for both Kendrick and Cole.

***Taylor Made Freestyle - Drake (2023)***

This song seemingly stems from Drake’s impatience for Lamar to respond. (something he’d largely backtrack on later), To give some context to the title, the real beef between the two began during the release of Taylor Swift’s album ***The Tortured Poets Department***, because of this, Drake accuses Lamar of being “scared” to drop within this timeframe, in fear of being overshadowed. Unfortunately, in this song Drake begins by targeting one of Kendrick’s idols, Tupac, through the use of his AI Generated voice, a move that would wildly lose Drake the public vote. I’m not going to cover the stuff that’s used from the AI Snoop Dogg or Tupac primarily because (and trying to remain as completely unbiased as possible), Drake is a massive bitch for using them. Anyway, onto the first line of note: **”But now we gotta wait a fuckin’ week cause Taylor Swift is your new Top, And if you boutta drop then she has to approve.”**, this comes again from Drake’s belief that Kendrick is scared of dropping out of fear of being overshadowed, stating it as if Taylor ‘owns’ Kendrick. If i’m being completely honest, that’s literally all i can say about this track, pretty much every line aimed at Kendrick can be summed up to that exact definition, so i’ll move on the the next track.

***euphoria - Kendrick Lamar (2024)***

This is where Kendrick begins his involvement, by not just dropping his response, but by dropping two in one day, **euphoria** and **6:16 in LA** (the latter of which i’ll cover next). The track begins with a reversed sample from a remake of ***The Wizard of Oz***, in which a character proclaims **”Everything they say about me is true!”**, this could be interpreted to Kendrick owning up to the title of *”The Boogeyman”* some have given him in previous beefs. Following up this, Lamar begins the track with a slow, melodic beat, as he softly rhymes over the top of it. He pens **”You’re moving just like a degenerate, every antic is feeling distasteful.”** in reference to Drake’s use of AI voices on ***Taylor Made Freestyle***. After this, we receive a beat switch in which Lamar begins to ‘battle-rap’. We begin with **”Have you ever paid five hundered thou’ like, to an open case?”** This line is allegedly written in reference to Drake’s sexual assault allegations from Instagram model *Laquana Morris*, in which he paid $350k in settlement. Though this could also be in reference to Lamar’s 2017 lawsuit in which LOYALTY. was accused of plagiarism by *Terrance Hayes*, a case that was later dismissed and dropped with little to no explanation. Later, Lamar pens **”Id rather do that than let a Canadian n——a make Pac roll in his grave.”**, Another reference to Drake’s previous usage of Tupac’s AI voice, and more notably, Kendrick’s desire to defend Tupac’s legacy from that sort of usage. **”What is it, the braids? Oh you dont wanna work with me no more? Okay.”** Is in reference to how Drake’s haircut (twisted braids) has him thinking wrong to go against him. The following comment about not working with him is in reference to Kendrick’s comments on **Control**, aimed at Drake, and his reaction to no longer wanting to work with Lamar. **”Its three GOATs left, and i see two of em hugging and kissing on stage.”** Is in reference to ***It’s All A Blur Tour***, in which J. Cole and Drake headlined together, a photo commonly shared of the two of them hugging on stage. **”Yeah, fuck all that pushing P, let me see you Pusha T!”** Is in reference to Drake’s previous beef with Pusha T, in which he revealed that Drake had a son, Adonis. This later removed all responses from Drake, making people consider Pusha T the winner. There’s a LOT more lyrics in this song, but i’m gonna cut it primarily for actually making space for the rest of this stuff.

***6:16 in LA - Kendrick Lamar (2024)***

In a surprising move from Kendrick, he released two songs in a row, this one more personally aimed at not just Drake and everyone he’s associated with, but Drake himself. With this track there aren’t many lyrics i actually want to select and really explain like i have in previous sections so i’d be better off more or less explaining how tensions were in the release of this track. People were no short of surprised to see Lamar drop such a substantial amount of tracks in one day, making most people seemingly ‘switch sides’ from Drake, while most others applied the argument that “most had decided their winner before their battle even started.”, however this song is the prelude before we really get Kendrick to delve into Drake’s allegations, and more impressively, straight up call him a p*dophile.

***Family Matters - Drake (2024)***

After a day or two of waiting with bated breath, Drake finally responded to Lamar’s tracks with a return to burn Kendrick. The song begins with a reused sample of **Push-Ups**, almost making the song seem to be a sequel to that, Drake begins by proclaiming that **”Cole losing sleep over this, that ain’t me.”**, in reference to Cole’s exiting from the battle. However a lyric following this further landed Drake into a negative public opinion, as he raps **”Always rappin’ like you’re tryna get the slaves freed.”**, seemingly dissmissing to the work Kendrick’s done for knowledge on Black History, as well as mocking Lamar’s general influence and introspective style of rap. Later, Drake finally fires back with allegations that Kendrick is abusive toward his wife, with the line **”Ay, let that shawty breathe.”**, allowing the listener to interpret that Lamar may be involved in abusing his wife, Whitney. (Though, this was later seemingly disproved by a tweet from Whitney’s brother showing support toward Kendrick.) Drake then raps **”Shake that ass for Drake, and shake that ass for free.”**, implying both that Whitney is disloyal to Kendrick, and that Drake supposedly wants this to be a song people dance to in clubs via twerking or something, this later backfired as Lamar’s next track, ***Not Like Us***, actually ended up being played in a multitude of clubs and raves upon release. Drake later raps **”good kid, m.A.A.d city van, we’ll pop the latch and let the door slide.”**, seemingly in reference to a drive-by in Kendrick’s Compton days, as in the album the Van is used as a symbol of protection from the violence in the world outside. Drake is proclaiming he will destroy Kendrick’s only sense of protection. In Part III of the song, Drake begins by rapping **”Kendrick just opened his mouth, someone go hand him a Grammy right now.”**, seemingly believing that all of Lamar’s Grammys are given based off of popularity over talent, though Drake follows this with **”Where is your uncle at? Cause i wanna talk to the man of the house.”,** this is in reference to the **Mr Morale and the Big Steppers** track **Auntie Diaries**, in which Kendrick tells the story of his Auntie transitioning into his Uncle. The bar basically mocks Kendrick for being less masculine than a trans person, sort of transphobic to me but, yknow. From here it’s just more lyrics about the allegations of Kendrick’s abuse of his wife, bringing us onto **Not Like Us**.

***Not Like Us - Kendrick Lamar (2024)***

This track is the pinpoint for when we go from ***To Pimp a Butterfly*** to ***To Catch a Predator***. In this track, Kendrick fully goes in on Drake’s sexual abuse and pedophilia allegations, exposing a major amount of Drake’s argument. The first influential lyric on this track is **”Say, Drake, I hear you like em’ young.”**, again in reference to these allegations, now, to get this out of the way now, i’m gonna say the same for **”Certified Lover Boy? Certified Pedophile!”** and **”Tryna stroke a chord, and it’s probably A-Minor!”**, the first of which being a reference to Drake’s album **Certified Lover Boy**, and the second referencing the guitar chord A-Minor, entendres with “a minor” (Holy shit, man.) **”Certified Boogeyman, i’m the one who upped the score with em’.”** Is in reference to the **Halloween** character *Micheal Myers*, and more importantly his intimidating presence, that of which Kendrick implies he also brings in his opponents, the usage of ‘certified’ could also be another reference to **Certified Lover Boy**., and with all that covered, that’s pretty much all that comes from this track and, honestly, the beef in general.

***THE HEART PART 6 - Drake (2024)***

To remain as unbiased as possible, this is where things get downright embarrassing, and honestly, what solidifies Kendrick Lamar’s win. For starters, the track title itself is in reference to Lamar’s **The Heart** series, which is typically used to debut a new album, like **DAMN.** and **Mr Morale and the Big Steppers.** This is actually a joke that was frequently used on Twitter beforehand, as well see with the rest of this track, most of Drake’s research comes less from his peers and more from Twitter, the track itself actually is an attempt to mock Kendrick Lamar’s sexual assault, something of which we learn, actually never happened. Drake raps **”Mother i— Mother i— That’s the one record where you say you got molested.”**, despite him saying this, **Mother I** is Kendrick talking about how his cousin didn’t molest him, but none of his family believed him, in other words, Drake completely misses the point. Before this Drake raps **”This Epstein angle is the shit i expected.”** When, in prior songs, nobody has mentioned Jeffrey Epstien. He also raps **”I only fuck with Whitneys, not no Millie Bobbie Browns.”** in reference to his allegations in messaging *Stranger Things* star Millie Bobbie Brown, despite being 17 years older than her. Yet again, Kendrick had never mentioned this beforehand.

***MR. MORALE VS THE 6IX GOD.***

In the end, it comes down to personal opinion on who you really think ‘won’ this sort of thing, it’s a very arguable and personal thing, wether you believe that Kendrick beats his wife, or that Drake is a pedophile, just know either way, when i release this Kendrick Lamar would have released 4 more tracks.

Wish me luck.

#kendrick lamar #kendrick diss #drake #drake diss #to pimp a butterfly #good kid m.a.a.d city #take care #j. cole #rap #hip hop #diss #beef #Spotify #SoundCloud

[tylermileslockett]

Protogenoi 8: Zeus’ Deity Daughters

       With the six Olympian gods now in control of the earth, seas, and sky, Zeus and his wives and consorts produce many offspring with different powers and functions. On the following page we’ll examine the young Olympian offspring. But first, let’s look at Zeus powerful offspring deities.

Zeus and Themis, 1st wife and goddess of justice and law. Together they bear the Horai, three goddesses of seasons and natural order. Eunomia (good order and societal governance), Dike (justice), and Eriene (peace and prosperity). They also function as the guardians of the golden gates of Olympus. Hesiod also names their offspring sisters here as the Morai (fates), which he previously, and curiously, listed as being daughters of Nyx.

Zeus and Eurynome, sea goddess, give birth to the three Charites (Graces) Aglaia (Brightness) Euphrosyne (joyfulness) and Thalia (flowering); goddesses of grace, beauty, festivity, dance, and song. They become attendants of the goddess Aphrodite, and one marries Hephaistos (Olympian smith and fire god) and another marries Hypnos, god of sleep.

Zeus and Demeter bear Persephone; goddess of spring, and after being abducted by Hades, she becomes queen of the underworld. To see more detail on these characters please view my Demeter Olympian entry.

Zeus and Mnemosyne, goddess of memory, birth the nine Muses, gold crowned goddesses of creative arts who provide inspiration to mortals. They are named Cleio (history), Euterpe (lyric poetry), Thalia (comedy), Melpomene (tragedy), Terpsichore (choral song and dance), Erato (erotic poetry) , Polyhymnia (religious hymns) , Urania (astronomy) , and the leader, Calliope (Epic poetry). In my previous illustration for Hesiod, I portrayed the nine muses bestowing the poet a laurel staff; a symbol of poetic authority. 

Thanks for looking and reading! To see more of my work: https://linktr.ee/tylermileslockett

#pagan #hellenism #greek mythology #tagamemnon #mythology tag #percyjackson #dark academia #greek #greekmyths #classical literature #percy jackon and the olympians #pjo #homer #iliad #classics #mythologyart #art #artists on tumblr #odyssey #literature #ancientworld #ancienthistory #ancient civilizations #ancientgreece #olympians #greekgods #zeus #demeter #persephone

[saints-who-never-existed]

I named my blog after this wonderful video and I can’t recommend enough that you all watch it. I was going to paraphrase the part I found most affecting - the heretofore unknown heart-rending layers of meaning and history behind Peglar, Bridgens, Xenophon, and the Open C. Feeling that I couldn’t myself do the ideas justice, however, I’ve instead quoted the video directly below:

“Not only does this new choice of poetic quotation link Bridgens’ unwillingness to live after the death of one he so loved with the discourse of Peglar’s sexuality, but it also highlights a complex historical intertext between Barry Cornwall’s poem, Peglar’s adaptation, and - to jump back two thousand years - Xenophon’s The March of the Ten Thousand, or, the Anabasis. The first line of Cornwall’s lyrics (and Peglar’s) is ‘The sea, the sea’ which, in the nineteenth century, was a famous line of schoolboy Greek: ‘Thalassa! Thalassa!’ shouted in triumph by Xenophon and his fellow Greek soldiers after a deadly overland march.” 

“During the eighteenth and nineteenth centuries, the Anabasis became a popular teaching text for ancient Greek, and this refrain, ‘Thalassa! Thalassa!’ found its way into the common language of Victorian exploratory heroics, part of an imperial cultural context routinely invoked by The Terror through the shared literary games of Bridgens and Peglar.”

“In an earlier episode, the show’s Bridgens had used the Anabasis to warn Peglar of the gruelling march that was then to come; here, at the end of their journey together, the echo of ‘The C, the C’ pulls together the concepts of Greek love, nineteenth century education, desire for sexual freedom and expression, and the queer archaeology of loss and fragmentation as this Bridgens carries his lover’s papers to their final resting place, out of life and into legend, preserving, with his body, this only private record of the Franklin disaster.”

#The Terror #The Terror AMC #Henry Peglar #John Bridgens #Peglar #Bridgens #Kevin Guthrie #John Lynch #The Franklin Expedition #bridglar

[kingofthewilderwest]

Since my crap is disorganized across multiple computers, laptops, notebooks, and handwritten scraps of paper, I've been trying to organize my music compositions. Having been "composing" (let's use the word liberally) since I was four, there are hundreds of songs to document. As I've been rediscovering hidden gems and endearing crap, I've been reflecting on my... naming trends. How musical creativity does not necessitate Title Creativity. How successfully I can ward folks off before they hear a note.

Broad music title naming habits include:

1. Traditional formal classical music

• Barcarolle Sereno • Cello Suite No. 1 in G Major Movement 1. Moderato • Con Amore • Dance in Bb Minor • Ostinato Cantabile

2. Lazy-ass description of what it is

• Assignment 11 • Melody Assignment 1 • Flute Duet • Barber Mimic • Mobile Game Song

3. Brief Latin phase, please stop

• Monstrat Viam • Deo Volente • Continua Astrum

4. Functional title, sometimes basic, sometimes cool

• Portrait of a Friend • Winter Blossoms • Necrosis • Horizon • Nucleotides • Z-Score • Fox in the Henhouse • Upon a Starry Night

5. Abstract Quasi-Poetic Angst

• Reasons to Hope • Take Back What's Mine • Like Rainfall • Return to Heart • When the Skies Darken • Tribute to an Ideal • Tearful Thank You • Indefinite Forever • Defiant Hope

6. Tried too hard sounding cool and unfortunately you were ten

• Corridor to the Ethereal • In Secret to Be Told • 'Lectri’ Twelve Strin’ Guitar • Expanses of Fantasy

7. One of the lines in the song, highlighting how bad the lyrics are

• Help Me to Follow You • I Am Not Quite Sure Yet • Because My Friend's Sick • Do You Know the Way

8. That's just the name of the commission

• Mixed Emotions Movement 4. Closer and Credits • Vagina Monologues 2. One Billion Will Rise for Justice • Vampire Survival Guide • Paradox

9. Conlanger flex, no one will be able to pronounce or remember this. Ever.

• Ohd Thak-Shu • Xhavhukfi Zoqudou • Veh nah Dii’hs • Nidia Kila • Tavhlovmindada • Ehyiib

10. I had no idea for a title and typed random crap when I clicked "save"

• Sneak • Sneakify • Sneaking • Sneaky-Sneak • SoGow • Klongilonga • Quiiiiiptail • Da Da • Hihoppadada • Colon KayjayK buy2 (originally ;kjk;kjk a literal keysmash)

11. I'm not going to admit I have a song named this

• Don't Spit Your Eyes Out • Shake Your Bootchy Bottom • It Takes a Bike to Beat a Bus • Bunny Bunny Days • Please Let Me Eat the Microphone • Yo I Said It’s Space

12. Still untitled; each new recording is "comp idea," "name," "rename," "you really need to name this," "take 5," "take 5.1," "take 5.12," "redo this sucks," "I swear I play banjo," "delete later," "deleeeeeet," "out of tune," "still out of tune," "this one's good," "THIS ONE," "best," "best2," "BEST VERSION", "awwwww yeah"; and for some strange reason it's hard to refind these recordings a month later

#long post #music #my music #blabbing Haddock #oh hey hiya guys I'm not a zombie I swear #gone through about 500 audio files today #and that's just the folder that IS organized #help me #save me

[dokujirai]

Charisma - Ohse Minato “Hell lazy, Psychology” English Lyrics Translation

This is an English translation of Ohse Minato’s second solo song “Hell lazy, Psychology.” Song is on all streaming sites. Please be advised that this is merely a translation into English and may not be 100% accurate. Any questions, concerns, theories, or feedback is appreciated! Thank you for reading.

“Yes, yes, I know that. Yes, I’m sorry. I apologize. It’s alright. You don’t have to say anything else, I know. I know that very well.” Worthless, trash, garbage, scummy loser A cesspool of shit like a pile of snow on the ground Everything you do is a waste Cease your living as a towering trash heap HELL YEAH!! To punish evil and reward good is poetic justice Commonplace for the ordinary So then what’s the deal? I don’t remember this Perhaps merely existing is a sin in itself I’m not here because I asked for this life Even the slightest of hopes are no longer here Yeah, I already know who’s the worst of them all A sunny January 1st New Years. This shitty loser will live yet again for another year. I’m so sorry. A fine October 31st Halloween. Given that they’re dressed like zombies, I wanted them to devour every single part of this shitty loser. Clear skies, December 24th. What is a Holy Night? My apologies. This shitty loser is unneeded. June 14th, heavy rain. My birthday. I couldn’t do anything today. I’m sorry for being born. This shitty dump of a life As if I’m living in the ninth hell A metamorphosis of regret at a dead end I can’t believe I’m allowed to live That day will never come I’ll just keep living in my own pool of blood I’ll hang myself in advance For the sake of the world and it’s people, of course Hey, have you ever thought about the tiny lives of things like ticks? Even trash won’t be recognized, do you understand now? That’s why I’m done with it now, yet the view from here truly is beautiful, isn’t that crazy When I looked down I thought it looked endless, but it looks like we’re at the bottom of the earth It’s just so funny, I truly can’t help but laugh at it all You should be laughing your ass off too. Ohse! Hell yeah!! I know it’s stupid Pretending to be the king of the depths of hell I can’t die like a pitiful demon caught in it’s own trap Even if I reach forward while on my back I can no longer reach for myself Everything is so radiant, I’m so jealous of it all This shitty dump of a life As if I’m living in the ninth hell A metamorphosis of regret at a dead end I can’t believe I’m allowed to live That day will never come I’ll just keep living in my own pool of blood Let’s die here Worthless, trash, garbage, scummy loser A cesspool of shit like a pile of snow on the ground Everything you do is a waste Cease your living as a towering trash heap Worthless, trash, garbage, scummy loser A cesspool of shit like a pile of snow on the ground Everything you do is a waste Cease your living as a towering trash heap

#Charisma House #Ohse Minato #Minato Ohse #charismahouse #karihau #MCdokujirai #crsm #charisma #karisuma #crsm song

[doruk-alp08]

Part #3 Last Part

'10s

Exploring the Legends of Rap/Hip-hop

Modern Rap

Exploring the Evolution of Rap Excellence

In the dynamic realm of rap music, certain artists stand out in each decade not only as formidable lyricists but also as trailblazers shaping the genre's narrative. In this exploration, we delve into the realms of three influential wordsmiths from the '10s: Kendrick Lamar, Pusha T, and Freddie Gibbs.

Kendrick Lamar: The Poetic Provocateur (G.O.A.T)

Compton, California native Kendrick Lamar has made a name for himself as a poetic visionary, crafting intricate narratives that navigate the complexities of race, identity and social justice. His masterpiece 'To Pimp a Butterfly' is a testament to his lyrical skills, interweaving jazz-infused beats and thought-provoking verses that challenge the status of the time.

Lamar's ability to combine storytelling with self-reflection Each project serves as a sonic journey through Lamar's psyche, offering listeners a glimpse into his struggles, triumphs, and reflections on the world around him.

With multiple Grammy Awards and a "Pulitzer" award, Kendrick Lamar is one of the most award-winner artists of all time. Kendrick is also the only artist who has a "Pultizer" award. With the help of his devoted fan base, Kendrick Lamar has proved that he is the most influential artist of his time. This made him a legend in the music industry and in the eyes of the people who listen to music.

Pusha T: The Street Savant

Known for his vivid depictions of street life and razor-sharp wordplay, Pusha T, born Terrence Thornton, emerged from the gritty streets of Virginia Beach to become a lyrical juggernaut. Pusha T has captivated audiences with his gritty tales of drug dealing, loyalty and betrayal as one half of the duo Clipse and later as a solo artist.

Pusha T has earned a loyal following and critical acclaim for his distinctive delivery and unapologetic authenticity. Albums such as My Name Is My Name and Daytona showcase his lyrical prowess and uncompromising vision. They have cemented his status as one of rap's most respected figures.

As president of Kanye West's record label, G.O.O.D. Music, and collaborating with brands such as Adidas and Bape, Pusha T has also made a mark in the world of entertainment and finance. As he continues to push boundaries and elevate the art form, his influence extends far beyond the mic which puts him on this list.

Freddie Gibbs: The Street Historian

From Gary, Indiana, Freddie Gibbs has carved out a niche as a storyteller of street tales and gritty realism. Gibbs paints a vivid picture of life in the trenches, offering a raw and unfiltered perspective on the struggles of the urban experience with his gritty delivery and unflinching honesty.

Gibbs' discography is a testament to his versatility and storytelling ability. Albums such as 'Pinata' (a collaboration with producer Madlib) and 'Alfredo' have been widely acclaimed by critics and fans alike. He stands out as a true wordsmith of the streets with his ability to blend vivid imagery with intricate wordplay.

In addition to his solo work, Freddie Gibbs has collaborated with a wide range of artists. This has further expanded his sonic palette and reinforced his status as one of rap's most fluid voices.

Conclusion

In conclusion, these blog post chains have offered a glimpse into the diverse and dynamic world of rap music. We have highlighted the immense talent and cultural impact of each of the artists featured based on which decade they were in. From the poetic storytelling of Nas and Kendrick Lamar to the boundary-pushing creativity of Kanye West and MF DOOM, and from the street narratives of Ice Cube and 50 Cent to the gritty realism of Pusha T and Freddie Gibbs, each artist has left an undeniable mark on the genre, shaping its evolution and inspiring countless others along the way. As we continue to celebrate the legacy of the rap legends, we should acknowledge their contributions to both music and the wider cultural sphere, and be thankful for their contributions to the genre even if we don't like their music.

#rap #kendrick lamar #kanye west #freddie gibbs #legacy #hip hop #black #music #love

[exy4life]

Hear me out.

Battle for the Sun by Placebo

= Tomarry.

listen to me. if you are an avid enjoyer, or a fanatic (like moi) you need to give this song a listen while reading the ship. it is quite literally the best suited song for the dynamic. The lyrics and the implications behind them are out of this world and so is the masterful scenery that gets visualized in you head while listening to it.

“Dream brother, my killer, my lover”

this is what caught me off guard when listening to this for the first time, since i think this is exactly their relationship.

dream brother = brother wands, souls intertwined, their existence depending on the ither to me is so biblical, but who am i to judge! anyways, there is so much familiarity between these two, they almost know the other if not as well as, than better than themselves. you can’t tell that familiarity so profound doesn’t hint at destiny to be with each other or not be at all.

my killer = now this is a prophecy. the intimate relationship between killer and victim is often so misguided and depicted in a horrifyingly disgusting way, that i genuinely feel sick. Whereas whenever i find myself perusing a fanfiction that involves one of them murdering the other, there is a perverse satisfaction that comes from your beloved taking the only thing that matter to them — your life. The Tomarry writers can make it out to be so romantic, and often times the actual act of killing doesn’t even occur — BUT horcruxes. ‘my killer’ reeks of simplicity, because how else could you interpret it? well in this fandom nothing is as simple as it seems. My Killer, because Harry destroys the horcruxes, because Voldemort kills Harry in the forest (while aslo killing a piece of himself, now isn’t this poetic justice?)

my lover = many people will contradict the relationship based on age appropriate reasons or even their own preference, but be that as it may, we all have to make the informed decision (even if we cannot come to terms with it) that Tomarry is superior to all the others regarding tropes, seldom writing as well.

If you’ve come so far, thank you for reading this!! I’m not posting out of my own volition, it is akin to Tom taking power over me and writing this himself. i feel like he would wholly agree with this.

#tomarry #tomarry fic rec #tom riddle #harry potter #tomarry fic #tomarry is my otp #i literally couldn’t rest until i was done writing this #it is genuinely like Tom’s spirit resided in me #this has been on my mind for a few days and i felt the urge to give this knowledge over

[joesalw]

It is too soon to tell how the actual album will be,since it isn't even released yet, but I think it will either end up bad or underwhelming. Just based on how shallow the lyrics that were leaked are, the ridiculous pseudo deep black and white photoshoot and the fact that none fans seem pretty tired of Taylor Swift's PR antics. It feels like because Joe Alwyn isn't as much of a public figure unless it is work related that his career will be fine.

Like her album could potentially be successful for like a month but it doesn't feel like it's going be become a beloved album. It could end up like Reputation 2.0 because she is going beyond her capabilities with just aesthics without depth. It's just going to be a wild juxtaposition of Taylor being intellectual reading Emily Dickson, A Room of One's Own by Virgina Wolf and the Bell Jar by Sliva Plath trying show she is the hight of feminist dark academia when he boyfriend would rather watch repeats of his best football scores.

Idk if that is a form poetic justice but it feels like it. So can't wait to see the general publics reaction to the album.

apparently the leaked lyrics were fake. but seeing her songwriting in midnights i can tell that this new album will be overrated as well. it seems so rushed too, its like she just wants to make a point and use her lyrics against joe which obviously takes away the credibility of the art of music. but she strives for this so...

#anti taylor swift #swifties dni