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cody-writes · 2 months ago

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Harpy hare x gravity falls because this shit is taking over my life. Have my thinks

(Longer post)

I’m not super into Yaelokre but my partner is and the one song that I really love from this does have to be Harpy Hare the vocals are delicious and with my quickly resurfacing gravity falls hyperfixation I’ve been thinking about the two together.

The song harpy hare by Yaelokre is a very gravity falls coded song in a lot of different ways. Mainly the build up in the music to “harpy hare where have you buried all your children tell me so I say” with the longer note and the lower music. (Exactly 2 minutes into the song is where I’m trying to describe)

The song could work really well for either of the sets of twins. the older og pines twins. All I can imagine in that moment of the song is Stan being so fed up with the clues and madness of the journals, trying to figure out where the other journal might be so he could figure out where his brother is and how to get him back finally.

That part of the song could also work for dipper as he tries to figure out the journal as a whole, trying to find who to trust and how the weirdness in gravity falls really works. The image with him specifically that plays in my head with those lyrics is him exhausted, trying to figure out what’s happening with the computer and finally reaching his breaking point and falling asleep but that lyric is screamed at the top of his lungs before Bill finally makes his appearance and “reveals what is buried”

But other parts of the song work especially for the younger twins, specifically Mable the lyrics “forest walls and starry ceilings, between curtains that you’re weaving, like the stories that you keep inside your head” is a very Mable Perspective. She’s going through these events and seeing them as not a threat and sees them in a very different light until her brother begins to spiral and Bill becomes a threat to her family.

The drop in music really gives me the chills and feeling of betrayal from her brother joining Ford and abandoning her to go home alone and giving everything up to Bill to live in her own little world where everything’s perfect and she can go back to “the stories you keep in your own head”

Also “she can’t keep them all safe they will die and be afraid” is also Mable you can’t convince me otherwise.

I could go on and on about this.

#headcanon #gravity falls #stanford pines #dipper pines #stanley pines #mabel pines #pines twins #writing #the journals #harpy hare #new music #Spotify

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baccoamon · 6 days ago

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♡ My thoughts on GNX. ♡

Tracks 1-4

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"Anita Baker in the tape deck, it's gonna be a sweet love"

On GNX Kendrick gives himself permission to return to his roots while audibly leaning into a level of frustration over the lack of integrity and passion that Kendrick believes to be missing in music of today. This project serves as a reminder of how intention and dedication to craft are the foundation to a great artist and a necessity for any who wish to stand the test of time.

Kendrick is in full form as he doesn't shy away from cementing his position in the timeline of hip hop and wears the crown proudly as he clearly shows his passion for the past and future of the genre. Which leaves us with an album which at first glance could be assumed to be a victory lap for the Compton born artist after a monumental year that solidified his ability to out create, think, and battle his elite list of peers. But I'd like to highlight a beautiful narrative piece that pulls this collection of records into the conceptual world that we have grown to expect from a Kendrick Lamar album.

The Buick GNX

This is the narrative device he uses to carry the listener through his insights and passions surrounding the west coast, morals, his views on integrity, Hip Hop, and even his past lives. Kendrick makes an effort to emphasize his dream car, as well as the music and personalities that would be sharing the seats with him as he rides through the lives and history of LA culture.

Kendrick commands space on this release in a way that one could assume to be juxtapositioning 2022's "Mr. Morale & The Big Steppers", however, astute listeners will notice that this is a direct progression of the introspective therapy session we were granted insight to on said record. GNX is a roaring list of rules of engagement, a thematic element that Kendrick reiterates throughout the project. As well as being a car, the title could refer to GEN-X, the current political and social leaders of our age which have been characterized as the ones who created the society of "crash out" prone and destabilized youth of "Young [REDACTED]" that are filled with resentment due to their lack of guidance and disdain for their sociopoltical foundation from which they never consented to and have been consistently mislead within. Emphasizing the generational conversation that speaks throughout this work.

Kendrick's bravado on this record stems from a place of centering himself and by doing so standing on tested principles and insights that will allow him to be a worthy competitor and a more powerful presence due to the protections of his own introspection, spirituality, and lessons from his elders as well as past lives. This is the same message he is giving to the youth, a message of self actualization and self study while packaged in a strong presence of hard work and status. Though it should be noted he coyly undermines the pursuit of status when it is not done so with authenticity and integrity.

"I feel your presence here, last night, and we began to weep."

These are the first words heard on the project. Sung in Spanish by the Los Angeles native Deyra Barrera. Her voice chills the air on the first listen, settling into one's flesh as her voice is paired with traditional Mexican mariachi guitars as a clear homage to he Intersectionalities of the cultural history within LA. These reflective and mournful words are tied into the integral themes of the project. It is not by accident to utilize this voice as Barrera's Mexican ancestry can be seen within Kendricks own ideas around death and ancestry. Undoubtedly from the Intersectionalities and philosphical melting pot of LA. With these words Kendrick is in the presence of the past. The GNX a throwback to times gone, his sentimental nostalgia for greats of the past, of morals that are no longer valued, and of his past life's and elders who's lessons protect him even now. The line "we began to weep." Empahizes a togetherness, a collective presence. Kendrick is acknowledging that he did not make it here on his own. His history is not a singular soul nor body. He is standing in the footsteps of those before but has finally accepted that he is a giant in his own right, humbled only by the passing of time which his elders remind him of with their very presence.

"Wacced Out Morals"

Opens with an aggression left mostly to Kendricks one off singles and features. Rarely are we blessed with a straightforward "fuck a double entendre" approach from Kendrick and it serves the messaging on the track perfectly. Over the DJ Dahi and Sounwave led production Kendrick airs out his grievances with his current peers and the elder statesmen of hip hop. He notes how his recent beefs and tension could have ended with money being funneled to these "crash dummies", or the "Young [REDACTED] addressed early in my insights, which would have led to not only the loss of his life but the disruption of his mission and community within LA and further. This brings a chilling recollection of the death of the great Nipsey Hussle. Someone Kendrick grieved publicly on his infamous "The Heart Part 5". He uses this track as a trial of the culture, one where he positions himself as a tried and true student of the streets and hustle culture that hip hop claims to uphold but in his eyes has used only for profit and false intentions. As the track continues he levels himself to the heights of greats within the genre by expressing resentments towards Lil Wayne and Snoop Dogg for not showing a level of respect he felt was deserving for his work. After a quick nod to the NY legend Nas he sets his mark on

what he perceives to be the false personalities of the industry and revels in the idea that as a self proclaimed man of integrity he can now move in his own light and power for these false faces have been removed and as those masks drop, his true enemies are exposed. Marking himself as a clear target but one which can also fire back with an accuracy and ferocity that he seems to be comfortable in. He addresses those who wish to find their own power with one simple message.

"Go and up your Rank... know you a god, even when they say you ain't."

- "Squabble Up" -

"God knows, I am. Reincarnated, I was star gazing..."

These words are paired with a heaving of breath as Kendrick calls upon the concept of his reincarnation and introduces a disrespectful and self affirming dance inspired single.

The casette changes to Debbie Debs 1983 hit "When I hear music" as Kendrick takes us on an uptempo spin around the block. This long awaited anthem left us craving the entire record after famously appearing as the snippet for the internet breaking "Not Like Us" it speaks on the ability to stand on your square while leaning on ones individual "politics. Kendrick feels confident and willing to take his opposition's character into account before he takes aim. He comments on federal relationships in the industry which is a clear attack on false identities as well as quid pro quo. This is Kendrick saying he is done with transactional love and is willing to go to war for his just dues. Notably, lesser known producers M-Tech and Bridgeway work with Sounwave and Jack Antonoff to create the perfect soundscape for such a message.

- "Luther" -

As everyone should be aware. No nighttime ride around your favorite city is complete without the beautiful vocals of Luther Vandross as well as a passenger. The first of our fellow passnegeres enters with SZA joining us for the ride. The cassette clicks over to a beautiful instrumentation of rising strings and a soft guitar section. This is a love story caught dancing in the wheels of a night time drive in California. The record carries the same credited producers as "Squabble up" but the additions of Rose Lilah of production fame for the first beat on Baby Keem's Family Ties as well as the ever stunning Kamasi Washington makes this record one of the most gorgeous pieces on the album. It samples Cheryl Lynn and Luther Vandross' 1982 song "If This World Were Mine". Hope and Love are the central themes as well as the ability to use the power of love as an empowerment.

"If this world was mine, I'd take your enemies in front of God, introduce them to that fire"

A beautiful piece of writing that uses colloquialisms and spins them to emphasize a divine connection to smite a lovers adversaries or qualms. SZA sounds of the heavens themselves as her and Kendrick's vocals waltz between the lyrics and melodies. Speaking of coping with optimism and better days to come. This dance of pure devotion and redemption again centers a deep love as the ultimate power against adversity and uncertainty. A monumental record that I believe will be a jewel in his discography for ages.

- "Man at the garden" -

Here, Kendrick reaches for a different spirit to medium. This record made me brake to a screeching halt on the first listen. Two songs in particular come to mind. Two records that would undoubtedly be in Kendrick's history lessons as well as his tape deck. Two spirits that Kendrick would love to channel and pay homage to. Those two records being "One Mic" and "Starin' Through My Review" by Nas and Tupac respectively. The muted soft synth chords as well as pull back instrumentation from our producer ensemble are aided by the ears of Craig Balmoris from "Best Kept Secret" and a producer with not much under his belt by the name of Tyler Mehlenbacher. The haunting affirmation of "I Deserve it All" is a call upon what Kendricks ancestors are giving him. He believes he has earned every drop of admiration and respect that he has garnered. He declares his public "crash out" as he refuses to be undone by people lower than him and has decided there is no more room for one who has done the work to return to self to be quiet or humble with what they deserve. This brings to mind a particular line from "Wesley's Theory", the opening to 2015s "To Pimp A Butterfly" where the devil or uncle sam is pushing Kendrick towards the pitfalls of hedonism with the phrase "get it all, you deserve it, Kendrick"

Interestingly enough, it seems that same message has reached Kendrick almost a decade later but now with his luxuries being earned and gifted benevolently by his ancestors.

"Every reason why my ancestors sent me, Bitch, deserve it all. "

He speaks an affirmation of allowance. Of gratefulness. But also of disrespect to those who would deny him. And the lines prior show a confident spirit, an ancestor that Kendrick has evoked and held medium before on the same project that "Wesley's Theory" was born from. That spirt being Tupac Shakur.

Tupac and Kendrick have a number of instances where their philosophies overlap and I believe Kendrick to hold Tupac at a level of reverence much higher than most when compared to other legends of the genre. The line

"Writin words, tryin to elevate these children."

summons the ethos of Tupac in a way that shows how deeply the now mythical artist has effected Kendricks philosophies and self purpose. Tupac, much like the entirety of GMX preached a balance of self education, self affirmation, love for community, love for children, and the ability to crash out. Kendrick is Plato to this hip hop Socrates and finalizes this record with a triumphant and well earned decloration. That he believes himself to be the greatest of all time.

#kendrick lamar #hip hop #hiphop #rap #new music #music journalism #writers on tumblr #spirtuality

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