#compton's mills

[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.

[stationintern]

Hello there!

July is a rainy month here in the mountains, but these fics felt like a ray of sunshine! I’m back with another favorites list, and very proud that I remembered to do this. Let’s go!

A Savior’s Guide to Manners and Decorum - E, 13k by @wolfpants

I think putting Draco Malfoy in any sort of teaching position is a recipe for perfection. So, that was a major factor in my enjoyment of this fic. Everything I’ve read from wolfpants has been incredible (I read Nightcall at least twice a month), and this did NOT disappoint. If you like a bumbling Harry with obscure hobbies, this is the fic for you.

Little Compton Street (One Rainy Night In Soho) - E, 65k by @writcraft and @celilasart for Harry/Draco Big Bang 2018

I saw this fic recommended left and right on the Drarry writers discord, and it’s been sitting in my marked for later forever. And, boy, do I wish I’d read it earlier. The art is BEAUTIFUL. I stared at it for about ten minutes. I’m a sucker for two lost souls finding their calm together in the eye of the storm, and I’ve been yearning for another fic that explores queer history as it pertains to the magical world. In conclusion, this was everything I needed. A rainy night for a rainy season.

Grounds For Divorce - E, 122k by @tepre

This is another one of those fics that I’ve seen recommended everywhere but just hadn’t gotten to yet. Fics that cover long periods of time hold a special place in my heart, and the journey I got to experience while reading this left me breathless by the time I was finished. I can’t wait to read it again.

Up The - E, 7k by @shiftylinguini

I’m not a big mpreg reader, not for any particular reason, but this fic was so sweet. The premise was hilarious and ridiculously fitting for these two. Love an established relationship, love a nutty plan to get pregnant. Loved it.

Faint Indirections - T, 29k by ignatiustrout

It’s so fun whenever I get to explore a new city with this pair. God, this was so fucking hilarious. Watching these two communicate in the least efficient way possible tickled me and I will be thinking about this fic for a very long time.

to be a bit of warmth (for you) - M, 9k by @softlystarstruck

This was just the sweetest thing I’ve read in a very long time. The intimacy, the characterization. How the author managed to pack so much beauty into 10k words is a mystery that I thank god for every day.

on open wounds - M, 16k by asofthaven

extremely loud growling noises (positive.) read this in my honda accord while eating a quesadilla and watching drunk rodeo goers mill about the town square and felt more emotions than i’ve ever felt before in my life. thank you. thank you thank you thank you.

Everybody Hates a Tourist - E, 51k by @wolfpants for @hd-wireless 2023

As I said before, I love getting to explore a city with these two, and watching Harry find himself with a Draco who has built a life for himself is something I will never get sick of. Especially when every bit of it is absolutely baffling for Harry. So excited to find out who wrote this. I enjoyed every second of it. (Should’ve known it was wolfpants! So, so good!)

Well, that’s all for now, folks! These fics helped with my July gloom, and I’m so thankful for all the wonderful writers in this community who gift us these beautiful stories.

See you next month with more recs!

xx, Moon.

[real-total-drama-takes]

Y'all can't handle this

Y'all don't know what's about to happen baby

Team 10

Los Angeles, Cali boy

But I'm from Ohio though, white boy

It's everyday bro, with the Disney Channel flow

5 mill on YouTube in 6 months, never done before

Passed all the competition man, PewDiePie is next

Man I'm poppin' all these checks, got a brand new Rolex

And I met a Lambo too and I'm coming with the crew

This is Team 10, bitch, who the hell are flippin' you?

And you know I kick them out if they ain't with the crew

Yeah, I'm talking about you, you beggin' for attention

Talking shit on Twitter too but you still hit my phone last night

It was 4:52 and I got the text to prove

And all the recordings too, don't make me tell them the truth

And I just dropped some new merch and it's selling like a god, church

Ohio's where I'm from, we chew 'em like it's gum

We shooting with a gun, the tattoo just for fun

I Usain Bolt and run, catch me at game one

I cannot be outdone, Jake Paul is number one

It's everyday bro

It's everyday bro

It's everyday bro

I said it is everyday bro!

You know it's Nick Crompton and my collar stay poppin'

Yes, I can rap and no, I am not from Compton

England is my city

And if it weren't for Team 10, then the US would be shitty

I'll pass it to Chance 'cause you know he stay litty

Two months ago you didn't know my name

And now you want my fame? Bitch I'm blowin' up

I'm only going up, now I'm going off, I'm never fallin' off

Like Mag, who? Digi who? Who are you?

All these beefs I just ran through, hit a milli in a month

Where were you? Hatin' on me back in West Fake

You need to get your shit straight

Jakey brought me to the top, now we're really poppin' off

Number one and number four, that's why these fans all at our door

It's lonely at the top so we all going

We left Ohio, now the trio is all rollin'

It's Team 10, bitch

We back again, always first, never last

We the future, we'll see you in the past

It's everyday bro

It's everyday bro

It's everyday bro

I said it is everyday bro!

Hold on, hold on, hold on, hold on (espera)

Can we switch the language? (Ha, ya tú sabes)

We 'bout to hit it (dale)

Sí, lo único que quiero es dinero

Trabajando en YouTube todo el día entero

Viviendo en U.S.A, el sueño de cualquiera

Enviando dólares a mi familia entera

Tenemos una persona por encima

Se llama Donald Trump y está en la cima

Desde aquí te cantamos can I get my VISA?

Martinez Twins, representando España

Desde la pobreza a la fama

It's everyday bro

It's everyday bro

It's everyday bro

I said it is everyday bro!

Yo, it's Tessa Brooks

The competition shook

These guys up on me

I got 'em with the hook

Lemme educate ya'

And I ain't talking book

Panera is your home?

So, stop calling my phone

I'm flyin' like a drone

They buying like a loan

Yeah, I smell good

Is that your boy's cologne?

Is that your boy's cologne?

Started balling', quicken Loans

Now I'm in my flippin' zone

Yes, they all copy me

But, that's some shitty clones

Stay in all designer clothes

And they ask me what I make

I said is 10 with six zeros

Always plug, merch link in bio

And I will see you tomorrow 'cause it's everyday bro

Peace

-🍇

Why, grape anon,

[nem0c]

Vietnam War - Galaxy Science Fiction Magazine, June 1968

Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm

Transcript Below

We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.

Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.

We oppose the participation of the United States in the war in Vietnam.

Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.

[daniel13sworld]

Autore: Penelope Douglas

Editore: Newton Compton Editori

Spicy:3,5/5

Titolo: Nightfall

Voto:4/5

Recensione:

“MILLE RAGIONI PER SFUGGIRTI” è l’ultimo volume della serie “DEVIL’S NIGHT” , PURTROPPO IL MENO RIUSCITO.

Il romanzo si alterna tra passato e presente, e tra i POV dei due protagonisti.

Emory e Will, negli eventi del passato, regalano tantissime emozioni, la lettura, quindi, risulta sempre scorrevole e appassionante.

Problematica è la parte inerente al presente dove, dopo alcuni capitoli intriganti, si incappa in qualche caduta di “stile”.

Le prime 500 pagine si divorano, gli ultimi dodici capitoli, infine, pesano come un macigno.

SI HA COME L’IMPRESSIONE, errata o corretta, che l’autrice abbia messo troppa carne sul fuoco e non abbia saputo gestire trama e personaggi secondari.

“MILLE RAGIONI PER SFUGGIRTI” aveva un grandissimo potenziale che, purtroppo, non è stato sfruttato appieno.

Un romanzo “IMPERFETTO”, ma non brutto, o da scartare in toto.

IN UNA SCENA MOLTO SUGGESTIVA, SENZA FARE SPOILER, EMORY SCOPRE LA SUA VERA NATURA.

-------------------------------------------------------------------------- Aydin si sporse e mi baciò la tempia, e non presi nemmeno in considerazione l’idea di allontanarmi. Le sue labbra erano calde e il loro tocco gentile, quasi come quello di… Quasi come quello di un <<padre>>.

«TU SEI LILITH», mi sussurrò contro la pelle. «Non puoi restare ustionata SE SEI TU LA FIAMMA»

Lilith era una figura del nostro folklore. La prima moglie di Adamo, scacciata dal Giardino dell’Eden perché si rifiutava di essere sottomessa.

LEI ERA IL BUIO E LA LUCE.

Non aveva avuto paura di cadere o di bruciare troppo in fretta.

LEI ERA UNA FIAMMA.

(Emory) LILITH, INVECE, È SIMBOLO DI UGUAGLIANZA TRA UOMO E DONNA. EMORY NEL ROMANZO È LILITH IN TUTTI I SUOI MOLTEPLICI ASPETTI. EMORY, DURANTE IL SOGGIORNO A BLACKCHURCH, oltre a non essere più la fragile e indifesa ragazza del passato, oltre ad aver tirato letteralmente fuori gli artigli, è sensuale, seducente, trasgressiva, fin troppo disinibita, posseduta da un’energia sessuale selvaggia e istintiva che esploderà in tutto il suo potere nella famosa scena del treno, potere che investirà, coinvolgerà anche gli altri, lì non abbiamo più Emory, lì c’è Lilith in persona, il demone donna che sta lasciando l’Inferno

SIMBOLOGIA

🔥TESCHIO: Morte e Rinascita.

🔥 SERPENTE: Conoscenza.

🔥 CORNA: Potere.

SIMBOLOGIA CHE RACCHIUDE ANCHE UN DUPLICE SIGNIFICATO.

🔥TESCHIO: Immortalità

🔥SERPENTE: Dea Madre, Lilith.

🔥 CORNA: Simbolo lunare.

🔥 CORNA SU UNO SFONDO NERO: LILITH rappresenta la LUNA NERA, ossia la parte rimossa, quindi buia e nascosta, di ogni donna: quella parte, istintiva e selvaggia, seducente e colma di energia, imprevedibile e ingovernabile dall’uomo, ma non per questo cattiva. (CIT)

«SII LILITH», dissero le ragazze.

Athos si abbassò la Morte Rossa sugli occhi e tutti ci mettemmo in marcia mentre lei sussurrava «MAI EVA».

LILITH RICORDA ALLE DONNE IL PROPRIO POTERE,

IL POTERE DI SCEGLIERE,

IL POTERE DI NON ESSERE ADDOMESTICABILI”. (Cit.)💝

[kimbersrp]

characters under the cut, organized by fc. if you want to rp with one, or a couple, of them just message me. (adding more as i go)

females; (multiple of the same fc)

dove cameron:

abbey sampson | 24 years old | dancer & singer | human

kimber halliwell | 26 years old | club owner | witch

jillian cowan | 27 years old | actress (depending on plot) | human

tatum monroe | 27 years old | baker | human

giorgia whigham:

stefanie myers | 27 years old | nurse | human

sydney sweeney:

charlotte brennon | 26 years old | forensic anthropology student | human

sabrina carpenter:

ryelle rothschild | 24 years old | jewelry store manager | human

jenna ortega:

tina gomez | 20 years old | college student | human

madelyn cline:

sammy yearwood | 26 years old | model | human

alycia debnam-carey:

alice westyn | 23 years old | ballet dancer | human or vampire (depending on the plot)

willa parker | 27 years old | bartender | human

cassie stevens | 27 years old | interior designer | human

claire holt:

olivia halliwell | 24 years old | nurse | witch

danielle rose russell:

anastasia hill | 23 years old | stylist | human

hope mikaelson | 23 years old | teacher at salvatore school | tribrid

mary mouser:

haley mason | 26 years old | makeup artist | human

nova munson | 25 years old | college student | human

lili reinhart:

adalynn hale | 22 years old | photographer | human

elisa harker | 22 years old | barista/college student | human or vampire (depending on the plot)

jaz sinclair:

mia ellis | 26 years old | casino dealer | human

josephine langford:

laurel harker | 24 years old | waitress & barista | human

katherine langford:

mina rollins | 25 years old | fashion designer | human

crystal reed:

trinity scott | 30 years old | club owner | human

allison argent | 26 years old | hunter | human

chloe bennet:

lana wang | 26 years old | waitress | human

daisy johnson | 28 years old | agent for s.h.i.e.l.d | inhuman

scout taylor-compton:

starla miller | 29 years old | pediatrician | human

candice accola:

annabelle 'belle' stone | 29 years old | pastry chef | human

harper halliwell | 25 years old | beautician | witch

zendaya coleman:

tatiana major | 24 years old | dancer | human

vanessa morgan:

shayna thompson | 30 years old | singer | human

toni topaz | 31 years old | bar owner | human

phoebe tonkin:

trixie turner | 27 years old | fashion designer | human or vampire (depending on the plot)

hayley marshall | 32 years old | bottle service girl | hybrid

mikey madison:

gabriella addams | 24 years old | dancer | human

---

males; (multiple of the same fc)

miles heizer:

tommy halliwell | 20 to 24 years old (depending on the plot) | photographer | witch

max timmons | 29 years old | cook | human

kyle gallner:

kieran halliwell | 27 years old | bartender | witch

quentin pierce | 28 years old | security guard | werewolf or human (depending on the plot)

jeremy allen white:

elliot stryker | 26 years old | mechanic | human

lip gallagher | 24 years old | architect | human

grant gustin:

barry allen | 29 years old | csi at ccpd & superhero | meta-human

campbell mills | 28 years old | artist | human

tom holland:

stevie langdon | 24 years old | writer | human

peter parker | 22 years old | college student & hero | superhuman

dylan o'brien:

stiles stilinski | 25 years old | fbi agent | human

daniel sharman:

killian samson | 27 years old | restaurant owner | human

dylan minnette:

wes jensen | 26 years old | veterinary assistant | human

joe keery:

steve harrington | 25 years old | sales associate at hot topic | human

kip ackerman | 27 years old | novelist | human

josh hutcherson:

ethan redfield | 27 years old | security guard | werewolf

christian bardot | 28 years old | waiter | human

tanner buchanan:

oliver halliwell | 23 years old | martial arts instructor | witch

xolo maridueña:

remy martinez | 22 years old | cook | human

[delcakoo]

Hi baby!!

Yah Y'all can't handle this Y'all don't know what's about to happen, baby Team 10 Los Angeles, Cali boy But I'm from Ohio though, white boy (Jacob Paul)

It's everyday bro With the Disney channel flow Five mill' on YouTube in six months Never done before Pass all the competition, man Pewdiepie is next

Man, I'm poppin' all these checks Got the brand new Rolex And I met the Lambo too And I'm coming with the crew This is Team 10, bitch Who the hell are flippin' you? And you know I kick them out If they ain't with the crew

Yeah, I'm talking about you You beggin' for attention Talking shit on Twitter too But you still hit my phone last night It was 4:52 and I got the text to prove And all the recordings too Don't make me tell them the truth

And I just drop some new merch And they're selling like a God church Ohio's where I'm from We chew 'em like it's gum We shooting with a gun The tattoo's just for fun Ah you say boat and run Catch me at game on I cannot be outdone Jake Paul is number one

It's everyday bro It's everyday bro It's everyday bro I said it is everyday bro!

You know is Nick Crompton And my collar stay poppin' Yes, I can rap And no, I'm not from Compton England is my city And if you work for Team 10 Then the US would be shitty I'll pass it to Chance 'Cause you know he stay litty

Two months ago You didn't know my name And now you want my fame? Bitch, I'm blowin' up I'm only going up Now, I'm going off I'm never fallin' off

Like Magg, who? Digi who? Who are you? All these beefs I just ran through Hit a milli' in a month Where were you?

Hatin' on me back in West Thinking need to get your shit straight Jakey brought me to the top Now, we really poppin' off Number one and number four That's why these fans all at our door It's lonely at the top So we all goin' We left Ohio

Now the trio's all rollin' It's Team 10, bitch We back again, always first, never last We the future, we'll see you in the past

It's everyday bro It's everyday bro It's everyday bro I said it is everyday bro!

Hold on, hold on, hold on, hold on Can we switch the language? We 'bout to hit it Sí, lo único que quiero es dinero Trabajando en YouTube todo el día entero Viviendo en U.S.A El sueño de cualquiera Enviando dólares a mi familia entera

Tenemos una persona por encima Se llama Donald Trump y está en la cima Desde aquí te cantamos Can I get my VISA? Martinez Twins, representando España Desde la pobreza a la fama

It's everyday bro It's everyday bro It's everyday bro I said it is everyday bro!

Yo, it's Tessa Brooks The competition shook These guys up on me I got 'em with the hook Let me educate ya And I ain't talking book Panera is your home? So stop calling my phone

I'm fly like a drone They buying like a loan Yeah, I smell good Is that your boy's cologne?

Is that your boy's cologne? Started ballin' quick and loans Now I'm in my flippin' zone Yes, they all copy me But, that's some shitty clones Stay in all designer clothes And they ask me what I make I said it's ten with six zeroes

Always plug, merch link in bio And I will see you tomorrow 'cause It's everyday bro Peace!

Doctor sorry, baby Jake Paul

I love you ♡

I CANT 😭 ATP THIS IS OUR SONG. WE NEED TO MAKE SURE TO NEVER SHOW OUR DMS TO ANYONE ITS GENUINELY TERRIFYING 🧌🧌🧌

anyways i love u too wifey 🫶🫶

[discoveringasterisms]

Shuffle your ‘On Repeat’ playlist and post the first ten tracks

Tagged by @prettylittleproblem and I’m not sure when the last time I even opened up the on repeat playlist was so I’m curious to see what’s on there (who am I kidding it’s gonna be old people music)

Count Basie - Shiny Stockings

Sarah Vaughan - Black Coffee

Yann Tierson - Compton d’un autre été, l’aprés-midi

Chick Webb - Swing Me a Song

Glenn Miller - Doin the Jive

My Morning Jacket - Off the Record

Mills Blue Rhythm Band - St. Louis Wiggle Rhythm

Kate Bush - Wuthering Heights

Charles Aznavour - Tu t’laisses aller

Spoon - Chicago at Night

[valkyries-things]

LIZZIE COMPTON // SOLDIER

“She was a woman soldier fighting for the Union in the American Civil War. She enlisted at the age of 14, and served in seven different regiments until the conclusion of the war, thus holding the record for reenlisting in the most regiments. Compton fought at Mill Springs, Fort Donelson, Shiloh, and Gettysburg until the conclusion of the Civil War before moving to Ontario, Canada.”

[alemicheli76]

"La custode dei libri antichi dimenticati" di Barbara Davis, Newton Compton. A cura di Sisi

I libri.Unica certezza quando tutto sembra andare per il verso sbagliato.Unico modo per evadere dalla realtà circostante.Unico modo per vivere mille vite.I libri non ci abbandoneranno mai. Ci permettono di sognare. Ci permettono di tornare bambini, sperando nell’arrivo di un principe azzurro o qualcuno che ci salvi. Ci permettono di crescere, di immedesimarsi in più punti di vista e conoscere…

[lboogie1906]

Nana-Kofi Siriboe (born March 2, 1994) is an actor and model. He is known for his role as Ralph Angel Bordelon on Queen Sugar (2016–22). He has appeared in films such as The Longshots (2008) and Girls Trip (2017).

Born in Los Angeles to Koshie Mills and Kwame Siriboe. His parents are of Ghanaian descent. He is the middle child and has two brothers, actors Kwame Boateng and Kwesi Boakye. As a model, he signed with Wilhelmina Models and Vision Los Angeles. He made his professional acting debut in the film The Longshots (2008). He later appeared in the films Prom (2011), Whiplash (2014), and Straight Outta Compton (2015). On television, he had a recurring role in the comedy-drama series Awkward from 2014 to 2015.

Since 2016, he has starred in the drama series Queen Sugar, for which he gained attention and three consecutive NAACP Image Award nominations. #africanhistory365 #africanexcellence

[thecazagroup]

🏡 #Clifton VA 20124 13316 Compton Rd 2 Parcels Lot with On-site Cottage $1,599,900

This is a rare opportunity to build your ultimate dream home while living in a beautifully appointed, 3 Level, 1 Bedroom, 2 Full Bath on-site Cottage with garage/storage/ready-to-be-finished space on the lower level. The cottage (newly constructed) sits adjacent to an existing fixer upper / tear down (former girl’s school manor house (built in 1925), if you would like to see the manor house please arrange private tour with listing agent). This is one of the last and best, prime 10 (Ten) Acre Lot(s) in the Clifton area. This sale includes two parcels with tax ID's 0751 01 0026A & 0751 01 0026B. The scenic parcel is situated on a hilltop overlooking a fantastic wooded westward facing view. The lot which is surrounded by woods is cleared and ready for your dream home. No costly tree removal during your build. The property has a 6-bedroom perc for the septic system (see Cert Letter in docs). Newly installed well with a 30GPM yield. This property is a dream come true for someone looking for a ready to build lot. Bring your builder, architect or contractor to determine your perfect house design to best enjoy the lovely sunset views. Schedule a showing and come take a look at what is your perfect Clifton location. Walk the property. Plenty of room for equestrian activities for those who love horses. No HOA. Just 6 minutes from the historic downtown Clifton town-center via Compton and Clifton Roads. Located only minutes to Union Mill, Braddock Road, Route 29, I-66 and Fairfax County Parkway.

☎️ 703.337.3699 #TheCAZAGroup creates #RavingFans by helping our community make smarter #HomeBuying and #HomeSelling decisions with less hassle and better service. We're serious about helping you make excellent and informed decisions. #SatisfactionGuarantee #RealEstate Click here for details https://www.thecazagroup.com/ #eXp

[savoir-entreprendre]

Kendrick Lamar a révélé que sa couronne semblable à celle de Jésus qu'il portait lors de la nuit des prix BET lui a coûté 3 millions de dollars. Il a été fabriqué à la main par quatre artisans pendant 1 300 heures sur une période de 10 mois. Il contient 8 mille diamants Kendrick Lamar, de son nom complet Kendrick Lamar Duckworth, né le 17 juin 1987 à Compton, en Californie, est un rappeur, parolier, réalisateur artistique , entrepreneur et acteur américain. Il a été à de nombreuses reprises qualifié comme le « nouveau Roi du Hip-hop Ayant demandé plus de 10 mois de fabrication, l’objet en question, composé de pas moins de 8 000 « micro-pavés » de diamant, serait à en croire Kendrick en personne, estimé à pas moins de 3 millions de dollars. La confidence a été faite face à la caméra de la chaîne YouTube The Unknown Vlogs. A croire que cette couronne aura permis au rappeur de dérouler une approche différente sur le plan artistique. C’est en tout cas son souhait, et celui de son manager Dave Free : « La couronne est une représentation pieuse des philosophies de quartier, racontée sous un angle jeune et digeste. » Kendrick Lamar se classe en tête des rappeurs les mieux payés en 2022, selon le magazine People With Money À combien s'élève sa fortune ? Pour établir son classement, le magazine People With Money tient compte des gains directs mais également des revenus issus des partenariats publicitaires, des royalties et tout autre investissement. D'après les calculs, le rappeur-entrepreneur pèserait près de 275 millions d'euros. Outre ses gains professionnels il devrait son immense fortune à de judicieux placements boursiers, un patrimoine immobilier conséquent et le très lucratif contrat publicitaire avec les cosmétiques CoverGirl. Il possèderait également plusieurs restaurants à Washington (dont la chaîne « Chez l'gros Kendrick »), un club de Football à Compton, et serait également impliqué dans la mode adolescente avec une ligne de vêtements « Lamar Séduction » ainsi qu'un parfum « L'eau de Kendrick », autant de succès financiers. Les riches américains 🇺🇸 avec leurs folies de richesse, pendant ce temps en Afrique les jeunes africains cherchent de financement pour leur projets 😏 https://savoirentreprendre.net/?p=9614&feed_id=753

[myrna-nora]

2023: Books

January 1. The Wall (1938) Mary Roberts Rinehart + 2. Fallen Into the Pit (1951) Ellis Peters ** 3. Agatha Christie: A Very Elusive Woman (2022) Lucy Worsley 4. Death on the Cherwell (1935) Mavis Doriel Hay # 5. A Death in Tokyo (麒麟の翼) (2011) Keigo Higashino 6. The Twyford Code (2022) Janice Hallett 7. Checkmate to Murder (1944) E.C.R. Lorac #

February 8. The Poisoned Chocolates Case (1929) Anthony Berkeley + # 9. Death and the Joyful Woman (1961) Ellis Peters ** 10. Bodies from the Library, 2 (2019) Tony Medawar (Editor) 11. Finlay Donovan Jumps the Gun (2023) Elle Cosimano ^ 12. Flight of a Witch (1964) Ellis Peters ** 13. Murder in the Basement (1932) Anthony Berkeley # March 14. Mrs. 'Arris Goes to Paris (1958) Paul Gallico 15. A Nice Derangement of Epitaphs (1965) Ellis Peters ** 16. These Names Make Clues (1937) E.C.R. Lorac # 17. House of Many Ways (2008) Diana Wynne Jones ^ 18. Vera Wong's Unsolicited Advice for Murderers (2023) Jesse Q. Sutanto 19. The Decagon House Murders (十角館の殺人) (1987) Yukito Ayatsuji + 20. Poirot: The Greatest Detective in the World (2020) Mark Aldridge + 21. Death of Jezebel (1948) Christianna Brand # 22. The Spite House (2023) Johnny Compton 23. The Cask (1920) Freeman Wills Crofts April 24. The Piper on the Mountain (1966) Ellis Peters ** 25. Crossed Skis (1952) Carol Carnac # 26. The Wintringham Mystery (1927) Anthony Berkeley 27. Wrong Place Wrong Time (2022) Gillian McAllister 28. Smallbone Deceased (1950) Michael Gilbert # 29. Heads You Lose (1941) Christianna Brand May 30. Black is the Colour of my True Love's Heart (1967) Ellis Peters ** 31. Murder of a Lady (1931) Anthony Wynne # 32. The Lake District Murder (1935) John Bude # 33. The Mill House Murders (水車館の殺人) (1988) Yukito Ayatsuji 34. Green for Danger (1944) Christianna Brand * # 35. The Case of the Howling Dog (1934) Erle Stanley Gardner June 36. Identity (2023) Nora Roberts 37. A Will To Kill (2019) R.V. Raman 38. The Grass-Widow's Tale (1968) Ellis Peters ** 39. The Enigma of Garlic (2022) Alexander McCall Smith ^ 40. Miss Pym Disposes (1946) Josephine Tey 41. The Seat of the Scornful (1941) John Dickson Carr # 42. Fell Murder (1944) E.C.R. Lorac # 43. The House of Green Turf (1969) Ellis Peters ** July 44. The Westing Game (1978) Ellen Raskin * 45. The Case of the Gilded Fly (1944) Edmund Crispin 46. Mourning Raga (1969) Ellis Peters ** 47. Grave Intentions (A Dire Isle) (2022) R.V. Raman 48. Weekend at Thrackley (1934) Alan Melville # 49. The Singing Sands (1952) Josephine Tey ^ 50. The Story of Classic Crime in 100 Books (2017) Martin Edwards + 51. The Only One Left (2023) Riley Sager 52. Death of an Airman (1934) Christopher St. John Sprigg # 53. The Knocker on Death's Door (1970) Ellis Peters ** August 54. A Disappearance in Fiji (2023) Nilima Rao 55. The Mistress of Bhatia House (2023) Sujata Massey ^ 56. Tour de Force (1955) Christianna Brand ^ 57. The Colour of Murder (1957) Julian Symons # 58. Post After Post-Mortem (1936) E.C.R. Lorac # 59. Death to the Landlords (1972) Ellis Peters ** 60. Now I Lay Me Down to Sleep (1997) Patricia H. Rushford * 61. The Plague and I (1948) Betty MacDonald ^ September 62. City of Gold and Shadows (1973) Ellis Peters ** 63. Red Sky in Mourning (1997) Patricia H. Rushford 64. Twice Round the Clock (1935) Billie Houston # 65. Everyone in My Family Has Killed Someone (2023) Benjamin Stevenson 66. Please Don't Push Up the Daisies (2023) Diane Vallere ^ 67. Laughing Gas (1936) P.G. Wodehouse 68. The Black Spectacles (1939) John Dickson Carr # 69. The Last Devil to Die (2023) Richard Osman ^ 70. Rainbow's End (1978) Ellis Peters ** October 71. Thirteen Guests (1936) J. Jefferson Farjeon # 72. Ghosts From the Library (2022) Tony Medawar (Editor) 73. Black Rainbow (1982) Barbara Michaels ^ 74. The Stranger Diaries (2018) Elly Griffiths 75. Where Are the Children? (1975) Mary Higgins Clark + 76. It Walks by Night (1930) John Dickson Carr # 77. Jane-Emily (1969) Patricia Clapp 78. The Woman in Black (1983) Susan Hill 79. Midnight Bayou (2001) Nora Roberts November 80. The Progress of a Crime (1960) Julian Symons # 81. Just Another Missing Person (2023) Gillian McAllister 82. The Running Grave (2023) Robert Galbraith ^ 83. Murder by Matchlight (1945) E.C.R. Lorac # December 84. The Santa Klaus Murder (1936) Mavis Doriel Hay # 85. The Christmas Guest (2023) Peter Swanson 86. The Busy Body (2024) Kemper Donovan + 87. Murder After Christmas (1944) Rupert Latimer # 88. The Twelve Days of Murder (2023) Andreina Cordani 89. Trojan Gold (1987) Elizabeth Peters + read what I already own challenge ^ finished or caught-up in series * re-reads ** re-read series challenge (Felse Investigations) # British Library Crime Classics

[things-that-are-weezer-green]

It's everyday bro With the Disney Channel flow 5 mill on YouTube in 6 months Never done before Passed all the competition man PewDiePie is next Man I'm popping all these checks Got a brand new Rolex And I met a Lambo too And I'm coming with the crew This is Team 10, bitch Who the hell are flippin' you? And you know I kick them out If they ain't with the crew Yeah, I'm talking about you You beggin' for attention Talking shit on Twitter too But you still hit my phone last night It was 4:52 and I got the text to prove And all the recordings too Don't make me tell them the truth And I just dropped some new merch And it's selling like a God, church Ohio's where I'm from We chew 'em like it's gum We shooting with a gun The tattoo just for fun I Usain Bolt and run Catch me at game one I cannot be outdone Jake Paul is number one

It's everyday bro It's everyday bro It's everyday bro I said it's everyday bro

You know it's Nick Crompton And my collar stay poppin' Yes, I can rap And no, I am not from Compton England is my city And if it weren't for Team 10 Then the US would be shitty I'll pass it to Chance 'Cause you know he stay litty

Two months ago You didn't know my name And now you want my fame? Bitch I'm blowin' up I'm only going up Now, I'm going off I'm never fallin' off Like Mag, who? Digi who? Who are you? All these beefs I just ran through Hit a milli in a month Where were you? Hatin' on me back in Westfake You need to get your shit straight Jakey, brought me to the top Now we're really poppin' off Number 1 and number 4 That's why these fans all at our door It's lonely at the top So we all going We left Ohio Now the trio's all rollin' It's Team 10, bitch We back again, always first, never last We the future, we'll see you in the past

It's everyday bro It's everyday bro It's everyday bro I said it's everyday bro

Hold on, hold on, hold on Can we switch the language? We 'bout to hit it

Sí, lo único que quiero es dinero Trabajando en YouTube todo el día entero Viviendo en USA El sueño de cualquiera Enviando dólares a mi familia entera Tenemos a una persona por encima Se llama Donald Trump y está en la cima Desde aquí te cantamos Can I get my visa? Martinez Twins, representando España Desde la pobreza a la fama

It's everyday bro It's everyday bro It's everyday bro I said it's everyday bro

Yo, it's Tessa Brooks The competition shook These guys up on me I got 'em with the hook Lemme educate ya' And I ain't talking book Panera is your home? So stop calling my phone I'm flying like a drone They buying like a loan Yeah, I smell good Is that your boy's cologne?

Is that your boy's cologne? Started balling, Quicken loans Now I'm in my flippin' zone Yes, they all copy me But, that's some shitty clones Stay in all designer clothes And they ask me what I make I said it's 10 with six zeros Always plug, merch link in bio And I will see you tomorrow 'cause It's everyday bro Peace

what does this MEAAAAAANNNN

[lisystrata]

I really like this old song.

La Valse à Mille Temps

Au premier temps de la valse Toute seule tu souris déjà Au premier temps de la valse Je suis seul mais je t'aperçois Et Paris qui bat la mesure Paris qui mesure notre émoi Et Paris qui bat la mesure Me murmure murmure tout bas

Une valse à trois temps Qui s'offre encore le temps Qui s'offre encore le temps De s'offrir des détours Du côté de l'amour Comme c'est charmant Une valse à quatre temps C'est beaucoup moins dansant C'est beaucoup moins dansant Mais tout aussi charmant Qu'une valse à trois temps Une valse à quatre temps Une valse à vingt ans C'est beaucoup plus troublant C'est beaucoup plus troublant Mais beaucoup plus charmant Qu'une valse à trois temps Une valse à vingt ans Une valse à cent temps Une valse à cent ans Une valse ça s'entend A chaque carrefour Dans Paris que l'amour Rafraîchit au printemps Une valse à mille temps Une valse à mille temps Une valse a mis le temps De patienter vingt ans Pour que tu aies vingt ans Et pour que j'aie vingt ans Une valse à mille temps Une valse à mille temps Une valse à mille temps Offre seule aux amants Trois cent trente-trois fois le temps De bâtir un roman

Au deuxième temps de la valse On est deux tu es dans mes bras Au deuxième temps de la valse Nous comptons tous les deux une deux trois Et Paris qui bat la mesure Paris qui mesure notre émoi Et Paris qui bat la mesure Nous fredonne fredonne déjà

Une valse à trois temps Qui s'offre encore le temps Qui s'offre encore le temps De s'offrir des détours Du côté de l'amour Comme c'est charmant Une valse à quatre temps C'est beaucoup moins dansant C'est beaucoup moins dansant Mais tout aussi charmant Qu'une valse à trois temps Une valse à quatre temps Une valse à vingt ans C'est beaucoup plus troublant C'est beaucoup plus troublant Mais beaucoup plus charmant Qu'une valse à trois temps Une valse à vingt ans Une valse à cent temps Une valse à cent temps Une valse ça s'entend A chaque carrefour Dans Paris que l'amour Rafraîchit au printemps Une valse à mille temps Une valse à mille temps Une valse a mis le temps De patienter vingt ans Pour que tu aies vingt ans Et pour que j'aie vingt ans Une valse à mille temps Une valse à mille temps Une valse à mille temps Offre seule aux amants Trois cent trente-trois fois le temps De bâtir un roman

Au troisième temps de la valse Nous valsons enfin tous les trois Au troisième temps de la valse Il y a toi y'a l'amour et y'a moi Et Paris qui bat la mesure Paris qui mesure notre émoi Et Paris qui bat la mesure Laisse enfin éclater sa joie.

Une valse à trois temps Qui s'offre encore le temps Qui s'offre encore le temps De s'offrir des détours Du côté de l'amour Comme c'est charmant Une valse à quatre temps C'est beaucoup moins dansant C'est beaucoup moins dansant Mais tout aussi charmant Qu'une valse à trois temps Une valse à quatre temps Une valse à vingt ans C'est beaucoup plus troublant C'est beaucoup plus troublant Mais beaucoup plus charmant Qu'une valse à trois temps Une valse à vingt ans Une valse à cent temps Une valse à cent ans Une valse ça s'entend A chaque carrefour Dans Paris que l'amour Rafraîchit au printemps Une valse à mille temps