#yeeba

[henryhalo]

Yeeba geeba

[yeenyyd]

YEEBA

Eh what the hell, happy Hyena Monday everyone

[bamboozlemint]

zeeba deebo gleerp. yabba deebo. wagga wagga yarrrr. blarga habbo. feep neep yeeba sleemp. woorgle fazzy yebbo. leemy deema. worrrrww. blegga zepp.

[luvneedsnosyt]

Mark Ronson - Higher Love (Whitney Houston Cover in the Live Lounge) Feat. YEBBA.

Shouts: Ultimate Music

[trastornadosrevista]

No.6 Collaborations Project: Eat, sleep, collab, repeat

El más que esperado disco de colaboraciones de Ed Sheeran es un fresco bastante completo de la nueva escena urbana global. Sin fisuras en lo sonoro, termina siendo un trabajo poco arriesgado, aunque no por ello carente de muy buenas canciones. Radiografía de un disco que podría haber sido mucho más.

Salido del horno hace muy poco tiempo, el muy esperado ‘No.6 Collaborations Project’ (2019) es un trabajo que se queda a mitad de camino. Si bien es innegable que la distribución del talento ha sido muy bien gestionada por Ed Sheeran, lo cierto es que al finalizar el disco queda una sensación de que el británico y sus –en mayoría notables y muy vigentes–  colaboradores podrían habérsela jugado un poco más en lo que refiere a lo artístico.

En los años previos a firmar su primer gran contrato, Ed Sheeran grabó un disco muy similar titulado ‘No.5 Collaborations Project’ junto a un buen número de raperos ingleses a los que admiraba y con los que ocasionalmente compartía escena. Con mucha inteligencia, el oriundo de Halifax, West Yorkshire, ha declarado que este trabajo es una continuación de lo hecho cuando las presiones eran muy pocas y las libertades y los horizontes eran infinitos. Sería injusto dudar de sus palabras (“para mí, es una compilación con todos los artistas de los que soy fanático en este momento”), pero  es imposible hacer la vista gorda respecto de la fuerte presencia que tiene Atlantic Records a lo largo y ancho de este extenso proyecto colaborativo.

Tampoco hay que dudar de sus gustos, pues seguramente él mismo haya seleccionado con muchísimo cuidado –dentro de una extensa lista de posibilidades– a cada uno de los artistas convocados para participar en un disco que significa para muchos de ellos un muy fuerte empujón profesional. La primera conclusión que se puede sacar tiene que ver con el aspecto más ligado a los negocios: es evidente que Atlantic Records (y su pariente más que cercano, Warner Music) posee un rango cuasi interminable de artistas fenomenales y refrescantes hacia ambos lados del océano. En ese sentido, ‘No.6 Collaborations Project’ –donde también hay nombres pesados de Sony Music Entertainment e Universal Music Group, marcando una alianza tal vez sin precedentes modernos– es una demostración de fuerza y talento que no se suele ver todos los días y también una confirmación del peso que posee un artista tan completo e influyente como Ed Sheeran dentro de la escena musical y cultural global.  

La fiesta donde todo queda en familia comienza con “Beautiful People” (feat. Khalid), una pieza que expresa en todo su esplendor cuán lejos puede llegar la combinación entre el pop, la EDM y el rap 3.0, alcanzando calidez y oscuridad en iguales cantidades merced de un flow muy cadencioso con secuencias tajantes dentro de un clima brumoso.  La ruptura es inmediata, ya que con “South Of The Border”, colaboración con Camila Cabello, la esencia latina se instala en el disco, aunque decepciona el hecho de que no se explore más allá de lo que en los Estados Unidos se considera o aglutina bajo la categoría “Latin Music”.

Luego de coquetear con la bachata y la salsa desde el pop, Sheeran apunta a la agresividad pura, aunque en sus términos: “Cross Me”, junto a Chance The Rapper y PnB Rock, es la personificación del clima que se vive en las partes más sombrías de Chicago hace varias décadas. Sobre una base estridente y robótica, ambas voces se entrecruzan en una batalla que no parece tener eje, sino más bien realizarse sobre una base 100% libre.

Una batería de bajos bien oscuros da comienzo a “Take Me Back To London”, pieza que trabaja con una estructura cercana al art pop y con un retrato contundente de lo que se está cocinando hace varios años en la escena emergente de Londres. Ese “take me back to London” está creado para retumbar en las cabezas por varios años, además del freestyle aceleradísimo y pensante de un Stormzy prendido fuego. La voz de YEBBA brilla por completo en “Best Part Of Me”, una clásica balada pop que no trae nada nuevo a la mesa, pero que suma a su fórmula algunos interesantes retoques electrónicos que le dan algo de calidez –y un aire country/folk– a una canción que en su esencia es más bien triste.

Titulada “I Don’t Care”, la colaboración junto a Justin Bieber es un hit tan inevitable como carente de riesgos, algo que le baja su precio de forma considerable. Romance, dulzura y playa, tres elementos que a los dos protagonistas les vienen como anillo al dedo y que los inserta en la comodidad de la atmósfera eternamente veraniega que se vive en los sectores más adinerados de Los Ángeles. Nadie quita lo bailable y lo pegadizo –ni mucho menos su buen flow– pero el talento de Sheeran y Bieber justifica la máxima exigencia.

Ese esperado descenso a las profundidades, buscando tal vez contrastar todo lo mencionado en el párrafo anterior, se da a lo largo de “Antisocial”, con un Travis Scott liderando la carga a través de un rapeo denso y directo. De inmediato, sorprende el ingreso al club de dos jugadores de pesos específico e histórico como Eminem y 50 Cent: “Remember The Name” funciona como un eficiente ejercicio nostálgico, poniendo sobre la mesa un poco del viejo gangsta rap de principios de siglo.

El primer quiebre significativo –un alejamiento de lo seguro– se produce durante “Feels”, pues Young Thug y J Hus consiguen agregar una dosis importante de dark pop sazonado con mucho soul, R&B y una pizca de reggae. Ese terreno fértil de la black music 2.0 continúa siendo explorado por el host y Ella Mai en “Put It All On Me”; la británica exhibe una muy versátil y poderosa voz, moviéndose con absoluta simpleza entre el soul y el R&B, aprovechando el empuje de una base repetitiva que va directo al hueso.

Se ha hablado mucho en la Argentina de “Nothing On You” y esto es algo por complete lógico: el ingreso del cordobés Paulo Londra a las grandes ligas mundiales es al grito de “LEONES CON FLOW” y con un intento de consolidar ese perfil lírico más maduro y agresivo que se puede encontrar en algunas canciones de su primer disco, ‘Homerun’ (2019). La intervención de Londra es breve pero le da el impulso necesario a la canción para que Dave tome la posta con una rítmica fotografía de los suburbios londinenses. El sample es muy jazzero, algo que le agrega mucho flow a una base sensacional que queda en la pole position para ser la mejor del álbum.  

Un riff simple en loop prove el marco ideal para la balada pop/rap “I Don’t Want Your Money”, donde H.E.R irrumpe a puro soul para darle a la pieza mucho dinamismo y ambiente de club exclusivo. Sobre el cierre, el volantazo se hace más claro: “1000 Nights” es un feat. junto a Meek Mill  y A Boogie Wit Da Hoodie que está plagado de hip hop de la vieja escuela, aunque sin perder el predominio del pop electrónico y las bases más bien cadenciosas, dos cuestiones que se repiten en exceso en el disco.  

El dubstep edulcorado –cortesía de un preciso Skriilex– de “Way To Break My Heart” y el funk/rock ochentoso de “BLOW” traído por Chris Stapleton y Bruno Mars para agitar las cabezas a velocidad media e intentando cambiar un poco las reglas (sonoras) del juego. La conclusión está a la vista: ‘No.6 Collaborations Project’ es un trabajo consistente en lo que refiere a lo musical, pero que no provoca (salvo en algunos momentos muy puntuales) ningún tipo de sorpresa. El talento está más que presente en todas las canciones y el ojo de Ed Sheeran  –más allá de las cuestiones de sello– lógicamente es uno muy afilado, pero sobresale la sensación de que se podría haber apostado por un crisol aún mayor en lo que refiere a los géneros, estilos y culturas.

Escuchá ‘No.6 Collaborations Project’ acá: https://spoti.fi/2Z7kFWk

Por Rodrigo López Vázquez

[waterlesscake]

YEEBAS

yeen wallpapers added to the kofi shop~

[thewaysoundtravels]

(via Louie Bag (feat. Smino) by YEBBA) 

There’s a 90s triphop vibe all over this tune, but definitely beautifully done.

[lalysonwrites]

The Resurrection Of Smithers

After three years from the British singers’ debut Grammy award-winning studio album ‘In The Lonely Hour’, Sam Smith has finally graced us with a new album, titled ‘The Thrill Of It All’. Once again, the British singer has opted to give us the arts behind heartbreak of which, at one point or another, we will all go through or have been through in our lives. The singer has stated he didn’t initially go to make another pop album but instead create something relatable and personal to him and also to the listeners.

‘The Thrill Of It All’ has heavily inspired melodies to jazz music, the genre of which Smith’s voice is beautifully fitted to. Many of the songs of this album seem to give a ‘tilt of the cap’ to the genre, in particular ‘Say It First’ which commemorates the sensational singer. In a similar fashion to Franklin’s gospel routes, Sam Smith also includes influences to choirs and samples of a gospel choir which can be seen at his live performances for the BBC special.

As well as paying homage to Aretha Franklin, Smith also chose to sample the Radiohead hit ‘Creep’, in the touching song ‘Midnight Train’. Smith, although surprising due to his reputation, had a much more uplifting take to the iconic monotones of Thom Yorke.

One of the main topics it seems in this album, other than heartbreak, was the use of religious references in a fair majority of this record. Most predominantly, was ‘HIM’ which held some personal allusions to his relationship with God, not unlike ‘Pray’ which talks about his lack of a personal connection to God. ‘HIM’ also seems to have an underlying topic of a previous sexuality crisis that Smith may have experienced when he was younger.

Not unfamiliar in this album is the recognition of other artists’ influence on Sam Smith and his creative talents, one that stood out to me was ‘Baby, You Make Me Crazy’, the song seems to undertake a similar style to the songs of Shawn Mendes’ album ‘Illuminate’, in particular songs such as ‘Understand’ and ‘Honest’, that are not unlike Smith’s sound and likeness to write about relationships and his own personal experiences as most songwriters tend to do.

A personal favourite of mine on the album is ‘No Peace’ featuring YEEBA, the melody in this song is perfect in every sense, it flows with so much beauty and precise gratitude with the lyrics. The complexion of the two voices are very much aesthetically pleasing with the soft melody of the piano and also the orchestral backing track throughout. Something that particularly interests me about this song is the eccentric wordplay throughout the song with the words ‘piece’ and ‘peace’ which I can probably assume doesn’t interest most people but it certainly interested me.

In comparison to ‘In The Lonely Hour’, this album is far more compelling to a much wider audience rather than primarily those interested in pop music and culture in extension, but rather anyone who has an interest in the magic and captivating art of music. This is album would be a perfect recommendation to anyone as it is such an easy listen, each song flows flawlessly from one to another. Although you may shed a few tears along the way, as the songs are primarily from the perspective of heartbreak but in saying that, many of the melodies and clever twists in each of the tracks sounds, they each seem to hold a far more optimistic and joyful place than many of his other songs.  

L.

[snmarve]

I’m going to need an entire album ASAP! I guess I’ll have to be satisfied with YouTube until them. 🤷🏽‍♀️ #yeeba #musichead #blueeyedsoul #needtoseeherlive https://www.instagram.com/p/BpxtYshHB3t/?utm_source=ig_tumblr_share&igshid=1ctcnogh9ckfe

[1younggage]

I know you see the way we move when we come through/ You dey gbadun the swag omo talk true/ LINK ON BIO. @1younggage #TheyWannaKnow #YoungGage NEW VIDEO https://youtu.be/9IG3JBkBX-s UDGSMG Dope Trap Prod. By @layerbeats #Trap @udgproductions #9jaMusic #NoDullingThings #HipHop #TurnUp #Rap @udgsmg #stayfocused #NaijaMusic #Dope #9jaTrap #NaijaHipHop #staywoke #AfroTrap #Yeeba

[shadow-bender]

I have insomnia and I'm gonna make it everybody elses problem!!!!

[fiifiadinkra]

Koo Ntakra - Yeeba (Prod. By Qhola Beatz)

Koo Ntakra – Yeeba (Prod. By Qhola Beatz)

Koo Ntakra – Yeeba (Prod. By Qhola Beatz) (GhanaNdwom.net)

  KN Records lead act, Koo Ntakra rides on Qhola Beatz’s instrumental for this jamming streets banger.

He calls this creative piece ‘Yeeba’

CHECK OUT: Donzy – Man Taya (Prod by Shawers Ebiem)

Koo Ntakra – Yeeba (Prod. By Qhola Beatz) [DOWNLOAD]

https://ghanandwom.net/wp-content/uploads/2019/12/Koo-Ntakra-Yeeba-Prod.-By-Qhola-Beatz-GhanaN…

[israelowusu]

Bittersweet Dreams

1) Heartbreak Hotel by Whitney Houston ft. Kelly Price & Faith Evans.

2) A Long Walk by Jill Scott

3) Other Side of the Game by Erykah Badu

4) Diary by Alicia Keys ft. Tony! Toni! Tone! & Jermaine Paul.

5) Loved By You by Mali Music & Jazmine Sullivan

6) Roses by OutKast 

7) How Deep Is Your Love by PJ Morton ft. Yeeba

8) Set Fire to the Rain by Adele

9) Fire & Desire by Drake

10) Ah Yeah by Robert Glasper ft. Musiq Soulchild & Chrisette Michele

First dance:

Angel of Mine by Monica

[yurtletheturtlehenderson]

ASoUE REWRITE - Season 1; The Miserable Mill - Part i.iii

⇢ Klaus x Reader⇠

*not my gif*

<A//n: if any of you are confused as to why the reader hasn't shared her knowledge on the Paltryville fire, don't worry, that's on purpose. It's coming.>

    As the children walked back to the mill, Klaus brought up what had been mentioned earlier.

     "Did you say he only pays the workers in coupons?"

     "It's true. We are all paid in coupons, but it doesn't matter, we don't have any money to use the coupons with. I tried bringing up such matters, including the gum with Sir but he got mad at me and threatened to kick me out." 

     "That's awful."

     "I know that you have nowhere else to go, but why doesn't anybody else leave?" Violet asked.

     "They are quite weird about that." Y/n seeming to recall something.

     Before Y/n could elaborate any further, the children found themselves back at the mill, and the four reluctantly got back to work.

     They worked in silence for quite a while. Eventually, Violet looked up at her brother and noticed the familiar look on his face.

     "You're thinking something." 

     Y/n, who was working on the very same log as the eldest Baudelaire siblings, couldn't help but hear their conversation, but nevertheless, continued to work.

     "The new foreman. Phil said he just showed up last night. What if he's Count Olaf and being a foreman's his new disguise?"

     "He is cruel like Count Olaf," Violet admitted. "but Count Olaf runs a horrible theatre company, not a lumber mill."

     "But isn't it suspicious how we never see his face? And we only ever hear his voice over the loudspeaker."

     "The mill is noisy. Besides, it's probably the only way anyone could ever hear him. I know what you're trying to do."

     "Keep us safe."

     "Find a reason to leave. And we will, I promise, as soon as we clear our parent's names."

     Y/n focused all her attention on the log, feeling this wasn't something she had the right to hear.

     "I... I need a new debarker." Klaus mumbled.

     Leaving his sisters and Yn to continue the current log, Klaus decided to do a little investigating himself.

     Upon approaching the foreman, he had noticed that the man was sleeping, his left leg resting just outside the booth.

     Klaus moved quickly and he swiftly took a knee up against the booth. Cautiously, he reached his hand for the foreman's pant leg and slowly tried to raise it up, checking for a familiar eye tattoo.

     The pant leg had barely moved when the snoring foreman, twitched in his sleep causing Klaus to jump himself. He froze, staring at the foreman for only a few moments, before attempting to move the pant leg once more.

     Suddenly, the foreman woke with a start, frightening Klaus who removed his hand and jumped to his feet.

     "What are you doing, Midget?"

     "I... need a new debarker."

     "Spoiled brat wants a new debarker. Old rusty one isn't good enough for him, eh? They're over there, rich boy."

     The foreman extended his left arm and it was then that Klaus saw the long and awkward over-extension of the man's arm. The arm was completely covered by the uniform and long rubber glove, and it was the kind of length of arm one would have if their hands were missing and replaced with long metal hooks. Just like one of Count Olaf's most faithful theatre troupe members.

     "Wait..." Klaus mumbled the familiar sensation of his pounding heart was setting in.

     Klaus was thrown to the ground before he knew what hit him, which in this case, was the large rubber boot belonging to the foreman, who had kicked him to the ground, rather harshly. Winded and still quite confused, the foreman took the opportunity to step forward and with his rather large rubber boot, he stepped right on Klaus' glasses, cracking the lenses.

     "Whoops!" He said, before, coincidentally, lumbering back into his booth.

     "Klaus!" Violet cried.

     She had looked over just in time to see the foreman kick her brother to the ground, and step on something. Y/n, who grabbed Sunny per her request, was quick to follow.

     "Klaus! Are you hurt?" Y/n asked, still holding Sunny who was peering down at her brother in concern.

     "No, I don't think so. Just caught off guard."

     "You're glasses, they're--" Violet began.

     "Twisted,"

     "Cracked,"

     "Hopelessly broken," Said the crowd of lumber workers who had gathered around the scene.

     "They Look A-okay to me." Said Phil, giving an optimistic thumbs up.

     Klaus had stood up and had to hold his glasses on with one hand. One of the arms of the glasses was missing and both lenses were completely cracked.

     Violet turned to the crowd to explain. "The foreman kicked him and stepped on his glasses!"

     "How can I kick him when I'm up in this booth?" Came the voice of the foreman, from his booth. "It was probably karma."

     "Can you see?" Y/n asked.

     "A little," Klaus said squinting, still holding his glasses on with one hand.

     "He'll live. Get back to work." Barked the foreman.

     The lumber workers scattered, aside from Y/n, the Baudelaires and Phil who scoffed, which came out as more of a wheeze as he kindly gestured to Klaus. "He can't work if he can't see. He needs an optometrist."

     The foreman didn't seem to care. He merely shrugged his large shoulders and returned to his booth. Phil turned to Klaus and the others and put a hand on Klaus' shoulder. "Lucky for you, we've got a great one right here in what's left of our town."

     "You mean the building shaped like an eye?" Klaus asked, warily.

     "Oh, yeah, Dr. Orwell treats all the workers. You probably saw the coupon in your welcome packet. I better get you there."

     Klaus looked between his sisters and his friend. "I'll be fine. Maybe I can find some answers."

     "Maybe we can find some answers too." Violet smiled, sharing a hopeful look with Y/n and then Sunny.

     "We better hurry. And we have to be careful this time. Good luck, Klaus." Y/n said, and with that, the three girls turned and left.

     Klaus didn't know what was worse. Having to go to the eye building, or being separated from his friend and sisters. But one thing was certain. The further the girls were, the more the pit in his stomach grew, and the more danger he was in.

+ + +

     Reluctantly, he followed Phil and before long, Klaus Baudelaire was standing before the building shaped like an eye. Peering up at the tall, ominous building, he recalled a piece of knowledge from a popular book he once read.

     "In the book The Great Gatsby, there's a famous sign shaped like a pair of eyeglasses." He said, peering up at the wooden sign shaped like a pair of eyeglasses that hung off the side of the building.

     "Does it represent an optometrist?" Phil asked, curious.

     "It represents the eyes of God staring down and judging society as a moral wasteland."

     "Oh, that sounds like a fun book," Phil chirped.

     "Listen..." He said, extending an arm to Klaus once more. "I know going to the doctor can be scary. But doctors are your friends. Come on." He said cheerfully, guiding Klaus inside the eye-shaped building.

     Phil was wrong, of course. As anyone who's been to a doctor knows, doctors are not necessarily your friends, any more than butchers, mail deliverers, or refrigerator repair people are your friends. Especially, if any of these such people are conspiring with a villain who is after your fortune.

+ + +

     Meanwhile, Sunny, Y/n, and Violet had managed to sneak away from their station and into the library across from Sir's office.

     "We better hurry, before the foreman realizes we're gone," Violet said, her voice lowered.

     The three ladies had noticed Sir's office doors were wide open, but the office was thankfully empty.

     "Or before Sir gets back." Y/n pointed out.

     "We better get to work," Violet said, heading for a nearby shelf.

     "Here you are Sunny. Thank you for trusting me to carry you," Y/n said, resting little baby Sunny on one of the armchairs.

     "Yeeba," Sunny said, which meant something like, "And thank you!"

     Y/n smiled timidly and looked to Violet who quickly translated, as she walked along scanning the books on the shelves.

     "They're all The History of Lucky Smells Lumbermill. Who would want so many copies of the same book?" Violet said.

     Y/n reached up and grabbed a copy of The History of Lucky Smells Lumbermill and the two girls looked to the back cover.

     "Of course," Mumbled Yn.

     There on the back cover was a photo of Sir surrounded in his usual cloud of smoke you could hardly make him out. Below his photograph were the words "About The Author". Yn shook her head and quickly brought the book to the table, and began flipping through the pages. 

     "Do you think we will ever be able to find anything on the Paltryville fire?" Y/n asked as she quickly skimmed the pages.

     "Whenever Klaus reads a long, difficult book, the first thing he does is read the table of contents," Violet said.

     Y/n nodded, turning to the front of the large book, finally landing on the table of contents. She ran her finger down the list of chapters.

     "Let's see," the word 'fire' in particular caught her eye. "Here it is, chapter 12. The Paltryville Fire."

     Violet could hear the rather large lump forming in her friend's throat as she spoke. She felt awful dredging up her friends past.

     "Y/n, I'm sorry," she began.

     Y/n smiled weakly. "Thank you, Violet, but it's alright, really. I meant it when I said I want to help clear your parent's names,"

     Violet nodded appreciatively, and the girls returned to the book and flipped to chapter twelve, their hearts pounding.

     What they found is not what they were expecting. The entire page was inked out. It looked as if someone had gone through with a permanent marker and covered the entire page, save for five simple words.

     "'The Baudelaires were unequivocally responsible...'" Violet read aloud for Sunny who was still in the chair. "The rest is crossed out."

     "This can't be in all the books, can it?" Y/n asked.

     "Only one way to find out,"

     The two young girls began pulling books off the shelf and opening them to chapter twelve. Book after book, looked exactly the same as the first.

     Minutes ticked by that felt like hours as the girls dumped book after book on the table. And yet, just as their hope was wearing thin, the seventeenth book Violet pulled off the shelf was flipped open to chapter twelve, and sure enough, there laid an untouched book.

     "This one's not crossed out!" Violet cried, grabbing Sunny and Y/n's attention.

     Just as the two older girls were about to read the entry, a loud thud echoed down the hall, followed by the sound of heavy boots trudging down the hall.

     "Hide!" Whispered Y/n.

     Violet abandoned the book in order to grab Sunny and the three girls were able to duck behind the leather chair just in the nick of time. A phrase which here means, mere seconds before Sir poked his smoked covered nose in the library when he noticed all the books that were off the shelves.

     From where she was crouched, Y/n was able to peek over the leather armchair unnoticed. She watched as Sir inspected the open books, the only one that remained untouched to be exact, and the frown that crossed his features. He turned the book around to look at what it was open to and upon recognition, he glanced over his shoulder making sure no one watching. And with his one free hand, he ripped the page right out of the book, folded it up, and tucked it in his jacket pocket before walking away.

     Sighing heavily, Y/n sat down on her knees facing the Baudelaire girls. "Oh, no! He took the page! I'm so sorry," She whispered.

     "What are you sorry for?" Violet asked.

     "I could've done something. I could have grabbed it," Y/n felt awful her friends didn't have that information.

     Violet smiled weakly. "I could have too. But that's not what matters right now. We need to get out of here, and quickly."

     Y/n nodded firmly in agreement. It was then that Violet and Y/n looked to the youngest Baudelaire who spoke up, grabbing their attention.

     "Yuba," which meant, "Found something."

     Sunny pointed to a rather large book with very fancy decorations. It was titled, 'Very Functional Dictionary' in large gold letters.

     "A dictionary. But why are you showing this to us? You can't read." Violet asked gently.

     Y/n opened up the very function dictionary and found a note scribbled in the front that Violet noticed.

     The quote that Sunny found scrawled on the inside cover has been said by many associates over the years. It goes...

     "'In every library, there is a single book that can answer the question that burns like a fire in the mind.'" Violet read aloud.

     It wasn't the quote that caught Sunny's eye, nor was it the reference to fire that set Violet's heart racing. It was the handwriting. For when Violet saw the strong left lean of L's, and the confident closed loop of the O's, she knew who wrote it even before she saw the name on the library checkout card.

     "Bertrand Baudelaire," Violet murmured wistfully. "Father!"

     "Da-da!" Sunny exclaimed softly.

     Y/n smiled fondly, happy to see her friends have this small moment of peace. But she couldn't quite shake the feeling of familiarity at that passage.

     Where had she heard it before?

+ + +

     Sir was examining the papers at his desk, cigar in hand - and mouth - when Charles had brought him his goat cheese and beef jerky omelet.

     "They're good children," Charles said to his partner. "I don't see why we have to lie to them. The truth is right there in your book."

     "Not anymore," grumbled Sir, pulling out the page he had previously confiscated. "I had it redacted."

     "Sir, you defaced your own book?"

     "I didn't have a choice."

     "Charles, we made certain deals to keep this mill open." Sir said, rising from his desk and stepping towards his partner. "And if she wants us to cover up the truth and blame the fire on the Baudelaires, well... that's the cost of doing business."

     Sir was opposite Charles, his voice grew serious.

     "This mill is all I have, Charles." He crumpled up the missing page of the Paltryville fire and threw it into the lit fireplace, and it roared. "And you."

     Sir rested his hand on Charles's left shoulder, looking into his eyes. "Of course I have you." He gave his partner a smile and a pat on the cheek.

     Unfortunately, Charles had mistaken the mood and leaned in but Sir had already turned away and left his office.

     Unable to shake the pang of guilt and responsibility, Charles took the opportunity of his partner's absence to salvage the torn page that Sir had thrown into the fireplace.

     And yet, something the two men failed to have noticed in that short passage of time, was the three young girls who had been stuck in the library since Sir's return and overheard their exchange before escaping the library.

[dreamlogic]

so i work at a teahouse, and every time i think i've heard every possible pronunciation of a tea, someone blows me away with a new and exciting butchery of the word. so. this is a poll. which is The Worst Way To Pronounce Rooibos?

1) roopibops

2) raw-yeeba-hoez

3) roh-doys

[salwarremade]

yeeba deeba do

i love u