Artist: Run The Jewels
Album: RTJ4
Date Released: June 3rd, 2020
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Artist Background
The duo consisting of Atlanta rapper Killer Mike, and legendary underground produceMC El-P, known together as Run The Jewels, originally came together as a result of Adult Swim executive Jason DeMarco who introduced the two in 2011. After his 2011 album PL3DGE peaked at #115 on the US charts, Killer Mike told Jason that he wanted to make his own AmeriKKKa’s Most Wanted. Jason informed Mike, “If you want AmeriKKKa’s Most Wanted modernized, the only producer I know who comes close to the Bomb Squad-level of production is El-P”. The duo’s chemistry was immediate, as El-P went on to produce all of Killer Mike’s 2012 last solo album R.A.P. Music, and Mike featured on El-P’s final solo album Cancer 4 Cure. Mike and El’s respective albums released within a week of each other in May 2012, and the two embarked on a twenty-city US tour in the following months. After returning from tour, the pair had found a friendship growing between themselves, and made the decision to put other projects on hold and focus on the chemistry that had been sparked. Recording at an upstate NY studio beginning in April 2013, the duo re-appropriated the phrase “Run The Jewels” from the LL Cool J track “Cheesy Rat Blues", and released their self-titled collaborative album, for free via digital download, only a mere 2 months later in June 2013.
36” Chain vs. Pistol & Fist
Run The Jewels discography currently exists in a distinct pairing. With Run The Jewels as their debut, this record set the group's tone as a light-hearted, braggadocious duo with as much confidence in their abilities as swag in their punchlines. Just over a year later, the sequel Run The Jewels 2 took the foundation set from their freshman effort and dialed the insanity up to 11. RTJ2 pushed the boundaries of their aggression and flows to new heights; with incredible energy in their verses, and absolutely impeccable beats, blending El-P’s signature industrial sound with sharp synth arpeggios, chopped Zach De La Rocha vocals, and absolutely bonkers Travis Barker drums.
It was then nearly 3 years before Jamie and Mike followed up their breakout RTJ2, with Run The Jewels 3 being released again ahead of its scheduled release date via free digital download, this time on Christmas Eve 2016. Instead of these two attempting to outdo the pure insanity and in-your-face attitude found in their predecessor, Mike and El decide to evolve themselves as a group. The duo had noticeably pulled back on the swag and dick jokes which made such a splash on RTJ2, instead choosing a more subdued, electronic approach to their beats, as well as a clearly stronger political approach in their lyrics. This change in sound and style is demonstrated in the album cover’s artwork. The first two records featured the distinctive RTJ “Pistol and Fist”, with the fist tightly gripping a chain. The chain, in my opinion, represents the swag and braggadocio that drove the aggressive nature of their first two albums. In RTJ3 the chain is removed, leaving only hands that have transformed from bleeding and bandaged, to a pristine gold.
This brings us to early 2020. It’s been nearly 4 years of living in a post-Trump America, and El-P announces that Run The Jewels fourth record has been completed. Mike and El live-stream the first single “yankee and the brave” on Instagram on March 22nd, 2020. Lyrically and sonically, RTJ4 exists as the successor to Run The Jewels 3, with Mike and El again taking the good from their previous effort and launching it into the creative stratosphere. El-P’s beats are again leaning towards the synthetic, electronic side, this time with the intensity dialed all the way up to 11. From a lyrical perspective, RTJ takes the politically-charged lyrics from their predecessor, and again, up the ante, laying down some of the hardest hitting and politically poignant bars either of these two have ever spit.
Album Review
2020 was a year that none of us will soon forget. An unprecedented global health crisis kept the majority of us inside for months at a time. RTJ4 was announced on May 12th, 2020, with a release date slated for June 5th, 2020. However, with 2020 as the gift that won’t stop giving, the end of May was highlighted by the unjust killing of George Floyd. The phrase heard around the world, “I can’t breathe” instantly became a rally-cry for the oppressed to finally take to the streets to demand systemic police reform, as Floyd’s death was not the first time this phrase was uttered in an unjust police killing. In fact, a 2020 study by the New York Times showed that at least 70 people have died in police custody after using the same phrase over the past decade. As millions of American’s began organizing protests and demonstrations in the wake of Floyd’s death, Run The Jewels made the decision to release their latest chapter two days ahead of the scheduled release. El-P tweeted, just minutes ahead of the drop, “Fuck it, why wait. The world is infested with bullshit, so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love”. In line with all past Run The Jewels releases, the album was made available for free digital download, two days ahead of its scheduled release date, on June 3rd, 2020.
THE RETURN (we don’t mean no harm but we truly mean all the disrespect)
RTJ4 opens with the first single, “yankee and the brave (ep. 4)”. Using the team names from their respective hometown baseball teams, Mike and El use the opening track to prove that they’re not just a hip-hop duo, they’re brothers, for better or worse. El-P kicks this installment off with rapid-fire, machine-gun esque snares, matching Killer Mike’s aggressive flow and tightly packed rhymes, before El jumps in to trade some dense rhymes as well. Mike and El depict themselves as outlaws, with Mike surrounded by cops with only one bullet remaining. He contemplates suicide instead of allowing the police to take him alive, until El-P jumps back in, offering Mike a way out, with a getaway car waiting outside. This tense situation is depicted lightheartedly in this song’s music video, which was released via Adult Swim and features the duo animated.
The trade-off between Mike and El’s short verses are reminiscent of late-80’s EPMD flows, while the production sounds like boom-bap that’s been sent to us from the future. This distinctive blend of old-school rap roots and forward thinking production is what continues to separate Run The Jewels from absolutely all of their contemporaries. While so many artists are continually playing catch-up with the latest trends, RTJ are side-stepping the trendy and moving forward with the mind-bending.
FLEXIN’ (ayo one for mayhem, two for mischief)
The second single “ooh la la” samples a Gang Star track "DWYCK (feat. Nice & Smooth)" as the basis for the chorus. I say “samples” as that’s how it is credited in the album’s liner notes, however it’s truly an interpolation of Greg Nice’s bar, slowed down slightly, and sung by El-P and Greg Nice himself. El-P is a true old-head at heart, and it’s abundantly obvious in his work, even going as far as to recruit legendary producer DJ Premiere to handle the scratching on the back end of this banger.
Out of key piano chords are looped to quickly create an unsettling aura surrounding the track, before El-P’s voice cuts through the infectious piano like a whip. Pounding, up-tempo drums are introduced after the chorus’ first iteration, creating what is possibly El-P’s first danceable beat. Lyrically, Mike and El-P initially seem scattered on this track, however the music video quickly makes their point very obvious.

”we imagined the world on the day that the age old struggle of class was finally over. a day that humanity, empathy and community were victorious over the forces that would separate us based on arbitrary systems created by man.
this video is a fantasy of waking up on a day that there is no monetary system, no dividing line, no false construct to tell our fellow man that they are less or more than anyone else. not that people are without but that the whole meaning of money has vanished. that we have somehow solved our self created caste system and can now start fresh with love, hope and celebration. its a dream of humanity’s V-DAY… and the party we know would pop off.”

The video envisions a society celebrating the fact that the class system we currently exist within has finally imploded. Money is worthless, and we have rejected the desire to bind ourselves to the constraints of capitalism. All creeds and colors unite to burn the system that has so effectively controlled us for over a century. It’s a party, and if there was a song to celebrate the end of the world as it is currently known, “ooh la la” is that song.
Mike’s last verse features a few metaphors and comparisons celebrating the destruction of capitalism, saving the most poignant for last:

I used to love Bruce, but livin' my vida loca
Helped me understand I'm probably more of a Joker
When we usher in chaos, just know that we did it smiling
Cannibals on this island, inmates run the asylum

Premo’s expertly cut scratches lead us into the equally hard hitting sample flip of “Misdemeanor”, by Foster Stevens as the basis for the beat to “out of sight”. Lending yet another nod to the old-school greats that laid the foundation for RTJ, “out of sight” samples the same track as The D.O.C.’s “It’s Funky Enough”, only adding a bouncy, electronic synth atop the inverted chord hits, and uptempo, industrial drums, to create an absolutely infectious groove for Mike and El’s dynamic chemistry to shine, rapidly jumping between each other’s two line flows in the first verse.
“out of sight” shows each MC providing insight into how each of them earned a living and achieved their current status. Mike and El’s opening verse each details themselves robbing people in order to eat. El alludes to the fact that he crossed his accomplices in crime for the whole bag, while Mike details the fact his assailant tells him it’s an “honor” to be robbed by his mother’s only son.
While El-P’s production is the obvious stand out on first listen, Killer Mike comes through with one of the most sonically pleasing and technically proficient verses of 2020.

We the motivating, devastating, captivating
Ghost and Rae relating product of the fuckin' '80s
Coke dealin' babies, never regulating, bag accumulating
It would not be overstating to say they are underrating
The pride of Brooklyn and the Grady, baby
We don't need no compliments or confidence
Our attitude and latitude is "fuck you, pay me"

The dense, intricate rhyme schemes smack you in the face, almost distracting you from Mike’s delivery and blistering flow on the verse; flexing his legendary status while paying homage to his drug-dealing past. This absolutely stunning display of technical skill, story telling, and complex rhyming illustrates how RTJ seamlessly integrates the best of both old school and new school hip-hop.
“out of sight” also features a guest verse from 2 Chainz, and he continues to lay the braggadocio on thick. Considering Tity Boi’s dedication to trap stylings, his verse feels right at home on the flex track, despite it’s late 80’s tribute sample, a considerable departure from his usual sound palette.
Up until this point, I haven’t mentioned any of the El-P’s lyrics specifically. El-P is a great rapper, but Killer Mike… Well, Killer Mike is an incredible rapper. He’s the guy who draws you in. El-P is the one who lays the foundation for greatness and Mike is the show stopper, and that’s generally the case for most RTJ tracks. But on “holy calamafuck”, El-P seems determined to make people stop and ask, “Who the fuck is this?!”.
A sharp, yet nearly minimalistic drum kit backing a heavily distorted synthesizer melody lays beneath rhymically knocking cow-bells. This aggressively set stage allows Mike and El to flex as the dynamic duo they are, until the beat suddenly takes a turn for the chaotic. A gnarled, ultra-menacing synth overtakes everything while Mike screams into the abyss, until a distorted snare, enormous 808s, and skeletal hi-hats cut through and launch the beat switch into another dimension. The minimal, yet incredibly dark soundscape allows El-P to snap in a way I have never heard from him previously. His rhymes schemes are reminiscent of an old MF DOOM lyric notebook, while his topics flawlessly combine flexing, psychedelic use, and his well-cemented legacy in the hip-hop community. Cutting and pasting a few of his bars into this review could not convey a fraction of how stunning El-P’s performance on “holy calamafuck” is.
Slightly later in the track list, making liberal use of the Ether song “Gang of Four”, “the ground below” samples and loops the sharp guitar riff and adds aggressive, pounding drums as the basis for the beat; this is finally reminiscent of the forward-thinking, stridulous production El-P has built his reputation on. Capitalising on the classic RTJ moment, Mike and El both flex in their own unique ways. Mike compares himself to Godzilla taking on Tokyo, and El-P demands respect for his name as the legend he is, threatening to smack dying children for mispronouncing his name with his middle finger to the world; his complete disregard for human life and confidence in his abilities are summed up at the end of his verse.

You see a future where Run the Jewels ain’t the shit
Cancel my Hitler-killing trip
Turn the time machine back around a century

SO¢IAL JU$T-ICE (until my voice go from a shriek to whisper...)
While the first few tracks aren’t without their social and political themes, the back-end of RTJ4 is where Mike and El start to bust out the heavy topics. “goonies vs. E.T.”. starts off light, with El-P pointing to the irony of how once he finally started to make it “big” in the industry, the world began to descend into chaos due to climate changes, increasingly obvious social injustice, and political madness. He culminates his frustration with our disregard for the Earth with a fantastic quotable.

Fuck y’all got, another planet on stash?
Far from the fact of the flames and our trash
That is not snow, it is ash, and you gotta know
The past got a wrath, it’s a lover gone mad

Mike’s verse takes the light-hearted frustration expressed by El-P, and turns the aggression to the next level. Aiming his sights against the ruling class and their society that’s been designed to oppress people for profit, who have very meticulously painted themselves as celebrities and idols to the American public. Mike accepts that he will be villainized by these people for speaking against them, but he welcomes the nefarious role, knowing that the working class will eventually eat the rich, no matter how much they are stomped into the dirt.
And this is just the warmup.
If it’s possible for a song to represent a moment in time that captures the absolute shit storm that has been 2020, “walking in the snow” is that song. It’s release coincided perfectly with the protests for George Floyd which were sweeping the nation. Killer Mike’s verse directly references the phrase “I can’t breathe”, the last words of Eric Garner, which also happened to be the last words of Floyd as well. The fact that this verse was reportedly written in November 2019 perpetually underscores the importance of the content and perfectly represents how persistent this problem is. “walking in the snow” is a true encapsulation of both a defining moment in time and an ever-persisting issue.
But he doesn’t just stop at the racial injustice. Mike goes on an absolute rant about the American education system; how it’s not designed to teach people, but to discriminate against poor populations, limiting their legitimate opportunities, and therefore disproportionately leading them into a criminal lifestyle. He calls out the media as fear-mongers, and the apathy of the American public in the face of indecency. Fortunately for Mike, by the time we finally had the chance to hear this masterpiece, we were already on our feet, using this album as a war cry to mobilize against a tyrannical government that militarized against its own citizens simply for asking that we recognize systemic racism and demanding change. Killer Mike has the best verse of the year, no doubt in my mind.
The only drawback is that Mike’s verse is so fucking good that it completely overshadows El-P’s, which is also amazing. A menacing guitar riff and haunting synths kick the track off into a bouncy groove, where El-P unleashes a flurry of internal rhymes that does not relent for about half his verse. Even adding layers of social commentary within the densely packed bars, El refuses to quit and continues on his political tirade; criticizing ICE’s detainment center practices and the “pseudo-Christians” who support them, with a bar that now lives in my head:

Pseudo-Christians, y’all indifferent, kids in prison ain’t a sin? Shit
if even one scrap of what Jesus taught connected you’d feel different
what a disingenuous way to piss away existence, I don’t get it
I’d say you lost your goddamn minds if y’all possessed one to begin with

The combination of two of the best verses spit by any rapper(s) this year and production help from El-P and long time RTJ collaborator Little Shalimar, create a bouncy, aggressive, deeply truthful banger. “walking in the snow” not only encapsulates the crux of 2020 with lyrics that will become more powerful as they age, but will also forever be associated with the Black Lives Matter movement and the determination to expose continuing racial and societal injustices.
The sonic palette of RTJ4 holds an extremely unique place in El-P’s discography. Jamie is the definition of a self-made 90’s hip-hop legend. This is the dude who put New York underground hip-hop on the map with Company Flow, and he did it with his unique flavor of dark, noisy, dense, boom-bap. Whether he was doing it with the help of Rawkus, or completely independently during his Definitive Jux run, El-P has never made music with the intention of becoming famous. Funcrusher Plus, Fantastic Damage,I’ll Sleep When You’re Dead, and Cancer 4 Cure are all highly revered as industrial, technical, abrasive, and completely unsuitable for the radio or a party. The fact that three songs on RTJ4 could easily be heard on the radio, at a party, or in a TV series credits scene is frankly, astounding. In a 2002 interview/documentary on El-P’s budding record label Def Jux, he stated that his friend bet him $500 that he could not make a beat that was “happy”. At the time of the interview, El-P said that he had not won that bet yet. While I might not qualify the beats on RTJ4 as “happy”, if you showed El-P the beat for “JU$T” in 2002, I believe he might have won that bet.
Pharell opens “JU$T” with the pre-chorus, spitting varied examples of how we’re all slaves to our current system throughout the track, over echoing snares and bouncy 808s before bright synth chords and up-tempo hi-hats burst in while Killer Mike delivers the chorus, pointing to the fact that the majority of the people featured on American currency owned slaves at one point in their lives. Mike’s verse touches on the fact that he has committed crimes to get where they are today. Mike is publicly open about his past as a drug dealer. So why is he a criminal, but Benjamin Franklin isn’t? These are the people who built our country, and they built it on the backs of slaves. He illustrates this theme with a more recent examples:

You believe corporations runnin marijuana? Ooh (how that happen?)
and your country gettin ran by a casino owner (ooh)
pedophiles sponsor all these fuckin’ racist bastards (they do)

When corporations are able to sell cannabis legally, but the government continually incarcerates people who trap, our president is a notoriously fraudulent businessman, and the people who helped put him in power run a pedophile ring, yet none of them face consequences and are allowed to continue to profit and remain in power while people suffer; well, we might be closer to slaves than previously imagined.
Rage Against The Machine frontman Zach de la Rocha also makes his mandatory feature appearance at the end of “JU$T”. As the only artist to feature on three Run The Jewels albums, Zach is essentially an unofficial member of the group at this point. His fiery verse is spit with the same “Rage” energy that set him apart in the mid-90’s, ending the track questioning his place in a capitalist society as a recipe for his inevitable demise, since his “breath”, or art, as his weapon to express himself is still being exploited for other’s profit.
Continuing with RTJ4’s heavily synthetic sonic palette, “never look back” features wavering synth leads resting above the slow-jams snappy snares and thumping bass, while a haunting voice echoes in the background. This unsettling aura provides additional gravity for Jamie and Mike to continue self-reflecting on defining moments in their childhood, and as well as how far they’ve come from those moments. Mike and El are both self-made men, and while they have a certain fondness for those gritty moments that defined them, moving forward in life is undoubtedly more important.
Skeletal drums reminiscent of a slowly pounding heart opens “pulling the pin”, before rhythmic hi-hats and textured, watery synths fluttering in the upper register resting above a bouncy synth lead, and punchy 808s, burst in. The track digs itself into a slower, marching groove and shows the duo figuratively doing exactly what the title implies. Painting a portrait of a society that has turned on itself, Mike and El are ready to pull the pin and start over.
The duo both detail their despise for the ruling class, pointing out multiple examples of how the elite have designed our society to keep poor people in their class. Simultaneously recognizing their own hypocrisy for profiting in a system that inherently discriminates; Mike reflects on his own success, knowing that living the lifestyle he enjoys is one built on oppression, and expresses the guilt that has caused him. El-P opens with a brutal metaphor for police, implying that they’re the root cause of the “wretched state of danger” our society exists within, and that the only effective corrective action is to numb yourself with drugs. Despite his advice, Jamie knows this is not a permanent solution, but one that causes more self-inflicted wounds.
The final piece of the puzzle that is RTJ4, “a few words for the firing squad” begins to close the album with ever crescending strings, and loud, thunderous drums which never seem to resolve, continuing throughout their verses. While the drums that lead to nowhere can be sonically unpleasant, the unresolved melodies are intentionally representative of their current mindsets. Their verses are reflective and grim, but simultaneously optimistic and envisions a world where tragedy is a less common occurrence.
El is grateful for what he has now but recognizes his entire life has been skewed by traumas, so out of place feels normal for him. He reflects on his current success, noting that the worst people tend to end up with the most, which makes becoming “rich” something not as desirable as it once was.
Mike opens up about the death of his mother who died while he was on an airplane, admitting his struggles to not cope with his trauma with opioids. However, his wife provides him the most important reason to stay clean “but my queen/say she need a king/not another junkie rapper fiend” while a heartbreaking saxophone solo highlights the gravity of his lyrics.
The track ends with what sounds the like wrap-up voiceover to a TV show, a conceptually satisfying ending, as the opening track “yankee and brave (ep.4)” began with El-P stating:

”This week, on Yankee and The Brave”

This voiceover paints the duo as brothers on the run from the law and crooked cops, and while this does close this “episode” out as intended, the critic in me is bothered by the slightly kitschy outro to such a spectacular album. The voices singing over and over, “Brave, brave, braaaaaave, Yankee and the Brave” would be, simply put, better left on the cutting room floor. The ending of this track alone is what knocks my score of this album down a few points. Despite its stellar lyrical content, with drums that never seem to reach that “holy shit!” moment, and the easily skippable outro, it’s upsetting to me that an album this great ends on such a low note.
Overview
RTJ4 is by far my favorite album of the year. El-P’s cutting edge approach to their sound, blended with lyrical content that continues to be more relevant by the day, the duo have come together with what is objectively their most accessible album to date. RTJ4 is the natural evolution of sound and subject matter for the duo; taking the foundation set by Run The Jewels 3 and evolving it into a more concise, more accessible, and more conceptual album. While I still personally prefer the “fuck the world” intensity and experimental nature of Run The Jewels 2, RTJ4 opens themselves up to a whole new world of exposure, and when you’re as talented as these two, you know they’re going to capitalize on it. RTJ is currently at their apex, and they’ve created an album that will make many new life-long fans going forward.
9.2/10
Discussion Points

• How does this compare to other RTJ releases? How about in comparison to the member’s solo works?
  
• Does the overwhelmingly positive critical reception of this album surprise you?
  
• How will this be looked back on in 5 years?
  
• What are your favorite lyrics?
  

Artist: Joji
Album: Nectar
Label: 88Rising
Release Date: September 25, 2020
Listen:
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Background
Not many artists have had a come-up as interesting and eccentric as George Kusunoki Miller, a former YouTube comedian/edgelord turned moody R&B singer. George first got his taste of internet fame as FilthyFrank, a character he described as everything a person should not be, he played the notorious persona on YouTube for over 6 years and eventually had to retire it due to him losing passion for it and suffering from stress induced seizures, which playing the character often caused.
Throughout his time as FilthyFrank however he began experimenting with music, mostly of the satirical kind at the start, his first tracks were under the FilthyFrank persona, the first one being Who's The Sucker, a dumb track where he somehow manages to rhyme "nicer" with "vagina", go figure.
A few years later, alongside the satirical rap, Joji began to make what he would consider as serious music, and this is where the timeline gets a bit messy, as he put out multiple tracks under multiple different aliases and the lines got blurred pretty fast, so I won't focus on aliases too much, but rather on the music he put out, around this era he released the therapeutical Medicine, the slow and melancholy We Fall Again, and Dumplings, which was Joji's best attempt at a trap banger.
In 2015, he birthed the Joji alias, released two singles on Soundcloud under that name, and announced a project called Chloe Burbank Vol. 1, the project was later scrapped and is probably sitting on Joji's hard drive, unfinished, however, the two singles he put out, thom and you suck charlie, were the tracks that put him in the spotlight, not to mention that to this day, there are some of his fans that believe these 2 tracks are his best and will not be topped, but that's a discussion for another day.
Following the overwhelmingly positive reception, Joji began to put out more tracks and singles, both under the aforementioned alias and Pink Guy, which was a character that blossomed into a satirical rap project, but I won't be covering that too much, and will focus on what he did as Joji instead, most tracks Joji put out were met with positive reception, some of the tracks, such as worldstar money, ended up on his debut EP as well.
Sometime around early 2016, Joji ended up signing with 88rising, a label focused on building the bridge between east and west, he explained in an interview that he was initially a consultant for the duo behind the record label, however, once the duo noticed his music and how well it was received, they asked him to jump on board and he instantly took the chance, getting signed alongside the likes of Rich Brian and Higher Brothers.
The label immediately undertook Joji and began distributing his catalog on their YouTube channel and helped him release more music, which was a couple of singles in the earlier half of 2017, and his debut EP in the latter half, the EP, known as "In Tongues", was met with mixed reception from fans and critics alike, with some describing it as his most concise body of work so far that is oozing potential, and others describing it as a bleak project that fails to set Joji apart from the sea of artists on the same wavelength as himself.
Following the release of the EP, Joji began working on his debut album, known as BALLADS 1, the album's first single, YEAH RIGHT, was released on the 8th of May, the track was first believed to be a standalone loosie as it was released 5 months before the album itself, however it ended up being on the album and was confirmed as the one of the singles alongside SLOW DANCING IN THE DARK, CAN'T GET OVER YOU, which features a production credit from non other than Clams Casino, and TEST DRIVE.
The album was well received, and was praised for containing a wider variety of sounds than its predecessor, it felt like a natural progression for Joji's sound and was a step forward towards a more mainstream approach whilst not sacrificing any of the rawness that Joji's older stuff had, which seemed to be what most fans were expecting from him.
Moving forward Joji stayed mostly silent throughout 2019, appearing on the second 88Rising collaboration album, which was negatively received due to it's lack of creativity and sub-par performances from most label signees, he also appeared on Rich Brian's sophomore album, The Sailor, and released which is now known to be as the first single from Nectar, Sanctuary, a synth based poppy track that previewed a vocally improved and more confident version of Joji.
What was assumed to be a loosie turned out to be the beginning of an album rollout, as half a year later Joji released Run, setting a new standard for himself both instrumentally and vocally, and a couple of months later he released Gimme Love, a double sided track with a fun, catchy beginning and a melancholy ballad driven ending, the last single, Daylight, was released on the 8th of August, the instrumental was produced by Diplo and the track itself sounded like Joji's attempt to break into the mainstream.
Without warning, he also released two tracks that he classified as "NOT SONG", the first being Pretty Boy, which actually ended up on the album with a Lil Yachty feature, and the second being FTC, which sadly did not end up on the album, both tracks had videos and it seemed to me at first that the purpose of both tracks was to serve the lore that Joji has built around the album, which I will be touching up on in this write-up.
A day before the album's release, he put out Gimme Cum, an enigmatic track with a mysterious message.
Nectar itself was pushed back from it's original July release date due to the pandemic and Black Lives Matter protests, the album however was released on the 25th of September.
Album Lore
If there's one thing George is no stranger to, it would definitely be worldbuilding, as he has proven time and time again that he has a knack for it, especially with his FilthyFrank YouTube channel, where he managed to create characters, locations, and an entire universe out of a few satirical characters, his lore was adored by many and even though visually he never wrapped up the story he did release a book that served as closure for the FilthyFrank lore.
This album's lore is not as straight forward however, and there are multiple theories doing the rounds on the internet, personally I will go by what sounded most convincing to me in terms of timeline and storyline, however do feel free to expand on what I've said or correct me, George has left multiple things left open to interpretation therefore I would not be surprised if there were multiple different meanings to the same thing.
Our story begins in the music video for Gimme Love, where we see a young Joji who appears to be a small time engineer that is eager to climb through the ranks of the company he is working for, as he rises however he appears to become more stressed out and agitated at all times, lashing out at his coworkers and breaking down consistently, throughout the music video we can see that the more he progresses, the more roadblocks he runs into, which causes his behavior to become more psychotic and manic, as the shots move forward we see him accept awards, lead his very own research team, run failed experiments on his coworkers that causes them to bleed, and eventually receive military covert status, which did not come without sacrifices, as we see him smile less and less throughout the video.
In the second half of the video, we see Joji steal the rocket he helped build by locking out his crew members, and launch himself into space, disappointing everyone he worked with and stabbing them in the back he appears to be quite happy however, eventually his mood flips as he is faced with two choices, engage or eject, the following shot does not allow us to see which one he picked as we are facing his back, all we see is Joji making the choice and gearing up for what's to come.
The lines get blurred around this spot and many people have different theories as to which video is the right one chronologically, personally I believe Daylight comes next, and my theory is Joji is having some sort of fever dream featuring his previous coworkers, most notably the older people who went through layers of plastic surgery, who appear in the music video for FTC, where they are seen wearing badges that features the same organization Joji worked for, throughout the video they are seen rummaging through the wreckage caused by Joji, clearly looking for something specific, which ends up being the award Joji won.
Back to Daylight, Joji appears to be some sort of intern working for the director and the actors, towards the end of the music video we can see Joji waking up from the aforementioned fever dream, clearly in a daze, as the shot widens we see that he is alone, in a barren wasteland, with nothing around him except for a tent and what appears to be a device used for communication, he plants a few seeds in the soil and sits by the device, hoping for a sign of life.
Next comes Run, where we are once again met with Joji having a nightmare, the entire video symbolizes being trapped in a place you don't want to be in, as Joji appears to be in a never ending limousine with people he has no interest in whatsoever, towards the end of the nightmare we actually see Joji running across a massive wasteland, the same wasteland we saw him in at the end of the Daylight music video, throughout the video, we see Joji become consumed by the soil itself, which I would assume is a representation of his fears back then, seeing as he was alone and had little to no hope of being saved whatsoever.
Joji wakes up from this nightmare and appears to be in some kind of spaceship, if the videos were released chronologically, we would be completely lost at this point, lucky for us, we already know what the spaceship is, as we see a picture of the Sanctuary crew in the final shots of the Run music video, I'm gonna go out on a limb here and say that the crew is the ones that saved him from death and picked him up from the mess that he placed himself in, hence the name Sanctuary, which means refuge or safety from pursuit, persecution, or other danger
The crew itself is seen in action in the music video for Sanctuary, where Joji appears to be fighting and defeating some sort of one-eyed alien supervillain at the start, however, once he is defeated, both Joji and the crew themselves become aimless, as they are living monotonously without a goal, thankfully(???), one of the crew members sees this and decides to take matters into his own hands, by surgically removing his own eye, which portrays his transformation into the new supervillain, and following this up by killing a crewmember and escaping on his own, once again giving the spaceship it's own purpose.
Unfortunately the music videos that were put out after the release of the album appear to be too subtle for me to think they are connected in any way, shape or form, there are many theories of course but I can't help but feel like that most of them are a reach.
The most plausible explanation for this lore that I can think of is that the whole escaping from earth on his own, landing in a barren wasteland, trying to plant seeds in it, and eventually being picked up by a group(88Rising, wink wink) is a metaphor for his transition from FilthyFrank to Joji, the barren wasteland stands for how hopeless he felt at the time and the seeds symbolize the loosies he was slowly dropping before ditching his channel to become an R&B superstar, which if true, solidifies the idea that George was done with FilthyFrank long before he actually left the channel itself.
Regardless, I thought the lore was very enjoyable and it was nice to see Joji back in one of his elements at least, most fans would have been disappointed in me if I had not touched up on it a bit seeing as it was a huge part of the albums release and they are intertwined in some sort of way.
Review

When it's lovely I believe in anything What does love mean When the end is rolling in

• Ew

It is important for me to preface this review with the fact that this Joji album is not like anything we've ever heard from him before, this is not the one man army, garageband using, sample meshing Joji that we knew in the past, this is Joji with an entire team behind his artistic vision, a whole group of people working with him to help him push his sound to the next level, and unfortunately, while the quality of the music has clearly went up, when so many people have their own input on something eventually the lines get blurred and the album loses its artistic direction and cohesion, which is one of my only complaints with this album, and I'm glad I got it out of the way first.
Artistic direction and cohesion aside, this album contains some of Joji's highest highs to date, especially the singles, that's not to say that there aren't some deep cuts on here that shine as well, but once you listen to the album in it's entirety you quickly understand why the singles were chosen as singles, especially when you consider how sonically different they are from the non-singles.
Sanctuary, the album's first single, is a sweet, poppy and synthy track that features a high pitched and melodic Joji, some of the track's lyrics are somewhat abstract but they are quite visually descriptive and that's always a plus in my book, the instrumental itself is quite spacey and has a nice retro vibe to it, already a huge step forward from what we've already heard from George, the track's climax reaches towards the end and gives us a beautiful bridge,with Joji crooning about wanting to be held by a significant other.

I fell for your magic, I tasted your skin And though this is tragic, at least I found the end I witnessed your madness, you shed light on my sins And if we share in this sadness, then where have you been?

• Run

Run is one of the more cinematic cuts on this album, the track is truly a double edged sword because although it's one of Joji's best, it has set an extremely high standard for both Joji and the album, leaving fans such as myself worried about whether or not he will ever reach a similar high, the production is clean, Joji's vocal lines are as dynamic as ever, the guitar melody is infectious, the lyrics are better than anything Joji has ever written and he is putting his heart and soul into every word, the electric guitar solo at the end is also something worth mentioning, which sits perfectly right in front of Joji's distant and wide vocals, ending the track on a strong note.

Look into your heart and let me know Do things turn black and gray as they go? When I'm far too gone, can you show me love? Give me love

• Gimme Love

The lyrics above come from the album's third single, a 2 sided track that starts as a bouncy, percussive, fast paced, and catchy song, with Joji chanting and pleading to be given love, softly singing about being surrounded by apathetic people, after the second chorus the entire song comes to a halt in order to make room for a mellow guitar and Joji's harmonies, which are absolutely stunning if I may add, the track, much like many other tracks on here, ends on a cinematic strong note with a string section and a grandiose piano.
The final single, Daylight, is no doubt unexplored territory for Joji, the instrumental, which was produced by Diplo, starts off slow and minimalistic, with a simple yet groovy bassline, and reaches its apex on the chorus, when it suddenly becomes extremely lush, heavy, and thick, the track is most definitely a solid attempt at modern day and mainstream pop music, clearly made with the intention of receiving radio play.
All of the singles show up in the first leg of the album, which is absolutely phenomenal, the opener track, Ew, starts off light and easy, with a somber and distant arpeggiated piano backed with Joji's soft vocals, who's singing about heartbreak and the loss of many relationships, sounding as bitter as ever lyrically, the chorus includes a grand string section and a chord progression that is fully panned to the right and sitting all the way behind the mix, and surprise surprise, the track itself ends on a cinematic strong note, much like many of the other tracks on here.

I've got no aim, a million rounds, is nothing real? A hundred pounds of heavy steel, it feels so loud Tied to my chest, it feels so loud I'll take a peek to across the peaks This grass is neat and I'm quite unique But I'd like to be, but I'd like to be

• MODUS

Up next comes MODUS, a moody track that has an intro similar to the opener track but later on has Joji melodic rapping to a murky trap instrumental, with Joji of course sounding better than ever, lyrically speaking, many of the themes on this album are similar, Joji is mostly singing about relationships, heartbreak, and the need for a significant other, the lyrics themselves give the album a nocturnal, bitter, hopeless vibe, which is what we've come to expect from Joji's music nowadays.
The third track, Tick Tock, is a plucky banger of an instrumental that has Joji rapping over it with pitched up vocals on the chorus which is something that's a little bit reminiscent of his older, more amateur work, the vocal layering on the verse is also something worth mentioning, really showcases Joji's dynamic range and how much he improved as a whole, the track is nothing groundbreaking in terms of what we've heard so far and remains lowkey for the most part but is without a doubt one of my favorites on this project.

On Nectar, one of the yet-to-be-announced tracks was produced when the artist was only sixteen years old. “I’m excited to see if it sticks out or not to the listeners.” he reveals.

• Joji Interview with Schön! Magazine.

While not officially announced by Joji himself, it is safe to say that Upgrade is the aforementioned track, a small interlude that seats itself in the earlier part of the album, the track starts with a grandiose piano, which is quite unnecessary if you ask me, because once we have it out of the way all we get is a very obviously barebones instrumental made from a different time, the telltale sign being non other than the ukulele that we have seen in George's earlier work.
It upsets me that Joji has not made this fact much more known because this track has been consistently the subject of criticism by critics and fans alike, but at the same time I understand, because at the end of the day George left that track in there for the die hard fans, not the critics.
Up until this point there is no doubt that Joji has played it safe, sure the album is much more grand and cinematic than its predecessor, but there's no denying that the signature sound is still there, we still get the hazy and moody slow bangers, if Nectar was only the first half then Joji might have had a strong album in his catalog, maybe even a classic, but I understand him wanting to expand and experiment with other sounds in order to grow as an artist.
The midsection gets a little bit tricky, as Joji begins to get out of his comfort zone and the album features start appearing, to me it sounds like Joji did not know how he could keep the listener interested in the second half of this album and decided to opt in for a bunch of features as a quick fix, some work out fine, some better than others.

Handsome young man, never pull up on time Lookin' in the mirror, lookin' good should be a crime, crime All this pain I'll never let show (No) My real thoughts, you'll never know (No)

• Lil Yachty on Pretty Boy

I never really listened to Lil Yachty that much aside from the obvious hits he had over the course of his career, but he clearly shined on this track as the feature, for starters, the track is very light-hearted, definitely one of the more lofi tracks on this album, the highlight for me without a doubt is the bridge, which sounds like something straight out of Pink Season, George was clearly having genuine fun with it, some even speculate that most of the bridge was made using samples from his earlier work as Pink Guy.
High Hopes, which features Omar Apollo, is one of the more lowkey cuts in here as well, the percussion on the instrumental and the detuned guitar on here remind me of some of Joji's stuff from BALLADS 1, unfortunately however the track doesn't stand out much, at least not as much as Afterthought with BENEE, another track where Joji's melodies and vocals shine through once again, and BENEE's feature definitely adds some character to the track, at least enough to the point where the feature made some sense
On Normal People, Joji recruits childhood friend rei brown, in an attempt to capture lightning again after their first collaboration, Once In A While. Unfortunately lightning didn't strike twice here for me and the track felt quite lackluster and uninteresting, especially for such an anticipated track and when compared to their first song, many of the tracks and collaborations on the second part of the album really felt like Joji just trying to recapture the magic of his earlier work, and while some of those attempts did work at the end of the day it does feel like a cheap cop out.

Oh, understand, girl, I'm out of sight To the other side, I don't want no stripes Got my insides loud like motorcycles Girl, don't notice it, I don't notice it

• NITROUS

Another example of Joji attempting to recapture magic is NITROUS, which marks Joji's second time collaborating with Clams Casino, the track is very reminiscent of their first track together, both Joji and Clams Casino however killed it, the track's instrumental is very murky and nocturnal, much alike most of the album, but that doesn't stop Joji's delivery, which is very fun-loving and upbeat.

By the way you move, I know you want me to Tell you all the rules, I know I'm searching too Give me all your clues and things to guide me through The end of the world, the end of the world

• Mr. Hollywood

Produced by the one and only Kenneth Instrumentals, Mr. Hollywood is one of the more heartfelt and personal tracks on this album, Joji is singing about his evergrowing popularity and how it will never affect what is important for him, which in this case is the girl he's singing about, like many other tracks on this album, you will often hear something that will remind you of Joji's older work, in this case it is the ad-libs on the chorus, which are very reminiscent of his ad-libs on BESIDJU, regardless the song has at least a bit of substance which makes it one of the more commendable tracks.
The final run of this album is where Joji flips the script here, there are a few tracks that have questionable artistic decisions, such as Reanimator, with non other than Yves Tumor, the track serves as an instrumental interlude before the final two tracks, however with a feature such as Yves Tumor I honestly expected much more than what we got, and what we got is basically a 3 minute track, with the first minute and a half being nothing than a drone-y, synthy instrumental, and the second half being quite a lackluster performance by Joji and his guest, much like some of the other tracks on the album, it seems like it received a similar treatment, where the track was initially unfinished and still half-baked, and rather than attempting to finish the track they opted for an easy way out, which in this case was making more than half of the track an instrumental and then calling it an interlude just to be safe.

"that weeknd synthpop track sure is doing huge numbers, maybe i should also make a synthpop track as well"

• Joji, probably.

I would be down to argue that if Blinding Lights by The Weeknd had not existed, 777 wouldn't have existed either, Joji's constant attempts at breaking into the mainstream and commercializing his sound have always left a bad taste in my mouth as it felt like it came from a place where authenticity is lacking, nevertheless I find it bizarre to make a track that is very similar to one of the most successful tracks of the year and not attempt to push it at all, that's not to say that 777 on it's own is not a good track, however there's no denying that the sound selection on the instrumental, some of the flows, and the chorus itself hold blaring similarities to The Weeknd's track, I understand why he would make such a track however and find it admirable at the very least.
Thankfully, the album ends on a strong note, the final two tracks are both beautiful even though they're worlds apart, Like You Do, is a quintessential love ballad from Joji, a stripped down instrumental with beautiful piano chords and a laid back vibe, Joji is singing about his current partner and how what they have might not work out, even though he feels like they're perfect for one another, the closing track, Your Man is a massive change in tempo, with an upbeat, electronic, deep house-esque instrumental, we hear a Joji that is optimistic, which is a nice change of pace, especially considering how bitter most of his albums and projects have been up to date.

Since I met you All the gloomy days just seem to shine a little more brightly Consider what we've got 'Cause I can never take you for granted

• Like You Do

Conclusion
There's no denying that some tracks on here sound like a bastardized version of Joji's signature sound. Joji is trying his best to commercialize his sound without sacrificing the rawer elements of it, which unfortunately results in a jumble of sounds. This album is not free of criticisms as there are many issues in here that need to be worked on, it's much less cohesive than its predecessor and at times sounds like a bunch of rough ideas put together in order to create the world's most average musical equivalent of a photo collage, but if we were to just set all of that aside and just look at this album for what it is, then there's definitely something in here for everyone. George might have not made a classic, and he certainly hasn't found his sound yet, but this album is an indicator that he's on to something, and once again I am already anxious to hear what he has in store next.
Talking Points

• What did you think of this album? Is it a good follow-up to BALLADS 1?
  
• Do you think Joji works better alone or when he has a team behind him?
  
• Do you think Joji will yet again set another high standard for himself next project?
  
• What are your predictions for Joji's sound in the future?
  
• Now that he's more keen on having features, who do you think would compliment Joji's sound the most?
  
• Favorite tracks?
  

[UNEDITED]
I saw that many of you non-swedes wanted to be able to enjoy the recent interview he did in Swedish. I have not had time to edit the text yet so it will be filled with spelling mistakes and such but if I have time later on I might fix that. The interviewer is called Mats Nileskär and he alternates between asking questions and explaining stuff so that's why sometimes it's just him retelling things that lean said earlier. Anyways here is the transcript:
Mats:
There was once a sixteenyearold full of love for screw, drill and Florida trap. Full of fascination for fantasy figures and the cinematic. He rapped honest, drowsy, tentatively and almost apathetic to strange, mind expanding beats. Music that didnt exist in reality. Yung leans journey from his laptop in his room in Södermalm, to sold out shows and rock star dreams in the country of Hip Hop. It is one of the most beautiful stories in the history of Swedish music. And like all beautiful stories it holds plentiful of darkness. Yung Lean could have ruined everything and been scarified on the emo rap scene. Instead he became the influential survivor. Yung Lean and the producer friends in Sad Boys changed the world and intertwined with something beyond their own existence.
Lean:
I usually don’t sit and count who my influences are. Because I have always had a lot of my own influences that I have payed homage to. But sometimes I don’t think about stuff and then I get a dm on Instagram. Like I got a dm from Trippie Redd that read like “Shoutout to one of my biggest influences.”
Music break
Ugly God. Like lots of rappers that I wouldn’t think were fans of me. Then there are these that are a bit more obvious like maybe suicide boys, Pouya. When they meet me at festivals, they are fans. And I don’t want to come off as bragging, it is the same way when, like I met young thug once in New York, and then I get star struck, I am a fan of him, nothing weird about that. But there is like, you know, group from group, it goes back. If you look at Wu Tang, and then it goes down, it gets weirder, like Odd Future and Asap Mob. And when we started, there was probably more people that thought like, like Yung Sherman, Yung Gud, Bladee, and all in Drain Gang and Sad boys and this is what we look like, we can also do this. I think we made it even more easy to access. And even more like, you only need a computer and internet. And less of, like maybe you don’t even have to skate, maybe you don’t even have to live in New York. More of like, you have a concept, and we were strict with that concept, we had a clear aesthetic, a clear way of making music videos, a clear message. It was easy to take things from that goth aspect, or the sad aspect, or like, people had purple hair like Ecco had. People dressed exactly like Bladee or Sherman, or rapped like me. And I still think that I see that today. And I’m proud, and I’m happy. I don’t see it as something negative, like, shit these boys are stealing or all these rappers are stealing, it’s more like, in that case I have also stolen. Everyone has been influenced by something, and as long as you are not ashamed about that, it’s okay, because that is how it goes. People can be like, I’ve never listened to Yung Lean, And I can see that they obviously have, and like…
Music break (Unreleased Lean)
Lean:
We got a lot of the autotune aspect from, like Bladee and Whitearmor started using it a lot, and me and Micke (Gud) used it a lot. For us that was inspired by Future and Atlanta. And Casino and the first FBG mixtapes with young scooter and all those. Like those were using autotune. But we were from Europe, like, we are from The Knife country, Håkan Hellström, Broder Daniel (Swedish artists), it is more like Kraftwerk when we do it. It is more monotone, a bit more dead, maybe a bit more ABBA english. It is a bit more depressing I think. And that is not something you try to do, it just ends up like that. And then I think that, a mix of that, we we got big during 2013, Hip Hop went more Nihilistic, dark, it was grim. The way Chief Keef rapped, everything after Finally Rich, Bang 2, Almighty So, it was like melodies but dark mumbling about killing people. Hip Hop was going that way. You no longer had to have a hook like “Woke up in a new Ferrari”. The whole song could be the same melody.
Mats:
The bored and monotone mumbling turned into an anxiety lowering melody. And a manic flow of words. Yung Lean and sad boys, deeply uninterested in conventional song structures landed in the beginning of the start of a new era. Post Hip Hops surrealistic and psychedelic era. The new era was open for people that had not belong before. People that looked and sounded like Lean. A new sound, a new way to experience and listen to music. It was perplex and fascinating. Something Sad Boys happily utilized.
Lean:
Yeah, it’s true. As long as you, like for us it was the natural thing to do. For us it wasn’t that we were exploiting this style of music or what they were doing in the US. For us it was more like, I have rapped since I was a kid, same for making beats for Micke. Drain Gang had a punk band. All of us made music. And when the time came it was just logical for us to take part. Same with rapping in English, it just came naturally. I actually lived in Vietnam three years before that. My mom is a diplomat so I was in the English school and spoke English so rapping in English came naturally. That the beats were slowed down, that, like everything was a bit weird, it came naturally to us. And of course the timing was perfect, it wouldn’t have been able to come at a different time. I think I’ve said that before. That if that had happened in 2009 it would have felt fake. I would have had to be more of a Paul Wall character or like Petter (Swedish Rapper). I was very lucky with coming up during that time. But after all I was just being myself to 100%. I think that if I hadn’t been, it wouldn’t have worked out.
Music break
Lean:
Except for you and some others it was typically Swedish, a prime example of how it is in Sweden. A Swedish artist comes up, something they don’t recognise. They think it’s embarrassing. A Swedish sixteen year old boy from Södermalm, a middle class boy. He shouldn’t be doing this, it’s embarrassing. They wouldn’t want to touch me with a ten foot pole. He can’t be included here blah blah blah. But the second that the US started appreciating it and when he was in the New York Times or when he collaborates with Frank Ocean or other big names. Then they are ashamed of themselves. Like “Oh shit, he is Swedish, he is with us now…” It’s typical for Sweden, the law of Jante, like you shouldn’t think that you are somebody. That was basically what I witnessed since I was sixteen. It’s sad that we can’t trust each other and support everyone. I really believe that there is room for everyone to make it in Sweden.
Mats:
What did it do to you, experiencing this? The Journey from hate to understanding and in the end to love.
Lean:
I think that it might have been easier with hate. To be completely honest, if you look back at a lot of rappers, when they were hungry, when they were still hated or underground, they had so much to give. And I had that kind of idea in my head. That it was more exciting when Sweden hated me and I was only famous in the US. I really thought it was interesting. But I have matured now, time has passed, six seven years since we talked. The music I make now is different. If I had not been loved and was still hated, it would have been a bit perverse. Maybe then I had only been provoking just to provoke. I don’t like that. Right now I think I deserve to be where I am. I wouldn’t want to be in any other position.
Music break
Mats:
What happened when you got to the US for the first time, as an unlikely star?
Lean:
What happened? I can’t say I remember a lot. We were very young. Suddenly we were sitting in limousines. Lots of drugs, lots of illegal substances. We were very young, you know almost like a Metallica documentary, suddenly someone is sitting there with a knife in some group or something. No but a lot of things went downhill, but all the gigs were so much fun. It was some kind of friendship, like a family. You can’t take away all the gigs and the touring we did in the start. When we arrived in the US, it’s like, you know Femi, Emilios girlfriend, that has been with us since day one. She says it’s like we were all a part of Lost. Like the airplane crashed and when we meet each other now all of us know that we were part of that. Character wise I don’t remember anything that was any special. I remember us playing at Röda Sten in Gothenburg for 150 people. And when we got to New York we sold out Webster Hall twice, back to back. And rappers were contacting us, we were hanging out with artists. It was another level of respect. I guess I’m a bit like you there. I’m a hip hop nerd, always have been. When I started expressing myself through this music it was easier for Americans to understand what the fuck I was doing than for like a 40 year old Swedish man. So there’s nothing weird about that. But I wish I remembered more from the first tours (laughing).
Music break
Lean:
You are sixteen, you go to the US, you are living in some hotel, you get to meet some drug dealers from Florida whom are also promoters, they have a Cadillac, and someone is backstage and lots of different rappers are coming in and suddenly Travis Scott is there and blah blah blah. Things are happening all the time. You wake up in a bed there are people around and then you have to go on stage. (Lean starts talking about something else) Is that David Lynch? Sorry we are watching a movie, we are watching Dumbo. (Back to interview) I wasn’t really ready for that. That it was going to be so much work. You don’t think that but there is so much work. Now I can do many shows. Like the last tour that I did sober I was able to do like 70-80 shows and been able to do that but you are still tired. Like you have to workout and sleep. But back then, where did all the energy come from? Including all the drugs and the shitty sleep and all partying. I don’t understand it at all.
Mats:
Let’s talk some more about Florida. How was it to meet spaceghostpurrp who sort of created the foundation for what you got your inspiration from, the do it yourself attitude, punk, the south, three six mafia meets other genres in Florida. How was it to meet him?
Lean:
I-I have to be completely honest. Spaceghostpurrp is insane you know. He is crazy as a human being. I think he is bipolar and doesn’t take his meds. And the people who actually met him, I met Denzel Curry, Travis Scott and some other people from raider klan, while all the rest of Sad Boys met Spaceghostpurrp. Because I had a bad comedown. So I didn’t meet him that time but our old manager was a good friend of him and he is a misunderstood legend, he really is. But the whole thing about him is like Rocky, the pretty artist and the genius ugly duckling. We both know that Asap Rocky got more famous because he is prettier and it just fit better. The picture was prettier to give to the people than that of spaceghostpurrp who was kind of wacky. But yeah I hope that everything is good with him. I have no contact and don’t know how he is doing nowadays, I don’t. But blacklander was some of the best. I remember when that was released and I was in eight or ninth grade. First I was so into MF DOOM and madvillain and then suddenly I saw a picture of Odd Future and then spaceghostpurrp came and then that was what I wanted to listen to all the time. And via spaceghostpurrp, I remember he linked a lot of good artist that I started listening to. So then came Waka Flocka.
Mats:
It must have been like heaven, but as time would tell also hell. Landing in Florida.
Lean:
It feels good. We were there a bit too long but it’s such a special feeling. You can go to Everglade and see alligators and you really feel all that in fort lauderdale that is it like a swamp. We recorded at a place called pink house, pink mansion. They had a lot of brick that they had thrown down so that it became pink. Rick Ross had recorded there and it’s really Florida. People run around with machetes and it’s voodoo and all of that Haiti thing. Music break
Lean:
And then we were there in the pink mansion and recorded all of Warlord. It was insanely creative and it was like, I guess like when you read about Black Sabbath recording it feels like you have like a demon in you and you just make so much music and don’t realise what’s happening and yeah it ended up bad. It ended up with me at the psych ward, smashing a balcony and covering myself in the blood and the same night my manager died and then I got back to Sweden and was in convalescence, like at the psych ward. After that trip a lot of things changed in my life. I remember after a while when Hoover was released, maybe two months after. All the boys, I remember Axel and Benjamin, Bladee and Sherman was like, this might be Jonathans last video ever. And I was sure of that as well for a while. My mom helped me write a CV and I walked around with that and was thinking about working at a kindergarten.
Music break
Lean:
I was so fucking tired, of all that had to do with music, and all that shit.
Music break
Lean:
It went down like this. Barron, may his soul rest in peace, me and Benjamin and Hunter lived in an apartment that was owned by Barrons father, who’s a lawyer named Stephen Machat. Stephen was a lawyer for Ozzy Osborne, Nate Dogg and his father, Barrons grandfather, was the lawyer that cheated Leonard Cohen out of a lot of money. So it’s a lawyer family. I had started to go into psychosis, or like drug related psychosis or an overdose for some days and I wasn’t feeling any good. Barron and Hunter was out to buy some paper, paper and soda. And while that’s happening, at the same time that Barron crashes, I’m smashing this balcony without knowing what had happened. And Benjamin calls 911. I was not in the car with him and the car did not catch on fire either. He crashed into a tree. There are a lot of weird versions of that story. But I have also heard a lot of terrible things from family members and people around that were sure that I was the devil and that I had evil powers and all that. If you think about it, I was seventeen eighteen how the fuck can you put the blame on a seventeen year old. It was tough for me as well. But I have no magic powers. Unfortunately. If I had I would use them for good things.
Mats:
It was the father of the manager, Stephen, that accused you of being pure evil.
Lean:
I wonder why it was me that got that since he has worked with like Ozzy Osborne and have told stories about when Nate Dogg ran into his office with an AK-47.
Music break
Lean:
Yeah I wonder how I ended up being pure evil. But I guess there was something there, Swedish folklore with midsummer powers.
Mats:
The troll syndrome or something like that?
Lean:
Yeah haha, exactly, the big monster, Näcken (Water spirit) haha.
Mats:
But there is something provoking about it still right?
Lean:
When it is about peoples lives. I knew Barron, we were with each other every day. It is not fun to be called the Devil or pure evil when I was just seventeen and ended up at the psych ward. It’s about real peoples lifes. You can’t just call young people those things. And of course I understand that someone is scared and upset because their child died, but you can’t put the blame on people or call them things like that, it’s sick. But if it had been in a completely different scenario I would probably have been more proud of being called that. If it had to do with my music. But when it’s about real things it’s just scary.
Music break
Mats:
Yung Lean took drugs, dressed up as a nurse and wrote an unreadable book about his life. Everything got out of control around the making of the dark album Warlord. Where Sweden and Florida in songs like the Billy Bragg sampled song Miami Ultras. Yung Lean took an overdose, experienced psychosis and ended up at a mental hospital. At the same time he lost his American manager in a car accident. Barrons father, the well known show business lawyer with ambitions to reach the American senate put the blame on Yung Lean. He planned to release an unfinished version of Warlord. Back in Sweden, Sad Boys could see how a version of the album had leaked.
Lean:
Yeah shit I remember that. Yung Sherman was celebrating his birthday and we were out bowling, or maybe it was his old girlfriend who was celebrated and suddenly everyone was on their phone like shit, Stephen has released it all. Directly on band camp connected to his account. Unfinished versions of the songs, the song names were wrong. We had been working on that album since we got back home, it was all we had. Leaks can be the worst things. If you have been quiet for so long and so much has happened and you just want to release Warlord the right way, with the correct videos and artwork and then something like that happens. It’s like a fucking punch to your face. We lost a lot of hope that day.
Music break
Lean:
I think that the most crazy, for me, was a while ago, the had been at Fort Lauderdale at a large fair and I had bought a costume that was made for nurses and I wore that all the time. We were going to a hotel with an artist and he was buying weed from a stripper. And when we are at this hotel a man in there is arguing with the workers there and he has a large entourage and I recognise the voice. I’m like it’s Jim Jones, Jim Jones from dipset. I did not realise It by then but I had started living a little in my own world. I was begging to enter the psychosis. I was wearing the nurse outfit and took a picture with Jim Jones and we talk for a while. When I have looked at that picture years later I’ve been like what the fuck is this shit.
Music break
Lean:
Who was it, I think it was The Who, who met in a clothing store, and a guy was like you should make music. And then they made music. And it kinda felt that way, like yeah you guys should make this music.
Music break
Lean:
Sad rap, haha. Sad rap is quite a sickening term. It shouldn’t exist. We don’t make sad music. When you start going into the dark water you just want to go deeper and deeper. And you can only get back up when you are really hit by the waves. It was a mixture of destructivity, teenage anxiousness, and yeah, just how I felt back then.
Music break
Mats:
What for some appeared like a smart joke in the beginning, and for others like INAUDIBLE (he speaks danish accent Swedish) entertainment had in the middle of the 20th century attracted a dedicated fan base in the US. Something that no Swedish rapper had dreamt about. Yung Lean saw the opportunity to create surrealistic art and shabby rap. And history was written when Yung Lean was the first swede to enter the top 40 American R&B list. A list whose history goes back to Harlem Hit parade, 1942, where leaders like Louis Jordan and Lionel Hampton ruled. Yung Leans Unknown Memory entered at 36th place on the album list, right above Kanye West and under Migos. It was October 2014.
Lean:
It sounds like a lot of fun now that you say it but the most fun was just if the songs and the album were great for me, like it goes so far. Prices and stuff comes but it’s so temporary compared to creating it, what you have gone through to create the music.
Mats:
Yung Lean was a a part of the drug cult. The cough syrup drinking and pill popping that defined a depressed generation. Lil Peep with Swedish roots had just started building his emo vision, related (musically) to Yung Lean, and Juice WRLD stopped breathing after just a couple of albums.
Lean:
The death that affected me the most among those is a person that I didn’t know that well. But it was when I met Fredo Santana and we were in the studio. Me, Fredo, Axel and some of his boys. He was the kindest. We were listening to get rich or die trying and made a song together. He was a really good guy. And the day after I got a message that he was dead. It’s not more than that. In the US and in Sweden. I have friends that have died from benzodiazepines in Sweden as well. I think that it has a lot to do with, like lean, it goes hand in hand with the sales. Lean, Codeine. First Actavis, and then it gets so expensive and after a while completely banned. Then people start drinking red, and it costs like a thousand dollars a pint. You can’t pay that much unless you are a rapper. If you are a rapper you get special prizes. And then you want to get cheaper stuff, you want to take the same things as the rappers you look up to. I guess that once everything was very weird. Around 2013-2014, there was ILoveMakonnen there was, like mushrooms and that stuff. Before it was all opioid based with Percocets.
Music break
Lean:
It felt like, I don’t want to be that guy but, the music often gets very interesting when people are trying different stuff. I think that’s the sad reality. Maybe not with my music. I feel as I can create more when I’m sober. I have tried most of the drugs so if I feel I want to channel some type of drug I can go back in my memories to get the feeling if I want to sound a special way. If you think about like Young Thug when he made I came from nothing, you could hear he was all fucked up. You can’t do that sober. Gucci Mane is also an example. But now Gucci mane is also an example because now he’s skinny, he looks good, he has a great body, he has his wife, I wanna give him that. I don’t want him to be fat and have a codeine belly, be constipated and on the brink of dying all the time. I want him to look like he does now. I will sacrifice the music for that. His music is not good any more. But fuck that I can listen to the old songs. I’d rather have him healthy. And with Future as well. That he is afraid of going public with having quit lean because his fans wouldn’t trust him no more. That’s sad. But the music is explosive now. There is more hip hop being created now than ever before. It used to be kind of a mainstream genre with Lil Wayne and people thought it was a joke and the underground stuff was much cooler. But hip hop now, the biggest artists, it is the most experimental genre right now. It is more experimental than experimental indie pop. They use more drugs than those who do experimental jazz. It is weirder than punk. It is the weirdest there is right now. And people just have to live with that. That so many people die on the way doesn’t have to be a part of that. It could continue to be this special without people dying.
Music break
Lean:
Much of the trap you listened to in the beginning was like, more voices, almost choirs, Siberian choirs. Gucci Manes adlibs are louder than the main track. One of Chief Keefs biggest hits, Citgo, you can’t even hear the instrumental. There’s like six different layers of “smoking on the gas, gas citgo citgo”. It’s amazing. It’s weirder than anything else and I think I saw it from my own perspective. For me, all the elements of hip hop ant trap, and the clothing, has been art. And my way of expressing myself, minimalistic, if it’s with an iPhone camera or if I get to direct a whole video, it will always be done my way. It’s a mix of movies I’ve seen, experiences I’ve had, colours I think about that day. I think that this timing. Luck doesn’t exist to put it that way. If I am allowed to leave it at that. Haha.
Music break
Mats:
When you got back to Sweden from Florida. Your dad picked you up right?
Lean:
Yeah, I think both my parents were at the airport. You mean that my dad came to Florida and I walked around the mental hospital and I called my dad the king of California, because I didn’t recognise him. I just told him several times, “Are you the king of California?”. He became quite sad, but he has also been able to joke about it a lot now. There was one story that was quite scary actually. I kept saying that there was a doctor that was coming in and fucking things up for me. He was threatening me that I was gonna go to juvie and things like that, threatening me. And my dad asked me what the doctor looked like and I explained it to him. And he was like, that is not a doctor, it’s the guy who comes in to clean. He just came in to provoke me. And I was told that months later. It was quite scary. I have actually been at the psych ward in Sweden as well, much longer than in the US. 2017 I was at Danderyds (place outside of stockholm) closed section for a month. For psychosis as well, but not drug induced. But I have been sober now for two almost three years. I work out, I do boxing. I’m really happy and I’m more creative than ever. I think that everything that we’ve been talking about, me being a part of drug culture. Kids that say like, Yung Lean, I smoked my first joint for you, I took my first E for you. They would have done it to someone else’s music as well. I promise that. I’ve never pushed anyone to do drugs, I promise. I’ve just told it how it is, from my perspective. And you can do exactly the same thing and be sober as well. It is as much fun if not more fun. If I go out to club now, I can be out all night, I don’t get tired. I have much better relations now with everyone around me. I’m just a happier person. I think it’s much more fun for me to do this interview now compared to last time.
(They put in a clip from the interview they did way back)
Lean:
It sucks to be in school but that’s also a way to be down to earth and not feel so like I’m so fucking special, which I’m not. In a way it’s nice to be in school. Like, I’m no superstar. I have a normal life. It’s nice to live out my teenage life before something crazy happens.
Mats:
How old are you right now?
Lean:
I turn eighteen this summer.
(Back to the interview again)
I was at the Mount Sinai (Medical Centre) in Miami. And I found out Avicii was also there when I watched his documentary. And when at the hospital in Danderyd. It was very nice I must say. I was fucked up, completely manic, but it was a very nice place. Big up to the Swedish health care. That they put up with all the people there.
Music break.
Lean:
Those hours. All the people who are there, who try to break out, or try to commit suicide, or are screaming. You are laying there and you hear screams all night. It’s like being in a nightmare 24/7, plus that your own head is a nightmare 24/7. I had plans of escaping, I had a map of the hospital that I took a copy of and hid under my pillow. It was like One flew over the cuckoo's nest. You walk around there.
Mats:
Do you remember when you started making music after all this? The first attempts at getting back there musically.
Lean:
I was still a bit manic and when I was allowed to leave for some hours I chose to go to the studio. So I was driven to the studio from Danderyds hospital. I recorded six songs and then had to go back. When I finally left and was convalescent and quite low because of all the medication I just chose to never listen to those songs)
Music break (Lean starting singing I’d rather go blind by Etta James)
Lean:
I have no idea what I’m talking about there. I don’t really want to know. I just remember that I made a listen to your heart cover and I made a version of Etta James song because I had listened to that so much when I was at the hospital.
Music break (Lean continue to sing I’d rather go blind by Etta James)
Lean:
In the beginning you just try. You are like Bambi on the ice, trembling. But then I finished Stranger. We had made that album before I ended up at the hospital. Me and Micke finished it in the studio and then Whitearmor and I did our own tape. We went out to Mariefred where a guy named Pontus has a studio. He produced Britney Spears Toxic. And there we were making Poison Ivy. It felt very nice to just clear my head and the music turned out great. Those days were nice.
Music break
Mats: (talking about the upcoming album)
The adventure continues. The new album that follows up the anxiety filled milestone, Stranger, is punky millennium R&B, that can only be made by Yung Lean.
Lean:
It’s everywhere. Some of the songs are almost like ballads and some are more to the classical witch house, others sound like some, you know SVT Play (Swedish national TV) intro with piano haha, it’s everywhere. But I’m very inspired by The Stooges, I wanna be your dog. That song, and R&B.
Music break
Mats:
Jonathan spend the first time of his childhood in Belarus.
Lean:
You know you have some fake memories. You have a picture of an apartment. But I have one memory that I’ve been told so many times that It’s like I can see it. It’s when I was at kindergarten and my dad comes to pick me up. He asks for me and I’m not with the other kids. I had been bad so I was put in the corner with a large cone on my head. My dad walks over there and since he is Swedish he gets super mad and wanted me to quit going there. My mom was calmer and explained that that’s what they do, nothing weird about that, just some discipline. My mom is grown up in Soviet you know and went to a Russian school. Two different worlds. But I have lots of nice memories from there. I went to a school theatre and danced in snow and that stuff. I must have been a Pinocchio, somewhere around there I turned into a donkey. The cigar came. (Referring to https://www.youtube.com/watch?v=fCBjfgXg8A4) I had a very nice childhood, middle class, Södermalm. My dad’s a writer, raised in Söder as well. My moms raised in Russia, she’s a real boss. She has had a crazy life. One time she told me that she was a cleaner at an embassy, and that one day she would be in those rooms. Now she is becoming an ambassador in Albania. She has worked her way up. I’m very proud of her. We lived in Söder. I have been to a lot of schools, Södermalmskolan, Gamla Maria, Katarina Norra, Kärrtorp…
Music break
Lean:
When I got back to Sweden from Belarus I started going to a kindergarten. It is one of my first memories. I was still speaking Russian and I so badly wanted to be understood. I walked around speaking in Russian Swedish, can I have milk and bread, can I have milk and bread. I really wanted to learn Swedish so I forbid my parents to speak Russian with me. That was very stupid, I really wish I hadn’t said that. I wish I had learnt Russian as well. Music came into my life early. It was what made my life fun. It was always my thing and what I was good at. I think I said that last time we talked. When I was young I got a little bit famous with a song called Söder Söder. I was opening for Adam Tensta (Swedish rapper) when I was in fourth grade. Then I made a mixtape with a friend during a summer, and I made a lot of music with my sister. I dressed up and put on makeup. Went to school and listened to Green Day. You know, you wanted to, I basically dressed up the way I do today. I did the same thing back then as I do now. The only difference is that I make money now.
I think that they were worried a lot. I guess the drug aspect of it. When you get so interested in things, those things comes with it. When I was I seventh grade I was caught with some weed, petty shit, and yeah they were worried about all that. But in the end they have been very proud and they will come tonight to my show. They have been to so many of my shows and they are very proud. If I make a good song I want to show it to my mom. If she likes it then it will be released. Same with my dad. I don’t know if they understood if they that there was always something extra or something special that I wanted to do. I guess you will have to ask them about that. But I know that they are proud.
Music break
Lean:
I think it’s so much fun. That I’m Swedish and that there are not that many Swedes that like me. I means that I’ve made it. I remember when I went out to eat with my mom, she had got us Indian food, I told her that I had gotten a gig in Gothenburg. And she asked like for who, for yourself or what? She was just laughing at me. I had to convince her, showing the event. And she asked like, Yung Lean, is that you? And I showed her videos and she still didn’t get it. I finally had to call Emilio on speaker and have him explain it to her. My dad didn’t get any of it either. It was quite tough because someone had written an article where it said that I was the son of Kristoffer Leandoer, the horror writer. He was so mad, I came home from school and he was furious. He was like “What’s all this? My name, and this song, greygoose?”. But afterwards when he understood it he was proud. But no one ever understood how big it was. I was at my room all the time. We remade the basement into a small studio and I was always there. I was smart with that shit. I got like Lofty 305 and people from Miami and small underground people that I kept sending my songs to. I just sat home and we had this Tumblr that Axel created and we were like dolphins, we communicated directly to the fans, even if I had like 3 fans, and suddenly I had ten thousand fans, and we still communicated directly to them. They got to know all about us. They knew exactly what we were doing.
Music break
(Again a clip from the older interview when Lean was seventeen)
Lean:
I do not claim that I do all the things I sing about in my songs. I’ve never said that. That would be completely crazy. I wouldn’t be a good seventeen year old then. It would be insane. But I guess you should believe that Yung Lean doesn’t exist. That he is just some fucking seventeen year old that’s completely crazy, and then the real me comes in and say things and have real emotions and real lyrics. I guess the mix between those things are Yung Lean, that’s what Sad boys are. The mix of what’s real and what’s not. That’s what the listeners have to think about themselves, and decide what they want to believe and now. And what they like, is it the music or the person.
Mats:
And it is when you balance that where everything becomes interesting.
Lean:
It’s exactly that. And it’s so nice because you get to do that, while really you are not allowed to do it, it’s completely wrong, but if you really want to do it, do it, and then you do it. Everything that’s written should have to be thought of several times, nothing should be just straight forward. I get it, that’s good, now I won’t listen to it again. That’s no good. If it’s an album or a song where you get everything there’s no fun in it. It’s like watching a bad film. You want to see something that leaves an impression. It’s much more fun that people talk about me. Rather than that they just say like he’s such a good rapper. It’s not like I’m trying to be a weird rapper, I guess that what I feel like doing, that’s real. I make things from myself. I don’t rap about these crazy things because I want to be like that or because I want to build up an image. I do it because it’s what I feel like doing. I do it because it’s what I want.
Music break
(Back to the new interview again)
Lean:
I remember Charlie XCX saying that her and Robyn had been in the studio and she had shown her Ginseng strip and they had been like turn it off, turn it off. They hated it. And then some days passed and both of them had listened to it by themselves. And when they came back to the studio the just kept on listening to it. It’s like you have to hate it at first. It’s so provocative. Like he looks this way, or it’s so honest, or it’s just something. It’s too close, or I don’t know. Like it’s still a meme on all my YouTube videos. Listened first time, hated it, listened tenth time, my favourite song. It’s the Yung Lean effect.
Music break
Lean:
I would love to make film when I get older. I would like to make film of greek tales. There is a tale of a man called Geryon, he is completely red and has a red dog and lives on a red island. He is killed by Hercules. I would like to make a film about that but more of a psychological thriller. Kinda like pusher, Snabba Cash (Swedish movie) meets Greek mythology.
Mats:
You have the John Ausonius (Swedish serial killer) project, you are drawn to darkness.
Lean:
Yeah, yes I do. It’s natural and not at all an image. I remember my dad joking about that when I was small. I always wanted the orchs to win in the lord of the rings, and that Voldemort was much cooler than Harry Potter. I think it’s quite simple psychology really. That it’s just more interesting. If I had a history of real darkness. Like growing up in war or torture. I think I would be very interested in happy stuff. But now I am not. You are attracted to what you are not from, where you don’t think you belong. But where I am is where I belong the best. I am privileged where I do not belong any more. I think everyone wants to find a world where they don’t naturally belong. For me that has been music. No one in my family had anything to do with music. No one has been a rapper. I have always felt at home in front on a microphone.
Mats:
When you found the darkness in Florida and managed to get out of it, was it mission completed?
Lean:
I don’t know if it was mission completed really. Barron died so I would want to take back a lot of what happened there. I think I had the darkness within me before that. It is inside of you.

May 22: Trump orders governors to reopen churches immediately, something he is not empowered to do (legal experts and the courts agree). Those governors that acquiesce endanger their congregants, as we have seen again and again and again that these houses of worship are super-spreaders.
May 22: Researchers find that 100 million+ Twitter bot-accounts are being used to push to ‘reopen America’ (source).
May 22: Half of Fox News viewers think Bill Gates is using pandemic to microchip them
May 22: Carnegie Mellon researchers discover much of the discussion doubting the pandemic and anti-stay-at-home orders is being fueled by misinformation campaigns using convincing bots. Of the top 50 influential re-tweeters, 82% are bots; of the top 1,000 re-tweeters, 62% are bots.
May 23: Trump plays golf, and whines over twitter in response to media coverage.
May 23: Betsy DeVos openly admits she's using the pandemic to impose her private school choice agenda (audio). Her opportunism is nothing new (source).
May 23: Alabama has reopened its beaches, casinos, bingo halls, museums, zoos and amusement parks – as its hospitals are running out of ICU beds.
May 24: White House predicts that US unemployment to remain in double digits until November election.
May 24: Coronavirus outbreak at high school pool party fuels ‘second peak,’ Arkansas gov says. Missouri probably isn’t far behind. For multiple reasons.
May 25: Trump calls Marine Corps veteran (and sitting Congressman) ‘an American Fraud’ on Memorial Day, mis-spells his name, claims he voted for Nancy Pelosi as speaker of the house (he didn’t.)
May 25: Trump issues a call for schools forced to close amid the coronavirus pandemic to be "opened ASAP" (tweet) after watching segment on Fox News.
May 26: Trump shares a tweet mocking Biden for wearing a face mask in public — in line with the CDC advice that he routinely ignores, for fear of “looking weak”.
May 26: Trump leaves GOP "completely blindsided" with threat to pull RNC convention out of North Carolina.
May 26: Spiking pneumonia deaths suggest the virus is killing far more than we know
May 27: Two weeks after court scraps Safer at Home, Wisconsin sets record for new coronavirus cases and deaths
late May: As Memorial weekend ends, the US has lost 100,000 people to the virus… more than combined combat fatalities in the three-year Korean War (33,686, source) and the 11-year US war in Vietnam (58,220, source), with very little collective grief.
May 30: Trump terminates the US relationship with the World Health Organization (WHO).
May 30: Trump demands Republican convention ‘with no masks or social distancing’ despite coronavirus pandemic
June 1: Dr. Fauci told states that Trump is no longer frequently meeting with top public-health experts to discuss the fight against the coronavirus. Two weeks later, Fauci will state he hasn’t talked to Trump once in the last two weeks.
June 1: States that reported all-time highest single-day new case totals in the last week: North Carolina, South Carolina (twice), Texas (twice), Arizona (twice), Mississippi (twice), Utah (twice), Virginia (twice), Wisconsin (twice) and California (three times)
June 3: Millions Of Americans skip payments as tidal wave of defaults and evictions looms
June 10: Trump: “We’ve made every decision correctly” - White House goes quiet on coronavirus as outbreak spikes; no briefings in over a month
June 15: Trump dismisses uptick in US coronavirus cases and suggests a 'stop' to testing. "If we stop testing right now, we'd have very few cases, if any,"
June 15: US national pride falls to the lowest level in the two decades of Gallup measurement.

• Five days later another survey shows the majority of Americans say this is the lowest point in US history they can remember.
• Two weeks after that another survey shows that 75% of Americans believe the U.S. is ‘Out of Control’ under Trump.

June 17: More Americans have died from the virus (116,963) than were killed in combat during World War One (116,708).
June 18: Trump says he thinks some Americans are wearing masks to show they disapprove of him and not as a preventive measure during the pandemic
June 18: Trump claims virus will ‘Fade Away’ – as U.S. Sees 20,000 New Cases a Day. Within a month this will increase to 70,000 new cases a day.
June 20: Trump holds rally in Tulsa, Oklahoma – his first large campaign event since the beginning of the coronavirus lockdowns

• Trump’s request that masks be optional goes all the way to the Oklahoma Supreme court, where he wins a victory. Masks are not required at the rally.
  
• Six members of the advance team (including two secret service officers) tested positive for the virus prior to the rally. Two more test positive afterwards, along with a local reporter.
  
• The rally 'more than likely' contributed to a surge in coronavirus cases, according to the Tulsa Health Department Executive Director.
  
• Afterward, dozens of Secret Service officers and agents are told to self-quarantine.
  
• Two weeks after the rally, Herman Cain tests positive for the virus. In the weeks to come Cain is hospitalized, and dies on July 29.
  
• Two weeks after the rally, Fox News alumnus / Donald Trump Jr’s girlfriend tests positive for the virus after attending the rally.
  
• A week after that, Oklahoma’s governor (who hosted the rally) tests positive for the virus.
  
• Trump boasted that a million people that signed up to attend, held the rally in a 19,000 seat arena, and built an outdoor overflow area in the parking lot, but only 6,200 people attended.
  
• Trump was furious about the low turnout, and had a meltdown and yelled at aides backstage when he realized how empty his rally in Tulsa was
  
• Trump said he tried to slow down COVID-19 testing to cover up America’s high rate of infection (video)
  
• White House trade advisor Peter Navarro claimed Trump was “joking”, Trump responded 'I don't kid' and insists he meant it.
  
• Trump unapologetically called the virus the “Kung Flu”, and proved he could awkwardly drink a glass of water with one hand.
  

Planned future rallies are cancelled, due to fears of low attendance and the virus.
June 24: Fauci: White House ordered NIH to cancel coronavirus research funding, because it is in partnership with scientists in Wuhan and Trump has pushed a conspiracy theory that Wuhan purposely created the virus.
June 25: White House official: Americans will “Just Have to Live With” massive virus surge
June 25: The largest medical complex in the world, Texas Medical Center reaches 100 percent ICU occupancy, then they stopped reporting data.
June 30: The European Union bans travel from the U.S. due to coronavirus, and extends the ban two weeks later as the US situation continues to deteriorate.
June 30: The US has 4% of the world's population but 25% of its coronavirus cases. Over 2.5 million Americans have tested positive, and over 125,000 have died.
June 30: Dr. Fauci tells Congress new cases could reach 100,000 a day without changes, and that recent coronavirus surge caused by reopening too quickly, not following guidelines
Late June: Republican governors begin holding secret conference calls to complain about Trump's chaotic coronavirus response
July 2: Trump: “I think we’re gonna be very good with the coronavirus. I think that at some point that’s going to, sort of, just disappear – I hope,” as US sees record number of new cases
July 4: Arizona Department of Health Services reports that ICU's are at 91 percent capacity and nearly a quarter of coronavirus tests conducted returned positive.
July 4: U.S. breaks another daily coronavirus record with more than 57,000 new infections
July 6: White House defends Trump's claim that 99 percent of COVID-19 cases are 'harmless' with chart showing 5 percent are fatal. Unsurprisingly, the head of the FDA refuses to back up this claim.
July 7: The virus is killing more in Florida, Texas in one month than 20 years of hurricanes
July 7: Trump and the Secretary of Education demand that schools reopen with fully operational in-person classrooms in the Fall.

• Just a week earlier, a Federal assessment (69 pages, here) said fully reopening schools and universities remained the “highest risk” for the spread of the coronavirus.
• This also contradicts the CDC’s guidelines around reopening schools. Trump dismissed these guidelines over Twitter as “tough and expensive” as well as “impractical”. The CDC refuses to revise their guidelines.
• This demand came with threats: To cut off Federal funding (a mostly toothless threat) and lose international students to those that choose not to open fully.
• Pressed on how schools can re-open during a pandemic, DeVos has no clear answers (video)
• Some teachers are retiring, rather than returning to the classroom
• Only 1 in 10 Americans think schools should reopen this fall without restrictions

July 8: 56 Florida hospitals hit 100% ICU capacity (and new daily cases rise above 10,000, to rise to 15,000 per day within five more days) as Governor DeSantis defends refusal to release virus data.
July 9: Dr. Fauci says states with coronavirus resurgences should consider shutting down again
July 10: U.S. breaks another daily coronavirus record with more than 70,000 new infections.
July 11: Japan is 'shocked' and furious at the US after a major coronavirus outbreak at 2 Marine bases in Okinawa — and says the US is not taking the virus seriously. "We now have strong doubts that the US military has taken adequate disease prevention measures,"
July 12: Dr. Fauci says COVID-19 cases exploding because U.S. didn’t completely shut down
July 12: CDC holds first press briefing in over three months of being silenced by the White House.
July 13: Trump complains Biden and Obama stopped coronavirus testing even though it didn't exist during their administration
July 13: Arizona is currently registering as many new cases as the entire EU, which has a population 60 times greater.’
July 13: Trump retweets game show host saying CDC and doctors are lying; the coronavirus task force pushes back: ‘None of us lie'. The game show host’s son tests positive for the virus one day later, the host suddenly changes his position, and deletes his Twitter account.
July 14: Nearly one-third of children tested for COVID in Florida are positive; that is over 11,000 children.
July 15: Administration removes control of coronavirus data from CDC, instead funneling it through the White House. Experts and scientists highlight why this is dangerous, and states begin to lose access to data.
July 15: Trump greenlights an op-ed attacking Dr. Fauci by White House trade adviser Peter Navarro. Fauci responds that they should be ashamed. Trump then says Navarro never should have written it.
July 17: White House blocks CDC from testifying on reopening schools next week
July 18: Trump administration pushes to block new money for testing, tracing, and CDC in upcoming coronavirus relief bill
July 18: 85 infants under age 1 have tested positive for the virus in one Texas county since March
July 19: Trump claims, incorrectly, that the U.S. has "one of the lowest mortality rates" for the virus
July 20: Trump: "I will be right eventually. You know, I said, 'It's going to disappear.' I'll say it again. ... It's going to disappear, and I'll be right," – part of a larger interview citing false and nonexistent data on the virus.
July 20: Trump calls masks ‘Patriotic’ less than two months after ridiculing Biden for wearing one. Just hours later, he hosts a fundraiser without a mask (at his own hotel, where he raised $5 million).

• During the same press conference, Trump says "My administration currently has zero unfilled requests for… equipment or anything else that they need from the governors. No governor needs anything right now and we think we’ll have it that way until the end because frankly we are stocked up and ready to go.". Of course, this is a lie.

July 21: Denied permission to work from home, Maryland public health worker dies after COVID hits office
July 22: White House senior adviser Kellyanne Conway accuses the states of being too hasty with reopening their economies

Don’t allow your mind/body/spirit complex to be affected by negative external stimuli, such as scary stories and panicky media about contagion.
Participants in Retconned, for the most part, validate the phenomenon of the Mandela Effect. ME’s are like tiny cracks in a dam of our collective manifestation. The matrix dam is beginning to burst and our realm’s controllers haaaaaaate the notion of humanity making our dreams come true ala Laverne and Shirley. Mandela Effects nakedly betray certain unseen and hard-to-quantify aspects of our holofractal reality, namely:

1. Reality is squishy and malleable and subject to change. There is no solidity in the future, none in the present, and (perplexingly) even the past is subject to sudden change as well.
   
2. “Death” seems to be Not What We Have Been Taught. I myself have had two strong NDEs in my life and I’ve been exploring other incarnations I’ve lived on Earth embodied as other people in past-life regressions. I’m not the only one—many people report experiencing the ME after having experienced an NDE. So how dangerous can death be if we seemingly cannot die due to hopping timestreams thanks to Quantum Immortality?
   
3. We exist in a multiverse containing innumerable timestreams and infinite parallel realities. The processing power to keep this Earth video game running must be incredible. Every scenario conceivable seems to play out somewhere, by someone, at some time or another. The dimension we currently inhabit certainly has its quirks, but it is not the only reality in existence.
   
4. We manifest all parameters of our dreamlike reality. Through the ME, we notice that objects, people, and even spellings can change without warning. But we even manufacture stuff like number synchronicities, positive/negative life events, your table lamp, or literally anything that contains energy or physical form. Your powerful mind and heart create a holographic realm to either delight or scare your own Self. So where does the ME come from? Quite literally your own Self. In this Now moment, we are in the process of slowly getting back into the driver’s seat of our dream realm. The Mandela Effect blatantly shows us that we carry these capabilities, even if we don’t carry the belief that we carry these capabilities.
   
5. The Universe is a story-making machine. Infinite oneness craves novelty. However in our little pocket of the multiverse, we exist in a reality where lies run rampant, stories are crafted, narratives are set by powerful interests, and everything we know is seemingly inverted. Literally “The Upside Down” from the show Stranger Things. It’s an uncomfortable notion to entertain that many things we have been conditioned to accept as Truth are actually the opposite of what has been portrayed. Some of the most evil people on our planet are lauded as saints and visionaries, and some of the best humans to grace our realm have been vilified as subversive or dangerous. We see these narrative control tendencies in action almost any time the ME is mentioned in the media. In media, in scientific circles, in academia, and even at some seemingly ME-centric forums, the ME can be contextualized as laughable mental illness or sheer solipsistic stupidity. Take that X-Files episode for example—the ME experiencer at the end of the episode is put in a straightjacket and taken away in a vintage Ghostbusters-style hearse to an old-timey insane asylum. That episode was equal parts absurd and embarrassing, and it was just one example of many. It is seemingly crucial to our controllers that they trick or shame people away from entertaining ramifications of what the ME could truly mean for Human consciousness and individual sovereignty, beyond surface stuff like how to spell dilemma/dilemna.
   

I contend that anyone who allows a negative or fear-based story/narrative to creep into their consciousness enough to entertain as a viable reality run the risk of going down a path of subconsciously consenting to the story/narrative as portrayed to play out in the most dis-advantageous possible way to the perceiver. We have been chumps up until recently, but that need not be true any longer.
Were I a media controller and if I could beam scary digital scenes and fearporn directly to your living room TV, then I would be able to use the perceived legitimacy of my corporate news agency—complete with swooping “BREAKING NEWS” motion graphics and overpaid pundits who are experts in Language Sorcery and Trickery—to beam into your consciousness the notion that you can keel over at any moment from a manufactured virus.
And voila, this is how I can get you to punch yourself in your own crotch, metaphorically and metaphysically speaking. That is, if you allow the manipulation to do its toxic viral job on your mind/body/spirit complex.
Media is a powerful tool, and this tool rests in the hands of controllers who want “useless eaters” like you & me dead and gone. The lofty words chiseled in multiple languages on Ted Turner’s Georgia Guidestones monument are a clear indication of terrible intent and a subtle disclosure of ill-will toward the plebes like you and me who clutter “their” Earth.
Yikes, everything I wrote here is scary as fuck right? Well what can we do about it? First off, let’s say we:

Change The Channel.

Don’t like the current reality you inhabit? Shift your perception and your consent to something more liberating. More healthful. More advantageous to what you want to experience.
The Mandela Effect is one of the first indicators in our holofractal experience of existence that our individuated “beliefs” and “intents” are the only currencies in this realm that are worth a damn. We humans are abundant in manifestation ability. We are rich in a rare and coveted resource, yet we do not realize it because we are constantly abused and confused. We spend our precious God-like manifestation power on stupid shit, not unlike gambling addicts pouring dollars into a giant casino rigged against them.
There exist entities who want to force you into a hell-like state of consciousness. They are gross. They love to smell the eggy farts that your fear frequency emits. Super fucking weird right?
Do you know why I am scandalized and offended by such a scenario? Because you and I are “God” or Source consciousness. We inhabit temporary human form. We are powerful, yet we are walking around a freaky funhouse of mirrors in an amnesiac and forgetful state. We manifest individual and collective reality. We manifest either heaven or hell to inhabit. The controllers, however, do not. They cannot. They are parasitic. They need OUR manifestation powers to continue their parasitic grift. I get angry when I realize that they expect us to gift our manifestation powers on a silver platter to them.
So they want to create and perpetuate a hell, yet they cannot send you to hell. Sure they’d love to banish you, and some are eager to consume you. Yet they cannot. Strangely, for all the power and wealth and advantages they seem to have, they somehow cannot force you to do anything. Why not? Cuz this is a free-will universe. Cuz bitch, you’re God. So what can they do? They attempt to trick you to willingly get into your own casket, close your lid, and lower yourself into a self-manufactured hell. They coax people to lock themselves into a musty dungeon and swallow the key down their gullet. Controllers laugh because so many of us have willingly fallen for this. Again and again. But no more.
Sovereign manifestation and positive playful make-believe will serve as a ticket out of any manufactured artificial hell: we gotta be like a child again and allow our beliefs and intents to build the worlds we seek to inhabit and to positively shape our individual realities. Like fear consciousness, your positive manifestations will virally spread like a contagion to the whole town, to the country, and eventually to the human collective as a whole. You already spend your day playing make-believe. Many times throughout your waking day, you daydream. You fantasize. I advise you to only bother making make-believe about awesome things. Useful things. Don’t be someone else’s diseased or dying plaything. Don’t be a loosh-machine. Don’t consent to inhabiting a plague-infested reality. Don’t willingly march yourself into a quarantine camp of claustrophobic fear consciousness. Don’t get spooked by anyone’s manipulations. Don’t get spooked by the existence of low-vibes parasitic beings either. Don’t swim into a probable timestream just because a news outlet or some website forum continues to cram spooky shit into your awareness, hoping you’ll chug the toxic sludge and say “mmmmmmm more please, Master!”
Be strong, be sovereign, do what you need to do to feel secure and prepared if it helps. But don’t fall for someone else’s apocalypse fantasy. Worst of all, don’t go build the world of their fear fantasy for them. That would be like building your own trap in order to ensnare your own Self. And frankly you’re too smart to commit such folly.
Don’t be controllable. Send gratitude to any scary exterior input/news/narrative beamed to you or spoken to you—but only say that you will take any information offered under advisement, if at all. Don’t say “this is the truth” and, for fuck’s sake, don’t consent to a scenario if it doesn’t edify you, doesn’t enrich you, or doesn’t help you and those you love.
Cuz bitch you are God. And God isn’t a rube.

So, as a general rule, I tend to keep quiet and lurk on these subs. There are better pitchfork/Gungnir wielders than I, and I tend to just make a snide comment or ask a question here or there. I'm probably gonna get yelled at for this but; here goes.
I came over from FFBE, SOA, and Dragalia, having spent an ungodly amount (5 figures, let's just leave it at that) on FFBE, and a lesser but deeply significant amount on Dragalia and SOA. Since switching, I've spent a few thousand on Epic7 as well. This isn't a testament to my income, trust me; this is a deeply stupid set of financial decisions on my part, and more emblematic of a gambling addiction than anything. Still, it is what it is; I've given these guys more than they'd get from any single AAA title customer, even with DLC, etc.
Well, now I'm done doing that. At least for the foreseeable future.
I would highlight first that what seems to be happening with Smilegate is less an exception to the industry and more the rule; if you look into the SQE/Gumi collaboration that is FFBE and it's sub, you'll routinely find it in an uproar, and that's a common trait with a lot of Gacha games players; dissatisfaction.
Now, I really enjoy E7, and while I don't leap to its defense, I've broadly abstained from criticism and have continued to spend my money. When it comes to gacha subs, sometimes I worry the complaining is par for the course with gaming culture, but honestly, after seeing this same dynamic enough, I've come to realize it's dev culture. Video Game development and publishing doesn't seem to adopt hospitality as being a central tenant in the way, say, a hotel/casino does. A casino knows the core source of revenue for them is gambling, with event revenue and room revenue being a distant second and third before amenities like restaurants, etc. This means the best way for them to make money is with an act that by its nature means their customers have to lose, and thus generates tension between them and their clientele. As a result, it's in their interest to try and keep them happy elsewhere, comped drinks, comped rooms, show tickets, etc. Devs, by contrast seem to be of the opinion that freebies are anathema to their financial well-being. So, any time you want something to make QoL or Gameplay more friendly to the player, they hem and haw, postpone, screw up, and come up with work arounds, etc., because they don't want to give something away for free to begin with.
Here's why I'm closing my wallet; Smilegate, you've acknowledged the problems with your game around character progression, you get that your game is resource poor, that it's hard to develop characters, that your ML characters are too unattainable, and on and on. Yet, in the remedial measures you've taken, you've utterly failed in fixing them, and the kicker is, I know that eventually you will fix them.
So, if I think they'll fix these issues, why would I stop spending money? Simple; it means I'm being cheated in the meantime. If I spend one more dollar on E7 before the fixes come in, I won't get reimbursed if, say, Leif's suddenly fully restore energy. I won't get covenant summons back if they drop the pity rate on a limited banner to 100 or 80 summons for the times I hit the pity limit on Dienne. I won't get reimbursed for the time I foddered an ML summon then find out we can turn them back in (as happened to me with the artifact powders). Once you cave and drop the energy costs or bolster the rewards for the hunts; I'll get nothing, so far your idea of compensation is 60-80 energy. All of this cash that I've spent while you figure out how to fix your game is never coming back to me; so why the hell should I keep spending?
So, to whatever poor Smilegate intern is made to read these, here's my ransom note:
-Mola Gora Recall; on your terms, but not a one off, this should be recurring; monthly, quarterly, whatever.
-Free Equipment Removal. Equipment costs are beyond foolish; most games never even consider this approach and make just as much if not more in revenue. No developer has ever filed for bankruptcy for making a game that doesn't drain resources from players while they switch gear. Ditch the costs.
-Equipment Set Forging; let us pick what set it belongs to; you can randomize everything else. It'll still take us forever to get the gear we want; but forever is only half as long as it takes now.
-Leifs and Skystones Refill full energy. This is fairly standard; if I'm buying Leif packs in particular the idea I should have to spend 2 to slightly more than fully refill is absurd.
-Give Light and Dark summons a player-favored elemental bias. Dragalia does this to excellent effect; and given Light and Dark units require 120 summons, and/or one month to attain (apart from Abyss and the rare event rewards), even a 3 star unit should be worthy of use; and yet most aren't.
-No BS rewards in high level content. If someone, Whale, Dolphin, or F2P has invested enough time and resources to be able to routinely beat a hunt stage 10 or 11, they've shown enough commitment to your product that you don't have to be afraid of them bailing because they did get the equipment set they wanted. Lose the low energy prizes, pathetic sky stone quantities, and either raise or ditch the powdebookmark/mystery emblem amounts.
-To add to that; high level temporary content should yield high level rewards as well; if I have to get pummeled relentlessly to beat an Epic Hell difficulty; and you give me 100k, or even 300k gold; I've been ripped off.
Look, Smiles, maybe you think that gamers just complain no matter what you do; and honestly I totally get that because...well...a lot of gamers do just that. To that point; I mentioned before I spent an ungodly amount on FFBE, I don't play it anymore. I stopped because I was utterly sick of how Gumi treated a player base, and frankly me, and as someone who spent enough to cover a developer's salary for at least a quarter by himself, the idea that I'm going to put up with that garbage in perpetuity is ridiculous. Currently; Epic7 is my only Gacha; if this keeps up, it's my last Gacha.
Oh, and if you wanna add me; CyrusFFBE is one of my accounts.

I know this take is super late but whatever I'm in class and this was on my mind:
I understand that people like this movie a lot, but I don't see it. I have seen it on more than one occasion so I could try and understand why people like this movie. I have talked to people who have seen it. I've watched video essays on it. Despite all that, I don't understand why the movie reached such acclaim.
Let me start by listing the things I like about this movie:
Al Pacino's performance as Jimmy Hoffa is damn good, most likely being the best performance in the movie. He's a fantastic actor, so this comes as no real surprise. I wouldn't say anything extreme like it was better than his role as Michael Corleone, but it was a strong depiction of Hoffa. His personality, while grounded in the blue collar work ethic and his hard-fought virtues, is damn-near larger than life. Every scene he's in, he commands your attention, with his brazen, confrontational attitudes, to his somewhat humorous manner.
Joe Pesci, while absent in some long stretches of the movie, gives a good performance of Russell Bufalino. This was a noticeable departure from the more fiery roles we come to expect from Pesci (like Goodfellas and Casino) but he nonetheless is one of the best parts of the movie. There's an empathetic, caring nature of his character that contrasts nicely with the more conniving, apathetic business side of him.
The story is legitimately interesting. I understand this mostly lies in the real-life mythos of the disappearance of Hoffa, but it's impossible not to gawk at the sheer size of the story. Constant power struggles between various mobsters? Union campaigns? Fighting for control of the Teamsters? There's nothing about the story that is not pure intrigue.
Now, for the things I dislike about the movie:
FRANK SHEERAN
Frank Sheeran is a character with a complete lack of depth and personality. I'm not trying to be hyperbolic here, but could they have made the protagonist any more unbearably boring? I don't even fault De Niro too much for this because he does the best with what he's given. Unfortunately, what he was given was a completely blank slate, and Scorsese said "Be like this." Sheeran is a "witness character," meaning that he watches more powerful and interesting people around him do a bunch of important and powerful shit before he gets his one moment to do something that defines the story. He has few, if any, discernible character traits, except that he was violent one time to a shopkeeper and he is friends with Jimmy Hoffa. We're *supposed* to believe that this character is important and wields a level of influence and power, both in the mob, and in the Teamsters, yet, somehow, he is constantly powerless to affect any change in the story. On top of this, he has no character arc. He starts killing people, and he hurts a shopkeeper one time. At some point down the line, he kills his friend, and that makes him sad.
It takes him 3 hours and 47 minutes of film time to realize that killing is wrong? Oh my god, what genius!
I understand that what I just said was reductive, but I'm trying to illustrate the lack of thought given to an arc that was placed there rather intentionally. He's a hitman, a union leader, and the confidant of Jimmy Hoffa who struggles in his parental role as he resorts to violence too quick. There is a rich arc there that should be told, but this has to be balanced with him not doing anything so the main story can play out.
My main point about Frank is that the movie doesn't know whether or not to make him important or completely passive. Let's be clear: passivity has a place in storytelling. One of the best examples I can think of is Nick Carraway from The Great Gatsby, where him being a witness makes more sense and serves more of a purpose. I'm not saying it's impossible for a passive witness to be given an arc, but that's a challenge which requires a deft hand that the writers did not have when writing the script, as the film constantly flops between "Oh he's important and a character you should focus on!" and "lol nvm not really."
CHARACTERIZATION
Building off the last point, the characterization has serious issues that no one seems to address when talking about this movie. We are constantly given information about characters via cutaways, montages, or people just fucking telling us. Let's keep talking about Frank, since we were just talking about him. We are told Frank is a hitman for the mob when we see a montage of Frank throwing guns in a river while his older self narrates over it, and then we are shown that he has grown to be more violent in regular dealings when he beats up the shopkeeper. Aside from the fact this is very sudden and takes place over the course of 2 minutes, why did this change have to happen if we were just going to be told it anyway? Why not introduce him as a hitman struggling with his growing violent tendencies? Also, and much more egregious, why the hell is this the only real incident of his violent behavior affecting him outside of work? That's clearly what the scene is trying to portray, but it only happens once. If his character is changing, then it isn't just a one-time thing. Patterns form, with the violence potentially growing, as his character steeps deeper and deeper away from acting how he used to. Eventually, with his murder of Hoffa, he comes to realize how much he's changed as a person. Not only does that sound more intriguing, it's also more realistic.
This affects more than just Frank though. What about Russ, who was one of the better parts of the movie? Well, we see him dine with Frank a few times in the beginning, and we are literally told that Russ saved his life and that he is a great friend to Frank. Obviously, this is meant to communicate that he considers Frank a friend. Unfortunately, this suffers from the same mistake as last time. Russ is straight up absent for a huge part of the middle of the movie, where he all but disappears. How are we supposed to believe that he's a great friend if we've just seen them eat and bowl twice and we're just told it once? That doesn't make the audience believe anything.
The story is severely limited by the way in which characters are built, as it weakens the impact that arcs can have, and it puts a severe damper on potential character moments. Instead of letting us see how a character is, we have to constantly be artificially told how things are, or how this character is, when a better alternative would be to show us naturally.
THE TONE
This movie is pretentious as hell for a story that has such a weak protagonist and characterization. Everything about this movie screams "TAKE ME SERIOUSLY!" as if it was a fucking Christopher Nolan movie. The muted colors, the ham-fisted symbol of the daughter, the loaded cast of people who do absolutely nothing, and the hilariously dumb stills of characters with their faces and their deaths.
I understand that they aren't 1-to-1 but tell me that those still shots of the faces with their fates isn't as ridiculous as this video:
https://www.youtube.com/watch?v=fOpapeX6Vzs
Also, how quick was the whole idea of "painting houses" dropped? As soon as he stopped painting houses in the movie. I mean, he does this whole pretentious, "Before the mob I thought when you said you paint houses, it meant you paint houses" speech. Then, when they get on the road, they do a laughably bad edit of the car and these 3 black frames coming in and out saying "I HEARD YOU PAINT HOUSES."
This movie is horribly pretentious for the story it tells. Hell, it's pretentious for the story it's trying to tell too. At its best, while it is a story about the Teamsters and the mafia, the story of a violent father, and the story of the greatest Union leader the US has ever seen, it's also not a super complex analysis of the way of the world or human nature. I mean damn, the Godfather is much more thorough in its dissection of capitalism, family, and masculinity, and if it had some of the shit that was in this movie, it would be too much.
ANTI-AGING
This isn't as serious a criticism of the movie but I think it's important to mention: the technology is fucking stupid.
First off, while I acknowledge how impressive the technology is, it's extremely limited in what it can do. Sure, these characters look SLIGHTLY younger. They also still move like old people because old people are the actors getting re-aged. Yes, if they sat down in front of me and stood still, I would be convinced, but no, I watched a geriatric De Niro beat up a shopkeeper with slightly smoother skin. It wasn't convincing.
Second, how much age does it really take off? De Niro does not look that young in the beginning of the movie, like he's pushing 55-60. That's an achievement, but it's not super effective to the audience. Plus, any age after that still makes him look really damn old. I have to be honest, I thought De Niro looked the same across however many years it was supposed to be. It didn't impact my viewing experience tremendously, but it was weird.
This brings me to my main point: why the fuck wouldn't you hire younger actors? Sure, I understand that these people are all legends and they can act and all that, but this younger generation has some great actors too. Is it in any way possible for the mantle to be passed? Mob movies are among some of the greatest movies ever made. Do we just let the flame die out because there will be no more actors from the original movies? What a ridiculous notion. I want to see new movies, new art being made. This movie feels like it's supposed to be a farewell, but art is supposed to evolve. You don't just close it up and say "We're done, no more." You keep the style going until it's outta gas. Using old actors will probably kill off this genre quicker than the styles being outdated.
CONCLUSION (tl;dr)
This movie has serious flaws that diminish some of the potential good that is inside this movie.

Top of the Day for 10/07/2020

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Most Upvoted Posts of the Day

First Place

\"Don't mind me guys, keep going\"
posted by George2110 on /memes
Click here to view the post. ● 133,800 Upvotes ● Posted: 09/07/2020 at 14:20:08 UTC

Second Place

At night you can see the moon, during the day you get to see moon moon.
posted by Fresh_Front on /aww
Click here to view the post. ● 122,162 Upvotes ● Posted: 09/07/2020 at 13:07:14 UTC

Third Place

Kansas City Beatdown
posted by Germanic_Youth on /PublicFreakout
Click here to view the post. ● 107,256 Upvotes ● Posted: 09/07/2020 at 00:39:49 UTC

Fourth Place

What 90's gaming actually looked like
posted by seenthezoo on /gaming
Click here to view the post. ● 104,607 Upvotes ● Posted: 09/07/2020 at 02:54:48 UTC

Fifth Place

Beautiful grey wolf becomes a good boy when visited by woman who helped raise his pack
posted by asdfpartyy on /aww
Click here to view the post. ● 104,159 Upvotes ● Posted: 09/07/2020 at 09:47:01 UTC

Most Downvoted Posts of the Day

This section is currently being worked on.

Most Upvoted Comments of the Day

IMPORTANT NOTE: This section may be not be accurate as it is under development. Currently this only gets the most upvoted top-level comments from the most upvoted posts today.
First Place

Love the tap on the shoulder before the blow to face.
posted by Turd-Stink on /PublicFreakout
Click here to view the post. ● 12,978 Upvotes ● Posted: 09/07/2020 at 01:20:16 UTC

Second Place

Dude was recognized from the past, my boss says he got caught trying to boost stuff in the past. My boss was bird-dogging him and noticed some stuff he was carrying he was suddenly not carrying. We ask him where he put it and he tells us he left it in another part of the store. Boss says alright get out of here I remember you, dude freaks out saying fuck us. Then he pulls out a box cutter knife and starts waving it around so our clerk called the law. Dude storms out, walks back in and says I didn't steal shit and pulls his pants down and shows us his wiener and balloon knot. A guy outside said he noticed the guy flash everyone and saw the knife so he laid him out. Hit him one time and the dude took off. Police got moderately involved but I hope that guy learns from this and doesn't pull his pants down in front of a bunch of people again.
posted by Germanic_Youth on /PublicFreakout
Click here to view the post. ● 12,092 Upvotes ● Posted: 09/07/2020 at 01:02:01 UTC

Third Place

I love how he turns over and lets her run his belly like a puppy dog. That wolf must have mad respect for this woman. I'd love to know the story of how she helped raise his pack..
posted by thefaith1029 on /aww
Click here to view the post. ● 9,446 Upvotes ● Posted: 09/07/2020 at 10:35:47 UTC

Fourth Place

\"Moon Moon, where are you?\" ` \"Roof!\"`
posted by TooShiftyForYou on /aww
Click here to view the post. ● 8,644 Upvotes ● Posted: 09/07/2020 at 14:31:40 UTC

Fifth Place

Reminds me of this other video of the dude coming home from work and freaking out cause he saw his husky chilling on the roof
posted by temporarycows on /aww
Click here to view the post. ● 6,368 Upvotes ● Posted: 09/07/2020 at 14:21:43 UTC

Most Downvoted Comments of the Day

This section is currently being worked on.

Most Gilded Posts of the Day

IMPORTANT NOTE: This section may be not be accurate as it is under development.
First Place

It’s the little things
posted by bella3774 on /MadeMeSmile
Click here to view the post. ● 129,481 Upvotes ● 3 reward(s). ● 1 silver reward(s), 1 gold reward(s) and 1 platinum reward(s) ● Posted: 09/07/2020 at 15:06:34 UTC

Second Place

Karen calls police on man sitting in his car outside his own house
posted by tefunka on /PublicFreakout
Click here to view the post. ● 66,508 Upvotes ● 3 reward(s). ● 1 silver reward(s), 1 gold reward(s) and 1 platinum reward(s) ● Posted: 09/07/2020 at 13:19:10 UTC

Third Place

🐱 kittens!
posted by Fishbowl007 on /AnimalsOnReddit
Click here to view the post. ● 1,261 Upvotes ● 3 reward(s). ● 1 silver reward(s), 1 gold reward(s) and 1 platinum reward(s) ● Posted: 09/07/2020 at 21:43:40 UTC

Fourth Place

We don't need Harvest going core, we need improvements and consolidation of existing crafting options.
posted by Enartloc on /pathofexile
Click here to view the post. ● 3,185 Upvotes ● 2 reward(s). ● 1 silver reward(s), 1 gold reward(s) and 0 platinum reward(s) ● Posted: 09/07/2020 at 13:00:56 UTC

Fifth Place

5 day old foster kittens!
posted by sazzajelly on /AnimalsOnReddit
Click here to view the post. ● 1,344 Upvotes ● 2 reward(s). ● 0 silver reward(s), 1 gold reward(s) and 1 platinum reward(s) ● Posted: 09/07/2020 at 22:07:44 UTC

Most Gilded Comments of the Day

IMPORTANT NOTE: This section may be not be accurate as it is under development.
First Place

During this lockdown I have been tasked with raising my nephews in the absence of my bil and sister as they are both doctors and we are following strict guidelines to remain separate. `My eldest nephew had been bullying his younger brother and some kids over the internet. He was generally being a dick. I immediately realised that he was a bully but also hurting but I didn’t give him any excuses for his bad behaviour. I made sure to be vocal and reprimand him every time he was crossing the line or being even vaguely inappropriate towards his brother. We started to have regular conversations on where his sour attitude was coming from and at first it just seemed like he was born to be an asshole but I persisted. ` After awhile he opened up to me and he started to feel like he was being heard and was then able to explain to me that he felt like he was a disappointment to our family as we are all fairly academic and successful in our professional lives and he was worried since he isn’t so academically inclined. He was also insecure about his sexuality (because his voice was still child like and not like his friends/little brother, so he thought that made him gay) and was therefore being overly aggressive and macho. He felt like he was the ugly, dumb older brother who could never do right compared to his younger brother, he also felt insecure about his lack of hair growth both facially and down below. I can honestly say that in the past few months he has been with me he has drastically changed because I took the time to listen and give him all the love I had for him. I apologised for not making him feel more loved/not showing him how much I loved him and how important he was to me and his parents. `We had a family zoom chat with his parents and discussed all his frustrations and upsets with his parents,siblings and even me. We all agreed to praise him more and to view his achievements with enthusiasm and pride it deserved. We assured him that he will never ever be compared to anyone else again. ` Honestly in a few months he went from being this annoying always bad ass kid to the kid I always knew he was deep down. He now is helpful, kind and very fun to be around. He has stopped bullying his brother, they not only get along but have started to be like friends and we issued letters of apologies to the kids he was bullying(initially he wanted to text them but I persuaded him to reconsider),all the kids were gracious enough to accept his apologies. ` Sometimes kids need to be reminded loudly and often how loved and wanted they are.`
posted by dat_woman_over_there on /AskReddit
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Second Place

Did she ever ask you while you were doing it: ` Remember when I could fit all of you inside me?`
posted by CraptainAmerica on /IAmA
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Third Place

Trump was over a billion in debt and the Russians [bailed him out.](https://foreignpolicy.com/2018/12/21/how-russian-money-helped-save-trumps-business/) `► Trump was first compromised by the Russians in the 80s. In 1984, the Russian Mafia began to use[ Trump real estate to launder money.](https://www.washingtonpost.com/outlook/is-there-a-case-for-trump-putin-collaboration-years-before-the-campaign/2018/08/16/00578f1e-9440-11e8-80e1-00e80e1fdf43_story.html) In 1987, the Soviet ambassador to the United Nations, Yuri Dubinin, arranged for Trump and his then-wife, Ivana, to enjoy an all-expense-paid trip to Moscow to consider possible business prospects. Only seven weeks after his trip, Trump ran full-page ads in the Boston Globe, the NYT and WaPO calling for, in effect, the dismantling of the postwar Western foreign policy alliance. The whole Trump/Russian connection started out as laundering money for the Russian mob through Trump's real estate, but evolved into something far bigger.` ► In 1984, David Bogatin — a convicted Russian mobster and close ally of Semion Mogilevich, a major Russian mob boss — met with Trump in Trump Tower right after it opened. Bogatin bought five condos from Trump at that meeting. Those condos were later seized by the government, which claimed they were used to launder money for the Russian mob. ([NY Times](https://www.nytimes.com/1992/04/30/nyregion/entrepreneur-who-left-us-is-back-awaiting-sentence.html), Apr 30, 1992) `► Felix Sater is a Russian-born former mobster, and former managing director of NY real estate conglomerate Bayrock Group LLC located on the 24th floor of Trump Tower. He is a convict who became a govt cooperator for the FBI and other agencies. He grew up with Michael Cohen--Trump's former \"fixer\" attorney. Cohen's family owned El Caribe, which was a mob hangout for the Russian Mafia in Brooklyn. Cohen had ties to Ukrainian oligarchs through his in-laws and his brother's in-laws. Felix Sater's father had ties to the Russian mob. This goes back more than 30 years.` ► Trump was $4 billion in debt after his Atlantic City casinos went bankrupt. No U.S. bank would touch him. Then foreign money began flowing in through Bayrock (mentioned above). Bayrock was run by two investors: Tevfik Arif, a Kazakhstan-born former Soviet official who drew on bottomless sources of money from the former Soviet republic; and Felix Sater, a Russian-born businessman who had pleaded guilty in the 1990s to a huge stock-fraud scheme involving the Russian mafia. Bayrock partnered with Trump in 2005 and poured money into the Trump organization under the legal guise of licensing his name and property management. `► In July 2008, the height of the housing bust, Trump sold a mansion in Palm Beach for $95 million to Dmitry Rybolovlev, a Russian oligarch. Trump had purchased it four years earlier for $41.35 million. The sale price was nearly $54 million more than Trump had paid for the property. Again, this was the height of the recession when all other property had plummeted in value.` ► Semion Mogilevich was the brains behind the Russian Mafia. Mogilevich operatives have been using Trump real estate for decades to launder money. That means Russian Mafia operatives have been part of his fortune for years. Many of them owned condos in Trump Towers and other properties. They were running operations out of Trump's crown jewel. `► From Craig Unger's AMA: \"Early on, a source told me that all this was tied to Semion Mogilevich, the powerful Russian mobster. I had never even heard of him, but I immediately went to a database that listed the owners of all properties in NY state and looked up all the Trump properties. Every time I found a Russian sounding name, I would Google, and add Mogilevich. When you do investigative reporting, you anticipate drilling a number of dry holes, but almost everyone I googled turned out to be a Russian mobster. Again and again. If you know New York you don't expect Trump Tower to be a high crime neighborhood, but there were far too many Russian mobsters in Trump properties for it to be a coincidence.\"` ► So many Russians bought Trump apartments at his developments in Florida that the area became known as Little Moscow. The developers of two of his hotels were Russians with significant links to the Russian mob. The late leader of that mob in the United States, Vyacheslav Kirillovich Ivankov, was [living at Trump Tower](https://newrepublic.com/article/143586/trumps-russian-laundromat-trump-tower-luxury-high-rises-dirty-money-international-crime-syndicate) `► According to a Bloomberg investigation (3/16/2017) into Trump World Tower, “a third of units sold on floors 76 through 83 by 2004 involved people or limited liability companies connected to Russia and neighboring states.”` ► In 2013, Federal agents busted an “ultraexclusive, high-stakes, illegal poker ring” run by Russian gangsters out of Trump Tower. They operated card games, illegal gambling websites, and a global sports book and laundered more than $100 million. A condo directly below one owned by Trump reportedly served as HQ for a “sophisticated money-laundering scheme” connected to Semion Mogilevich. `► The Russia Mafia is part and parcel of Russian intelligence. Russia is a mafia state. that is not a metaphor. Putin is head of the Mafia. So the fact that they have been operating out of the home of the president of the United States is deeply disturbing.` ► Rudy Giuliani famously prosecuted the Italian mob while he was a federal prosecutor, yet the Russian mob was allowed to thrive. Now he's deeply entwined in the business of Trump and Russian oligarchs. Giuiani appointed Semyon Kislin to the NYC Economic Development Council in 1990, and the FBI described Kislin as having ties tot he Russian mob. Of course, it made good political sense for Giuliani to get headlines for smashing the Italian mob. `► A lot of Republicans in Washington are implicated. Boatloads of Russian money went to the GOP--often in legal ways. The NRA got as much as $70M from Russia, then funneled it to the GOP. The Republican Senatorial Campaign Committee lead by McConnel got millions from Leonard Blavatnik. In the 90s, the Russians began sending money to top GOP leaders, like Speaker of the House Tom Delay. Unger's book alleges that most of the GOP leadership has been compromised by RU money.` ► At the Cityscape USA’s Bridging US and the Emerging Real Estate Markets Conference held in Manhattan, on September 9, 10, and 11, 2008, Trump Jr. was frank about the tide of Russian money supporting the family business, saying \"...And in terms of high-end product influx into the US, Russians make up a pretty disproportionate cross-section of a lot of our assets.\" `► Eric Trump told golf reporter James Dodson in 2014 that the Trump Organization was able to expand during the financial crisis because “We don’t rely on American banks. We have all the funding we need out of Russia.”` ► Russian oligarchs [co-signed Trump’s Deutsche bank loans.](https://www.washingtonexaminer.com/news/lawrence-odonnell-source-says-russian-oligarchs-co-signed-trumps-deutsche-bank-loans) `Trump now gleefully takes cues from Putin:` ► At the end of 2018, Putin and his allies started making a strong push for a resolution that would justify their country’s 1979 invasion of Afghanistan and reverse an 1989 vote backed by Mikhail Gorbachev that condemned it. The Putinists’ goal was to pass the resolution by Feb. There is no one on this side of the Atlantic who thinks the USSR was justified in invading Afghanistan. And out of nowhere, on January 2nd, Trump came out strongly supporting Russia's 1979 invasion of Afghanistan. `► Trump went against American intelligence on North Korean missiles. He told the FBI he didn't believe their intelligence because Putin told him otherwise. \"I don't care, I believe Putin\"` ► Trump met in secret with Putin the G20 summit in November 2018, without note takers. 19 days later, he announced a withdrawal from Syria. As a note, Trump conducted FIVE completely private meetings and conferences with Putin, and has gone to great lengths to prevent literally anyone, even people in his administration, from learning what was discussed. `► Trump refused to enforce sanctions legally codified into law - and in some cases reversed standing sanctions on Russian companies.` ► He has denounced his own intelligence agencies in a press conference with Putin on election meddling - and publicly endorsed Putin's version of events. `► Trump pulled out of the INF treaty with no explanation, which allows Putin to create long-range hypersonic missiles that threaten Europe with impunity. The US already has all the weaponry that the INF would ban the development of, so this offers us literally nothing, while allowing Russia to develop powerful new weapons to challenge our allies.` ► Demanded Russia get invited back into G7 `► Pushed the CIA to [give American intelligence to the Kremlin.](https://www.justsecurity.org/71279/trump-pushed-cia-to-give-intelligence-to-kremlin-while-taking-no-action-against-russia-arming-taliban/)` ► Withdrew from the Open Skies treaty `► Received intelligence in 2019 that Russia was paying bounties for dead American soldiers, and hasn't done anything about it by the time of this writing.` ► Announced troop withdrawal from Germany (America's missile defense from Russia and forward operating base against Russian aggression) ` ► And of course, Trump continues to threaten to pull out of NATO, a move so catastrophically stupid, so inconceivably cosmically myopic, I truly can't express the profundity of the idiocy. Suffice to say, pulling out of NATO would be like the only guy in a prison yard with a shotgun just throwing it over the fence for absolutely no reason, suddenly giving the people with crude homemade shivs complete power.`
posted by Tobert420 on /Impeach_Trump
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Fourth Place

The girl accusing Waffle of this shit had already admitted to cheating on her boyfriend during the convention 6 years ago, 100s of eye witnesses saw her kissing multiple guys and even giving hand jobs to every speed runner in the scene. `Her husband ditched her at the convention and she wanted pay back. Now she wants to stream again, her husband advises against it so she jumps on the MeToo train to save her Mormon life and keep her marriage intact.` Just because you do something you regret doesnt give you the right to call it rape. `She claims she was blackout drunk but somehow recalls ever detail of what happened crystal clear. **Red Flag.**` She claims she has been silenced but the real truth came out 6 years ago and was buried because multiple people refuted her claims. **Red Flag.** `She is a Mormon and married when she was just 18 years old, her husband has talked to the person she cheated with multiple times and he claimed they were in love and he shouldnt have engaged in the CONSENSUAL ACT at the time. **Red Flag.**` She expresses her desire to stream again but knows she wouldnt be accepted in the community because of her actions and what she said 6 years ago. **Red Flag.** `A girl approached her about her behavior during the event calling her a slut/whore which made her cry, the girl then left the group of super speed run nerds and was in full control of her own judgement yet our accuser was somehow voodoo tricked into hanging out with a pack of Mario Nerds. **Red Flag.**` Im sorry, all the other cases that have been made about content creators have REAL stories behind them, they have real victims and have been dealt with accordingly. **Red Flag.** `I have no horse in this race, I dont like or dislike Waffle, but I wont see someone falsely accused for something that was already buried years ago, this person obviously has mental problems and is seeking to further herself by jumping on the bandwagon.` If you dislike Waffle thats fine, but dont jump to conclusions about something that is so obviously contrived. `Edit: looks like the battle is already partly lost. These allegations have lead loaded.gg to cover their ass, Waffle has been removed from their roster.` Edit2: Thanks for silver, at least someone can sees through the bias.
posted by Plasticious on /LivestreamFail
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Fifth Place

So. `I game. My husband games. We are both avid gamers - him moreso than I - and he lives and breathes his computer. When I read this post out loud and he heard the amount that your (hopefully ex) fiancé blew on his computer, he asked “Does the computer suck his dick while he games? Does he shit into the chair and it power the computer for him? Even as a hardcore computer gaming enthusiast, I would be hard pressed and have to make a considerable effort to spend even HALF of what he did. I don’t know how that’s physically possible even with top-of-the-line hardware. He either grossly overpaid, or he’s telling her that’s what was spent on the computer, but he’s lying and blew it elsewhere because of the amount of unnecessary shit that he had to buy in order to get to that number in the first place. That’s fucking insanity.”` It’s been 15 minutes and he’s still ranting about how unbelievable that amount is to spend on a computer. `If I were you, and my fiancé pulled that stunt, I would tell him to marry the computer since he’s so dedicated to it that it requires all his time and our joint wedding fund.` I’m just going to leave it at that.
posted by Lharka on /relationship_advice
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