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A Guide to The Weeknd's Discography
Since The Weeknd is performing at the Super Bowl Halftime show, I thought it’d be nice to post a little guide to his discography for anyone interested in looking to do a deep dive into his work. I would’ve posted this the day of the event, but I assume that some people would probably like to go through it over the weekend. This shares a direct overview of his released material, talking about his career and the background of the music, the videos, the meanings and all. I’ve written this from a pop perspective, keeping in mind that his history might be fairly new for general pop fans. I also go into the storyline of the red suit character, if your interested in catching up on that narrative before the Halftime show (which will continue the story), I’ve listed the chronological order below followed by an explanation of that narrative. I wanna be clear that the interpretations/theories are not conclusive. Abel rarely shares the metaphors or meanings behind his music. This is based on widely based on fan discussion/mutual interpretation. Fans can feel free to expand on anything in the comments. It is important to know about Abel's backstory to get a certain perspective of where he’s coming from, especially when discussing the songs that deal with substance abuse. These recent articles cover his early years really well and share an up-to-date point of view of his success. Variety 2020 Billboard 2021 - Also a good source for getting to know his team. So, an essential TL;DR is this: Abel Tesfaye came from a broken home, he was born to Ethiopian immigrant parents who split up when Tesfaye was less than seven. He then lived with his mother and grandmother, only rarely seeing his father but having a nice impression of him. His drug addiction started as soon as he was a high schooler, he turned to shoplifting to pay for this need of various substances. Soon he dropped out of high school, leaving his home the same weekend, which would later inspire his stage name, The Weeknd. The name is reference/homage to the weekend his life changed. Quick side note, I didn’t think this post would nearly reach the character limit. So I’ve cut out excess detail and lists of producers (with the exception of After Hours since we’re in that era). Table of contents
XO.
House of Balloons.
Thursday.
Echoes of Silence.
Trilogy.
Kiss Land.
King of the Fall.
Beauty Behind The Madness.
Starboy.
My Dear Melancholy.
After Hours.
XO.
XO is the record label that The Weeknd and co. created in order to publish the first mixtape (House of Balloons) and the ones that would follow afterwards. XO has a lot of meanings that have to do with what went into the music and what still goes into it. XO is what the fans call themselves, popularly with the phrase XO Till We OD (shortened to XOTWOD); another way of saying “we’re ride or die for The Weeknd and his team.” While some argue that it could mean anything since there isn’t clear meaning to it, fans continue to associate the abbreviation with ecstasy (X) and oxycontin (O). That definition stems from XOTWOD, fans assume it’s true because of the team’s history of drug usage. While others take it as it’s classical definition “hugs and kisses” because of the consistent lyrical nature of The Weeknd’s songs. Overtime the definition of XO is simply known as: the fans, the crew, and the label. The Weeknd is more than just one person, he comes with XO. For the sake of clarity in this writeup, I’m going to refer to his crew as XO and the fans as “the fans.” XO still serves as a record label, the current roster is The Weeknd, Belly, Nav, and Black Atlass. It remains The Weeknd’s record label and was his first label before becoming a subsidiary of Republic Records. Throughout his career, The Weeknd has worked with Illangelo, a Canadian producer who’s work the fans adore. Carlo “Illangelo” Montagnese was one of main the producers on The Weeknd’s Trilogy, he’s credited on each track. The fan base claims his work to be some of the most notable artistry in The Weeknd’s discography. Their work together continued with Beauty Behind The Madness, Illangelo worked on seven tracks for that album. He then returned for After Hours working on another seven tracks. DaHeala, another Canadian producer, is another significant factor in The Weeknd’s music. Jason “DaHeala” Quenneville worked as lead producer on Kiss Land. He returned to work on six tracks for The Weeknd’s Beauty Behind The Madness, including the hit Earned It. DaHeala returned as a writer for six of the songs on Starboy. Then DaHeala worked on nine After Hours tracks, and worked as the only producewriter alongside The Weeknd for bonus tracks Missed You and Final Lullaby.
This is a happy house. We’re happy here. (House of Balloons/Glass Table Girls)
One of the most iconic title tracks of all time. House of Balloons is about a lifestyle of drugs, sex, and partying; all in effort to drown out self-doubt. It comes from a place of wanting to make it big while doing what you can to survive, all while pretending everything’s alright. The mixtape describes various sorts of women, how they’ve had impacted the life of someone who’s already down on his luck. Fans often refer to House of Balloons as The Weeknd’s best work. The mixtape was the first introduction the world got of XO, and it was one hell of a way to make an impression. It’s personal for the fans and Abel because it’s the only piece of work known to be based on his life. At the end of the day he’s a songwriter, with many of his albums he creates scenarios and world that he likes to explore through the music. But House of Balloons is known to be based entirely on his life. It remains The Weeknd’s most critically acclaimed work. House of Balloons was crafted through the influences of Hip-Hip/Indie-Rock with the main focus on R&B. Through the genius of Ilangelo, the record was—and is—mesmerizing capturing the essence of a lifestyle that The Weeknd described as “anti-everything.” House of Balloons assisted The Weeknd in gaining the attention of Republic Records, which would then host The Weeknd’s own label XO. Though hesitant at first, XO decided to partner with Republic after the co-founding brothers Monte and Avery Lipman kept coming back to Toronto solely for The Weeknd. House of Balloons received three videos, The Knowing, Wicked Games and Twenty Eight. The Knowing was the very first video The Weeknd made, so of course it’d be something other-worldly; it essentially reflects the song itself but in a sci-fi setting. Twenty Eight represents Abel’s life after fame but also his remorse of letting captivating women into his life. Fun fact— House of Balloons is an actual place in Toronto, it was where him and his crew lived after he dropped out of high school. They’d host parties, call girls, do drugs, and to make it less depressing they’d fill it with balloons.
Thursday consists of the same themes as HoB; sex and drugs. But there’s a twist, he’s in a semi-relationship with this girl Valerie. She’s the only one on his mind, even though they meet only one day of the week, any guesses on what day that could be? Through The Weeknd’s phenomenal voice and the insane production, we’re also presented with this story of a toxic relationship where Valerie used to have the upper hand but she no longer does when she falls for The Weeknd. While Thursday isn’t entirely about the relationship of The Weeknd and Valerie, it consists of reflections to Abel’s life after the release of House of Balloons. The song Rolling Stone notably has a double meaning, in which Abel asks his fans if they’ll stick with him when he gets mainstream appeal and decides to change his sound. The track Valerie wasn’t on the original release of Thursday, it added when Trilogy was released. Ending the mixtape with Heaven or Las Vegas meant that The Weeknd’s actions with and without Valerie were a result of his fatherless childhood, making him push anyone away. That meaning behind Thursday doesn’t change when Valerie is added to the track list, it just means that both want the toxic relationship back. The Zone (feat. Drake) was the first feature The Weeknd had on any of his work, the video for it was released in November of 2012. Rolling Stone had also received a video in October of 2012. Both were directed by The Weeknd and reflect the two different aspects of Thursday. The Zone has Valerie living it up in the House of Balloons. And Rolling Stone has The Weeknd doing a photoshoot for Trilogy, reflective of the song itself. Fun Fact— the female voice heard in Lonely Star is The Weeknd’s, he pitched his voice to make it sound like a woman’s.
Laisse tomber les filles. Un jour c'est toi qu'on laissera. [Leave the girls alone. One day it’ll be you they will leave.] (Montreal)
Out of a dark introductory into the early life of The Weeknd, Echoes of Silence is the darkest work of his Trilogy. Let’s be honest the story here isn’t entirely ethical at times but makes for one hell of a mixtape. Similar to Thursday, Echoes of Silence follows a storyline. After accumulating success, The Weeknd gains the attention of various women. There was this one woman (D.D.) who he liked but she initially rejected him (Montreal). The woman came back to him for his fame status and evidently fell in love with him (Outside), but now that he’s got the upper hand he treats him like a groupie (XO/The Host) and lets... bad things happen to her; she’s gotta pass a test before she can get with him. This test is either drugs or his crew (Initiation). He ultimately tells this woman that he’s not exactly longterm-relationship material, perhaps because her love is temporary (Same Old Song), because he’s Next. With the end of Echoes of Silence (originally ending on the title track) the listener is left to wonder why The Weeknd left her if he’d simply want her to stay. As a side note— Initiation should not be condoned. It remains true that The Weeknd is a songwriter and the progression of time has changed perspectives. But a song that makes such suggestions as Initiation should not be ethically/morally claimed or celebrated. The mixtape follows The Weeknd’s lifestyle after he’s gained all this success, he’s still the same person but now he’s gotten everything he wanted. Some tracks such as The Fall continue to emphasize his journey into stardom and his acceptance of fame being temporary. With the added Till Dawn (Here Comes The Sun), The Weeknd acknowledges the changes in his life, realizing that the old lifestyle is no longer there for him or his past lovers. Echoes of Silence is known as an underrated gem of The Weeknd’s discography, it’s well received by fans and critically acclaimed but often brushed under the rug in discussion of his work. A lot of fans and casual listeners play the mixtapes through Trilogy rather than their respective albums. This often leads to people not playing EoS either at all or only the first few tracks, this is predominantly due to the nature of the compilation being nearly three hours long. Fun fact— D.D. is a cover of Michael Jackson’s iconic Dirty Diana. Fans have named the woman in Echoes of Silence Diana because of this track. Various theories argue that the mixtape itself is based on the Dirty Diana itself with exaggerations of the truth, or whether or not it’s a story The Weeknd crafted based on the song.
Trilogy is a compilation of The Weeknd’s mixtapes, House of Balloons, Thursday, and Echoes of Silence. These three mixtapes were released 3-4 months apart from one another for free digital download in 2011, they gained quite a lot of attention from various industry executives. Prior to the release of Trilogy, The Weeknd featured on Drake’s Take Care with Crew Love. The song was Abel’s first exposure to a Rap crowd/Rap fans, more people began listening to his music after the release of Take Care. The Weeknd then featured on Wiz Khalifa’s Remember You, which served as the second single off Wiz Khalifa’s O.N.I.F.C. Following those two releases, The Weeknd released Wicked Games as the first single off Trilogy. Trilogy was formed after The Weeknd came under Republic Records’ management. The compilation album reached a debut/peak position of 4 on the Billboard 200 while reaching number one on the US Top R&B/Hip-Hop Albums chart. It’s a well received album with the highlight said to be House of Balloons, which arguably went on to influence various sorts of R&B music of the 2010s. Videos for Trilogy
I went from starin' at the same four walls for 21 years. To seein' the whole world in just 12 months. (Kiss Land)
Kiss Land is based on The Weeknd’s tour life. Visiting unfamiliar places gave Abel horror movie vibes. A guy who used to own the city (Toronto) he lived in is now a small fish in the ocean of the entire world. The Weeknd’s first studio album was a great introduction into the sound he would soon get well acquainted with. While continuing the R&B sound with the essence of Dark Wave, the album explores emptiness and regret throughout the lyrics—or what pop fans could categorize as dark pop—. The Japanese aesthetic used for various videos and the single covers/booklet reflects the themes of feeling overwhelmed by such a loud world that there’s no point in being if you don’t belong. The album explores the real-world and the women in it as well as regrets regarding past actions, namely letting go of women who could’ve been the one in Adaptation. The Weeknd attempts to find that satisfaction in other women and past lovers, but accidentally falls for a sex worker in Belong To The World. With Wanderlust he accepts and expresses that love in the modern world isn’t entirely possible. While continuing to tour the world he enjoys these new experiences with XO (Live For feat. Drake), as well as the new women in his life (Kiss Land). And when he’s back home, he accepts the loss of the relationship he cherished. Kiss Land debuted and peaked at number two on the Billboard 200. It was fairly acclaimed but gained a massive cult following. There were four videos for made for the album, the title track, Belong To the World, Live For (feat. Drake), and Pretty. Those four songs received interesting visuals that kept up with their respective themes while Belong To the World/Kiss Land got visuals that matched the aesthetic of the album. To this day fans ask Abel for a part two to the horror-movie-inspired album after he said it’s the only album he would have a sequel for. Videos for Kiss Land Fun Fact— The video for Kiss Land on YouTube is an extremely edited version of the actual video shot for the song. The directors cut further explores the erotic-horror themes if the album.
Driving by the streets we used to walk through like a triumph. (King of the Fall)
These next few song were released between the Kiss Land and Beauty Behind the Madness era. Some fans would classify them as part of the Beauty Behind the Madness era—I’d say the same tbh—but they stand apart on the basis of success and acclaim. It’s a transition between The Weeknd being an underrated R&B musician to being a mainstream artist with massive recognition and appreciation. The first of these four songs is King of the Fall. A fan favourite and a standout in The Weeknd’s discography. This is one of The Weeknd’s few Rap tracks, it gained a lot of attention within the Rap sphere. It was the way in which XO would announce that they’ve made it, little did they know that this was just the start. Prior to the release of Beauty Behind the Madness (BBTM), The Weeknd gained mainstream attention. The Weeknd’s exposure to mainstream music was uphill, it wasn’t overnight. The first taste of BBTM came from Often, a song that reflected the themes of sex that Abel was known for. The track was released more than a year before BBTM’s release and had made it onto the trackless unlike King of the Fall. Slowly but surely The Weeknd gained exposure, his main sources of exposure were through a collaboration and a soundtrack. Most pop fans heard about The Weeknd through his hit collaboration with Ariana Grande, Love Me Harder. The collab was made through Republic when The Weeknd said he wanted more than what he had gotten through Kiss Land. Ariana and Abel had formed a real bond cough The Hills cough, their bond assisted the song in becoming a memorable hit for both artists. Love Me Harder was a top ten hit on the Billboard Hot 100. Later that year, The Weeknd was featured on the Fifty Shades of Grey soundtrack with Earned It, as well as Where You Belong. Earned It became a massive hit peaking at 3 on the Billboard Hot 100 and receiving an Oscar nomination for The Weeknd; a massive milestone for XO. Earned It kept up with Abel’s signature lyrics but the production differed heavily from the sort of R&B he was known for. Videos from that era
I'm that ***** with the hair singin' 'bout poppin' pills, fuckin' bitches, livin' life so trill. (Tell Your Friends)
Following the success of Love Me Harder and Earned It, the Beauty Behind the Madness era began with The Hills. This was The Weeknd’s first number one on the Billboard Hot 100. Along with the video, The Hills became an addictive classic. The production and lyrics mirror a mature version of the sound that was originally found on Trilogy. It was truly in keeping with The Weeknd’s character, the only difference was his haircut. Next came Can’t Feel My Face, a Max Martin production that differed greatly from anything The Weeknd put out in the past. In past songs, Abel had expressed his fear of losing his following if he went mainstream simultaneously asking his fans if they’d stay. He repeats that sentiment in the Can’t Feel My Face video. The sound has changed, the lyrics stay the same but now he’s a pop-star. The song became a hit as it reached number one on the Billboard Hot 100. With this massive bop previous fans still stayed, The Weeknd becoming a pop singer didn’t at all alter his image or sound; he mastered it. In The Night and Acquainted were released as singles on the same day, the were the only singles to come after the release of Beauty Behind The Madness. The former received a music video treatment that followed the theme of the song itself while also starring Abel’s girlfriend at the time, Bella Hadid. Acquainted was robbed of a video even though Abel had shown off the fact that a video was in development; the song kept in the tone of The Weeknd’s work prior to BBTM. Beauty Behind the Madness captures a Hollywood-based reality that The Weeknd came to understand: the dark aspects of your life will continue to follow you wherever you are. Real Life, Losers (feat. Labrinth), Tell Your Friends, Dark Times (feat. Ed Sheeran), and Prisoner (feat. Lana Del Rey) all capture a nihilistic view of a dream achieved. Most of the videos of Beauty Behind The Madness have a mysterious white man. He’s featured in The Hills, Can’t Feel My Face, and Tell Your Friends. That man represents the devil. Throughout his journey in those videos, (The Hills) Abel runs into the devil after his car crash, (Can’t Feel My Face) he’s at the club then lights him on fire. The significance behind the fire could be selling his soul to the devil, BBTM is about Hollywood and a popular Hollywood myth is that celebrities sell their souls to the devil in exchange for fame. So in the Can’t Feel My Face video, Abel changes his sound to Pop (from R&B) thus leaving his signature sound in order to become famous, everyone starts enjoying his music once he’s sold his soul. Then we see The Weeknd burying himself in Tell Your Friends, perhaps leaving the old Abel behind after the deal with the devil. However, instead of thanking the devil, Abel takes his revenge and shoots him. But wait, there’s more! The album trailer for BBTM features the devil burning a billboard with The Weeknd’s face on it, revealing Beauty Behind The Madness. HOWEVER, the final cut for the video features the devil being arrested while The Weeknd watches. This is a more realistic form of karma that the devil gets. Videos for BBTM
If I could, I'd trade it all, trade it for a halo. And she said that she'll pray for me, I said, "It's too late for me.” (Ordinary Life)
After the massive success of Beauty Behind the Madness, there was a lot of hype around what The Weeknd would do next; evidently he decided to explore Pop. The fandom he had gained wasn’t entirely based in the Pop sphere, his fans consisted of general Rap fans, but Starboy attracted the Pop audience. Initially, most of his older fans couldn’t get behind Starboy, it differed greatly from the previous sound. It was crazy to think that the guy who made Trilogy managed to make such a Pop-centric album. But this was Abel expressing his versatility. Since this is where most pop fans found out about Abel’s work and became fans I won’t talk too much about the singles, rather more about the album itself. His work with Daft Punk cemented this album in an efficient mix between Pop and R&B, where Beauty Behind the Madness was more R&B with Pop, Starboy was considered Pop with R&B. Beyond the genres, Starboy explores two evident themes. One being his life with fame and recognition. The next being his love life in Hollywood, this aspect of the album came from his relationship with Bella Hadid which ended after the release of the album. The cross became the symbol for that era and appeared in the album’s photoshoot as well as the videos. There was never any conclusive word on the use of the cross but there are various theories about it, something to note is that Abel was raised Christian, it could perhaps be a reflection of his past. The cross he uses to destroy his accolades (Starboy video) is assisting him rather than something that’s holding him back. Abel’s upbringing was rough but now he’s celebrating it rather than feeling bad for himself. The cross continues to come up in the Party Monster video, this time it’s in the party house he’s making his way through. Then it shows up in the video for Reminder, this time in the form of his merch, the people wearing it are perhaps representative of his fans. Then we see it in the False Alarm video, both Abel and the girl are wearing it; the notable thing being that Abel holds his cross up before dying. Then in the brilliant video for Secrets, after giving up on the girl he’s with he leaves the building to find a giant cross. And finally in the I Feel It Coming video, The Weeknd sports a shiny cross necklace, and Daft Punk find it years and years after Abel froze. The videos tell us that the cross is an evident piece of his story. This could mean that his past will always be with him, no matter what sort of fame he’s experiencing he’ll always be who he once was. Also, I’m gonna take this moment to once again the genius that is the Secrets (both the song and the video). Yes it’s my favourite song/video off of Starboy but it’s so underrated. Videos for Starboy, Secrets video bottom right Fun Fact— Most demos of the tracks on Starboy weren’t as pop as they became, they started off R&B but became pop after production.
They said our love is just a game, I don't care what they say. But I'ma drink the pain away, I'll be back to my old ways. (Privilege)
Oof (but in a good way, this whole thing is a bop). For this one I’m gonna talk extensively about The Weeknd’s relationships, which personally feels really invasive but it’s but it’s essential when talking about these sad boy anthems. Beyond that I’d just like to state that though they are part of the narrative both Bella Hadid and Selena Gomez deserve respect/privacy. So when it comes to Pop music fans I think it’s safe to say that we all know a lot about this one. My Dear Melancholy (MDM) came after the very public relationship of The Weeknd and Selena Gomez. However it’s not just about Selena, some songs reflect his relationship with Bella Hadid (whom he got back with a month after MDM’s release). My Dear Melancholy consists with The Weeknd’s exploration/mastery of merging Pop and R&B together. The EP was praised by fans for its lyrics and production, many went on to theorize that it was his most personal project since House of Balloons. The EP was the shortest album to reach number one on the Billboard 200. My Dear Melancholy and fan conspiracies; name a better duo. The first theory being that the EP is entirely about Selena Gomez which wasn’t too much of a mystery since the lyric “I almost cut a piece of myself for your life” exists. Not only did MDM come after Abel’s relationship with Selena Gomez but also after his relationship with Bella Hadid. As far as fans were aware those two relationships were the most important relationships Abel had ever been in. In theory, the songs about Bella and Selena can be categorized. Call Out My Name, Try Me, and Privilege are likely about Selena. Wasted Times, and Hurt You are likely about Bella. Leaving I Was Never There to act as an introspective look into The Weeknd’s life, basically making him hop back on his vices for comfort. Another popular theory was that My Dear Melancholy was the first of another trilogy. This rumour was widely believed due to the comma at the end of the title on the album cover. But the fans soon gained a real reason to believe this theory, since the CEO of XO (the record label), Sal had liked an Instagram post that featured the cover and alleged date. Since Trilogy is a fan favourite this conspiracy spread like wild fire, so much so that fake titles and covers were made. The name of this trilogy would be: (1)My Dear Melancholy, (2)We’re Alone Together, (3)Abel. Only one song served as a single for the EP. Call Out My Name was released nearly two months prior to the actual release of the album, it debuted/peaked at number four on the Billboard Hot 100. The mysterious video captures The Weeknd in various atmospheric places that reflect the tone of the EP, a haunting yet unexplained reality that the listener is to reflect on. From the cover, to the music, to the video, to lyrics, My Dear Melancholy is an introspective reflection of heartbreak. Call out my name video
After Hours comes after success but references two lows in The Weeknd’s life. The album welcomes darkness and leads the listener towards a dead-end. The Weeknd’s past two albums (Beauty Behind The Madness and Starboy) ended on hopeful notes, they left the listener with a sense of hope but all hope his lost with After Hours. Fans compare After Hours to House of Balloons—a rare occurrence considering House of Balloons’ acclaim—arguing that both albums are on the same level. Debate continues on whether or not both albums are on the same caliber. The belief that After Hours stems from reality does a lot to help its side of the argument. The era began with Mercedes-Benz commercial that featured Blinding Lights, that was our first taste of the everlasting bop. Heartless was premiered on an episode of Memento Mori hours before its release on the 27 of November (2019), Blinding Lights was released two days later. Both videos were as brain melting as promised and the served as the tip of the iceberg. After Hours was released nine days after COVID-19 was declared a pandemic, there was a massive risk in releasing an album that would not have a lot of promotion after it’s release (other than magazine coverage). There was no telling whether or not people would pay attention to the album during the height of the fear surrounding the pandemic, but it was a massive success. After Hours debuted at number one on the Billboard 200, with singles Heartless and Blinding Lights topping the Billboard Hot 100. The album is layered with haunting productions that remains predominantly R&B but dives deep into Pop with some of the tracks. Max Martin produced the massive hit Blinding Lights as well as In Your Eyes, Save Your Tears, Hardest to Love, and Scared to Live which samples Elton John’s Your Song. Other notable producers include Metro Boomin who worked on the hit Heartless as well as Escape from LA, Faith, and Until I Bleed Out. With Kevin Parker on the interlude Repeat After Me. Beyond the production are the narrative driven lyrics. In theory the album references two significant events in Abel’s life, his second breakup with Bella Hadid and his arrest in Las Vegas. The latter was due to his misbehaviour; in January 2015 he punched a cop in Vegas, lmao. Which means that After Hours is a recollection of The Weeknd’s first few years in LA. He merges the concept of his breakup with the idea of being an upcoming star, feeling free in the city of lights all while diving deep into the meaninglessness of those lights. While After Hours starts with loneliness and a second chance it leads up to Abel returning to his vices of lust. In Alone Again his loneliness caught up to him and he’s asking for a second chance. He acknowledges his mistakes and situation in Too Late/Hardest to Love, in Scared to Live his ex then returns to him for a second time. He remembers his past ways in Snowchild and the way in which it lead to better days, but where do you go after such highs? In Escape From LA he faces the superficial reality of Hollywood, glad that he got that he got back with his ex, while continuing to question if it’s worth it. But he fucks up the second chance when she pulls up to the studio. Who is she? Much like the other mysteries surrounding The Weeknd’s music, we may never know. Is it all more of The Weeknd’s songwriting ability or is it driven by reality? Fans found a merge between the two to be more accurate, After Hours is about heartbreak and a return to the vices that held The Weeknd back. Heartless is when The Weeknd is once again back to his ways, he may have been in a serious relationship but after throwing that away he spirals back to the way he once was. It’s sad but it’s one hell of a song. Speaking of brilliant songs, Faith is when Abel admits that he’s back on his vices, he states that he needs his ex back with him till the end; he’s back to self-loathing. So when he says he’s blinded by the lights, there’s two meanings to it. The Faith outro tells us that he’s in a car with flashing lights, a cop car (as confirmed by Abel) to be exact. Then Blinding Lights tells us that while he’s watching the bright lights of Vegas pass him by he calls out for the girl that he regrets losing. That is the peak of the After Hours narrative. He’s behaving badly over the loss of the girl he loved and is now at the worst position trying to find her and gain her trust for a third time. Following Blinding Lights is In Your Eyes, this is where The Weeknd vows not to judge her; he can see right through her but will never do anything to make her upset. Does this mean their back together? Not exactly. Save Your Tears details a sort of moving-on that The Weeknd isn’t ready for but tries to help her move on, blind to his own inability to move on. Does it work? Not really. Repeat After Me (Interlude) shows that he’s still trying to convince himself that he’s unfazed by the loss of a meaningful relationship. Then you hear a true masterpiece. The title track is a spiral into true regret and an apology for his actions, he admits that his ex girlfriend is the only reason he lives. In a dark lonely city she’s the only one keeping him sane. But his pleas fail, Until I Bleed Out is when The Weeknd no longer wants her in his life so much so that he wants to erase his memory of anything related to her. The bonus tracks then echo the final sentiment. It’s one sad ass album, ain’t it. But here’s where the Red Suit Character comes in. Shoutout to the makeup department The album isn’t the only narrative to follow with After Hours. The videos for the album follow their own sort of narrative. The story follows an unnamed guy that goes by “red suit character” according to The Weeknd. There’s a lot of confusion and endless theories surrounding this character’s story, after The Weeknd confirmed that it’s about a decent into Hollywood culture it makes more sense… kind of. I’m gonna discuss the storyline without talking about the movies that have influenced it, this way the focus remains on the character. The order of these videos is Heartless / Blinding Lights / Blinding Lights (Live on Kimmel)* / After Hours short film / In Your Eyes / Until I Bleed Out / Snowchild / Too Late / Live at AMAs* / Save Your Tears *Though all live performances could count as part of the narrative, these one relate directly with the videos that follow. He’s is first seen in Vegas with Metro Boomin (Heartless), intoxicated on various substances. He dives deeper into his high until he licks a frog, after that he faces the true effects of this high. He’s frightened by the result and runs far away from Vegas. (Blinding Lights) He’s then found in LA, where he’s dancing in the street, hypnotized by the singer, beat up by guards, and races past all those bright lights in his Benz. Ultimately realizing the shallowness of the Los Angeles fantasy. (Blinding Lights Live on Kimmel) We then find him performing Blinding Lights live, while he attempts to find more reason in within the madness city; he couldn’t find it on the streets so he goes to the stage. (After Hours short film) Even then there’s no meaning to anything in the city, he mindlessly wanders into the depth of the subway where he’s dragged by the reality of it all and ends up possessed. (In Your Eyes) After being possessed he chases the woman whose boyfriend he just murdered, she runs into a club falls deeper into the After Hours fantasy, in a successful attempt to defend herself she beheads the red suit character and dances all over LA with his head, iconic behaviour. (Until I Bleed Out) Then in an ethereal dreamscape, red suit character finds himself in a House of Balloons. He’s trying to escape, but the people there keep pulling him in; he’s getting higher while observing Glass Table Girls. He spirals into the antarctic, the other side of the world. From Heatless to this point in his story, his vices lead him back to the lowest point in Abel’s life. Is it Hell, Heaven or Las Vegas? (Snowchild) He relives his career up until the point where his story began. Considering he’s dead, his life basically flashed before his eyes. (Too Late) LA girls find the red suit character’s head and live their best life. They wanna have sex with him so they find the best boy parts by calling up a stripper who could be the body. The stitch the head up with the body and do what they want. But now he’s brought back to life. (Live at AMAs) He’s had work done… He went in to get his nose fixed and the doctor said “you sure that’s all you want?” The red suit character’s face is healing while he tries to celebrate his life on top of a bridge. (Save Your Tears) Surrounded by a masked cult he debut’s his new face. Do they like it? Are they impressed? Not instantly, their masks translate no expression so how’s he to know? Is any of this worth it? Nope red suit character continues to die inside. He finds a maskless girl in the crowd, she’s lively unlike the rest; but even then, nothing on the inside nothing on the outside. He wants death again, somehow a second chance with this city is still pointless. He tries to kill himself via the girl and himself but it’s all a facade; theatrics. His story continues but that’s all we know so far. The videos make a lot of film references. This post by explain these references very well, as well as past album references here (part one) and here (part two). After Hours is inspired by a lot of movies, since Abel is in fact a cinephile. The main movies that inspired the aesthetic and storytelling are believed to be Fear and Loathing in Las Vegas (1998), Casino (1995), Joker (2019), Uncut Gems (2020), and After Hours (1985). The album tells two sad narratives but remains one of The Weeknd’s best works yet. He’s expanded his videography and enhanced the interest of people who casually enjoy his music and of course his fans. But the era isn’t over, by the time this is posted his Super Bowl Halftime show is yet to happen. And it’ll continue the red suit character’s story. Videos for After Hours (so far) Fun Fact—The Heartless video features a reference to Thursday. When he’s trying to run from Vegas, a sign behind him flashes “Heartless / Heaven or Las Vegas.” This could be a reference to Abel running from his past, after all Heartless is about him returning to his vices.
END.
Thank you for reading this, again, I didn’t realize it would end up being this long. But I hope this this served as a nice refresher for any fans who wanted to revisit Abel’s work before the Super Bowl. And I really hope that anyone interested in getting into his music finds this helpful. Once again, the theories/interpretations mentioned aren’t conclusive, they’re widely based on fan discussion/mutual interpretation. Due to the character limit I couldn’t add too links to the albums, so here are some artist links. Apple Music | Spotify | YouTube | The Weeknd’s Shop | Tidal | Genius
Playboy going public: Porn, Gambling, and Cannabis
NEW INFO 5 Results from share redemption are posted. Less than .2% redeemed. Very bullish as investors are showing extreme confidence in the future of PLBY. https://finance.yahoo.com/news/playboy-mountain-crest-acquisition-corp-120000721.html NEW INFO 4 Definitive Agreement to purchase 100% of Lovers brand stores announced 2/1. https://www.streetinsider.com/Corporate+News/Playboy+%28MCAC%29+Confirms+Deal+to+Acquire+Lovers/17892359.html NEW INFO 3 I bought more on the dip today. 5081 total. Price rose AH to $12.38 (2.15%) NEW INFO 2 Here is the full webinar. https://icrinc.zoom.us/rec/play/9GWKdmOYumjWfZuufW3QXpe_FW_g--qeNbg6PnTjTMbnNTgLmCbWjeRFpQga1iPc-elpGap8dnDv8Zww.yD7DjUwuPmapeEdP?continueMode=true&tk=lEYc4F_FkKlgsmCIs6w0gtGHT2kbgVGbUju3cIRBSjk.DQIAAAAV8NK49xZWdldRM2xNSFNQcTBmcE00UzM3bXh3AAAAAAAAAAAAAAAAAAAAAAAAAAAA&uuid=WN_GKWqbHkeSyuWetJmLFkj4g&_x_zm_rtaid=kR45-uuqRE-L65AxLjpbQw.1611967079119.2c054e3d3f8d8e63339273d9175939ed&_x_zm_rhtaid=866 NEW INFO 1 Live merger webinar with PLBY and MCAC on Friday January 29, 2021 at 12:00 NOON EST link below https://mcacquisition.com/investor-relations/press-release-details/2021/Playboy-Enterprises-Inc.-and-Mountain-Crest-Acquisition-Corp-Participate-in-SPACInsider-ICR-Webinar-on-January-29th-at-12pm-ET/default.aspx Playboy going public: Porn, Gambling, and Cannabis !!!WARNING READING AHEAD!!! TL;DR at the end. It will take some time to sort through all the links and read/watch everything, but you should. In the next couple weeks, Mountain Crest Acquisition Corp is taking Playboy public. The existing ticker MCAC will become PLBY. Special purpose acquisition companies have taken private companies public in recent months with great success. I believe this will be no exception. Notably, Playboy is profitable and has skyrocketing revenue going into a transformational growth phase. Porn - First and foremost, let's talk about porn. I know what you guys are thinking. “Porno mags are dead. Why would I want to invest in something like that? I can get porn for free online.” Guess what? You are absolutely right. And that’s exactly why Playboy doesn’t do that anymore. That’s right, they eliminated their print division. And yet they somehow STILL make money from porn that people (see: boomers) pay for on their website through PlayboyTV, Playboy Plus, and iPlayboy. Here’s the thing: Playboy has international, multi-generational name recognition from porn. They have content available in 180 countries. It will be the only publicly traded adult entertainment (porn) company. But that is not where this company is going. It will help support them along the way. You can see every Playboy magazine through iPlayboy if you’re interested. NSFW links below: https://www.playboy.com/ https://www.playboytv.com/ https://www.playboyplus.com/ https://www.iplayboy.com/ Gambling - Some of you might recognize the Playboy brand from gambling trips to places like Las Vegas, Atlantic City, Cancun, London or Macau. They’ve been in the gambling biz for decades through their casinos, clubs, and licensed gaming products. They see the writing on the wall. COVID is accelerating the transition to digital, application based GAMBLING. That’s right. What we are doing on Robinhood with risky options is gambling, and the only reason regulators might give a shit anymore is because we are making too much money. There may be some restrictions put in place, but gambling from your phone on your couch is not going anywhere. More and more states are allowing things like Draftkings, poker, state ‘lottery” apps, hell - even political betting. Michigan and Virginia just ok’d gambling apps. They won’t be the last. This is all from your couch and any 18 year old with a cracked iphone can access it. Wouldn’t it be cool if Playboy was going to do something like that? They’re already working on it. As per CEO Ben Kohn who we will get to later, “...the company’s casino-style digital gaming products with Scientific Games and Microgaming continue to see significant global growth.” Honestly, I stopped researching Scientific Games' sports betting segment when I saw the word ‘omni-channel’. That told me all I needed to know about it’s success. “Our SG Sports™ platform is an enhanced, omni-channel solution for online, self-service and retail fixed odds sports betting – from soccer to tennis, basketball, football, baseball, hockey, motor sports, racing and more.” https://www.scientificgames.com/ https://www.microgaming.co.uk/ “This latter segment has become increasingly enticing for Playboy, and it said last week that it is considering new tie-ups that could include gaming operators like PointsBet and 888Holdings.” https://calvinayre.com/2020/10/05/business/playboys-gaming-ops-could-get-a-boost-from-spac-purchase/ As per their SEC filing: “Significant consumer engagement and spend with Playboy-branded gaming properties around the world, including with leading partners such as Microgaming, Scientific Games, and Caesar’s Entertainment, steers our investment in digital gaming, sports betting and other digital offerings to further support our commercial strategy to expand consumer spend with minimal marginal cost, and gain consumer data to inform go-to-market plans across categories.” https://www.sec.gov/Archives/edgadata/1803914/000110465921005986/tm2034213-12_defm14a.htm#tMDAA1 They are expanding into more areas of gaming/gambling, working with international players in the digital gaming/gambling arena, and a Playboy sportsbook is on the horizon. https://www.playboy.com/read/the-pleasure-of-playing-with-yourself-mobile-gaming-in-the-covid-era Cannabis - If you’ve ever read through a Playboy magazine, you know they’ve had a positive relationship with cannabis for many years. As of September 2020, Playboy has made a major shift into the cannabis space. Too good to be true you say? Check their website. Playboy currently sells a range of CBD products. This is a good sign. Federal hemp products, which these most likely are, can be mailed across state lines and most importantly for a company like Playboy, can operate through a traditional banking institution. CBD products are usually the first step towards the cannabis space for large companies. Playboy didn’t make these products themselves meaning they are working with a processor in the cannabis industry. Another good sign for future expansion. What else do they have for sale? Pipes, grinders, ashtrays, rolling trays, joint holders. Hmm. Ok. So it looks like they want to sell some shit. They probably don’t have an active interest in cannabis right? Think again: https://www.forbes.com/sites/javierhasse/2020/09/24/playboy-gets-serious-about-cannabis-law-reform-advocacy-with-new-partnership-grants/?sh=62f044a65cea “Taking yet another step into the cannabis space, Playboy will be announcing later on Thursday (September, 2020) that it is launching a cannabis law reform and advocacy campaign in partnership with National Organization for the Reform of Marijuana Laws (NORML), Last Prisoner Project, Marijuana Policy Project, the Veterans Cannabis Project, and the Eaze Momentum Program.” “According to information procured exclusively, the three-pronged campaign will focus on calling for federal legalization. The program also includes the creation of a mentorship plan, through which the Playboy Foundation will support entrepreneurs from groups that are underrepresented in the industry.” Remember that CEO Kohn from earlier? He wrote this recently: https://medium.com/naked-open-letters-from-playboy/congress-must-pass-the-more-act-c867c35239ae Seems like he really wants weed to be legal? Hmm wonder why? The writing's on the wall my friends. Playboy wants into the cannabis industry, they are making steps towards this end, and we have favorable conditions for legislative progress. Don’t think branding your own cannabis line is profitable or worthwhile? Tell me why these 41 celebrity millionaires and billionaires are dummies. I’ll wait. https://www.celebstoner.com/news/celebstoner-news/2019/07/12/top-celebrity-cannabis-brands/ Confirmation: I hear you. “This all seems pretty speculative. It would be wildly profitable if they pull this shift off. But how do we really know?” Watch this whole video: https://finance.yahoo.com/video/playboy-ceo-telling-story-female-154907068.html Man - this interview just gets my juices flowing. And highlights one of my favorite reasons for this play. They have so many different business avenues from which a catalyst could appear. I think paying attention, holding shares, and options on these staggered announcements over the next year is the way I am going to go about it. "There's definitely been a shift to direct-to-consumer," he (Kohn) said. "About 50 percent of our revenue today is direct-to-consumer, and that will continue to grow going forward.” “Kohn touted Playboy's portfolio of both digital and consumer products, with casino-style gaming, in particular, serving a crucial role under the company's new business model. Playboy also has its sights on the emerging cannabis market, from CBD products to marijuana products geared toward sexual health and pleasure.” "If THC does become legal in the United States, we have developed certain strains to enhance your sex life that we will launch," Kohn said. https://cheddar.com/media/playboy-goes-public-health-gaming-lifestyle-focus Oh? The CEO actually said it? Ok then. “We have developed certain strains…” They’re already working with growers on strains and genetics? Ok. There are several legal cannabis markets for those products right now, international and stateside. I expect Playboy licensed hemp and THC pre-rolls by EOY. Something like this: https://www.etsy.com/listing/842996758/10-playboy-pre-roll-tubes-limited?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=pre+roll+playboy&ref=sr_gallery-1-2&organic_search_click=1 Maintaining cannabis operations can be costly and a regulatory headache. Playboy’s licensing strategy allows them to pick successful, established partners and sidestep traditional barriers to entry. You know what I like about these new markets? They’re expanding. Worldwide. And they are going to be a bigger deal than they already are with or without Playboy. Who thinks weed and gambling are going away? Too many people like that stuff. These are easy markets. And Playboy is early enough to carve out their spot in each. Fuck it, read this too: https://www.forbes.com/sites/jimosman/2020/10/20/playboy-could-be-the-king-of-spacs-here-are-three-picks/?sh=2e13dcaa3e05 Numbers: You want numbers? I got numbers. As per the company’s most recent SEC filing: “For the year ended December 31, 2019, and the nine months ended September 30, 2020, Playboy’s historical consolidated revenue was $78.1 million and $101.3 million, respectively, historical consolidated net income (loss) was $(23.6) million and $(4.8) million, respectively, and Adjusted EBITDA was $13.1 million and $21.8 million, respectively.” “In the nine months ended September 30, 2020, Playboy’s Licensing segment contributed $44.2 million in revenue and $31.1 million in net income.” “In the ninth months ended September 30, 2020, Playboy’s Direct-to-Consumer segment contributed $40.2 million in revenue and net income of $0.1 million.” “In the nine months ended September 30, 2020, Playboy’s Digital Subscriptions and Content segment contributed $15.4 million in revenue and net income of $7.4 million.” They are profitable across all three of their current business segments. “Playboy’s return to the public markets presents a transformed, streamlined and high-growth business. The Company has over $400 million in cash flows contracted through 2029, sexual wellness products available for sale online and in over 10,000 major retail stores in the US, and a growing variety of clothing and branded lifestyle and digital gaming products.” https://www.sec.gov/Archives/edgadata/1803914/000110465921005986/tm2034213-12_defm14a.htm#tSHCF Growth: Playboy has massive growth in China and massive growth potential in India. “In China, where Playboy has spent more than 25 years building its business, our licensees have an enormous footprint of nearly 2,500 brick and mortar stores and 1,000 ecommerce stores selling high quality, Playboy-branded men’s casual wear, shoes/footwear, sleepwear, swimwear, formal suits, leather & non-leather goods, sweaters, active wear, and accessories. We have achieved significant growth in China licensing revenues over the past several years in partnership with strong licensees and high-quality manufacturers, and we are planning for increased growth through updates to our men’s fashion lines and expansion into adjacent categories in men’s skincare and grooming, sexual wellness, and women’s fashion, a category where recent launches have been well received.” The men’s market in China is about the same size as the entire population of the United States and European Union combined. Playboy is a leading brand in this market. They are expanding into the women’s market too. Did you know CBD toothpaste is huge in China? China loves CBD products and has hemp fields that dwarf those in the US. If Playboy expands their CBD line China it will be huge. Did you know the gambling money in Macau absolutely puts Las Vegas to shame? Technically, it's illegal on the mainland, but in reality, there is a lot of gambling going on in China. https://www.forbes.com/sites/javierhasse/2020/10/19/magic-johnson-and-uncle-buds-cbd-brand-enter-china-via-tmall-partnership/?sh=271776ca411e “In India, Playboy today has a presence through select apparel licensees and hospitality establishments. Consumer research suggests significant growth opportunities in the territory with Playboy’s brand and categories of focus.” “Playboy Enterprises has announced the expansion of its global consumer products business into India as part of a partnership with Jay Jay Iconic Brands, a leading fashion and lifestyle Company in India.” “The Indian market today is dominated by consumers under the age of 35, who represent more than 65 percent of the country’s total population and are driving India’s significant online shopping growth. The Playboy brand’s core values of playfulness and exploration resonate strongly with the expressed desires of today’s younger millennial consumers. For us, Playboy was the perfect fit.” “The Playboy international portfolio has been flourishing for more than 25 years in several South Asian markets such as China and Japan. In particular, it has strategically targeted the millennial and gen-Z audiences across categories such as apparel, footwear, home textiles, eyewear and watches.” https://www.licenseglobal.com/industry-news/playboy-expands-global-footprint-india It looks like they gave COVID the heisman in terms of net damage sustained: “Although Playboy has not suffered any material adverse consequences to date from the COVID-19 pandemic, the business has been impacted both negatively and positively. The remote working and stay-at-home orders resulted in the closure of the London Playboy Club and retail stores of Playboy’s licensees, decreasing licensing revenues in the second quarter, as well as causing supply chain disruption and less efficient product development thereby slowing the launch of new products. However, these negative impacts were offset by an increase in Yandy’s direct-to-consumer sales, which have benefited in part from overall increases in online retail sales so far during the pandemic.” Looks like the positives are long term (Yandy acquisition) and the negatives are temporary (stay-at-home orders). https://www.sec.gov/Archives/edgadata/1803914/000110465921006093/tm213766-1_defa14a.htm This speaks to their ability to maintain a financially solvent company throughout the transition phase to the aforementioned areas. They’d say some fancy shit like “expanded business model to encompass four key revenue streams: Sexual Wellness, Style & Apparel, Gaming & Lifestyle, and Beauty & Grooming.” I hear “we’re just biding our time with these trinkets until those dollar dollar bill y’all markets are fully up and running.” But the truth is these existing revenue streams are profitable, scalable, and rapidly expanding Playboy’s e-commerce segment around the world. "Even in the face of COVID this year, we've been able to grow EBITDA over 100 percent and revenue over 68 percent, and I expect that to accelerate going into 2021," he said. “Playboy is accelerating its growth in company-owned and branded consumer products in attractive and expanding markets in which it has a proven history of brand affinity and consumer spend.” Also in the SEC filing, the Time Frame: “As we detailed in the definitive proxy statement, the SPAC stockholder meeting to vote on the transaction has been set for February 9th, and, subject to stockholder approval and satisfaction of the other closing conditions, we expect to complete the merger and begin trading on NASDAQ under ticker PLBY shortly thereafter,” concluded Kohn. The Players: Suhail “The Whale” Rizvi (HMFIC), Ben “The Bridge” Kohn (CEO), “lil” Suying Liu & “Big” Dong Liu (Young-gun China gang). I encourage you to look these folks up. The real OG here is Suhail Rizvi. He’s from India originally and Chairman of the Board for the new PLBY company. He was an early investor in Twitter, Square, Facebook and others. His firm, Rizvi Traverse, currently invests in Instacart, Pinterest, Snapchat, Playboy, and SpaceX. Maybe you’ve heard of them. “Rizvi, who owns a sprawling three-home compound in Greenwich, Connecticut, and a 1.65-acre estate in Palm Beach, Florida, near Bill Gates and Michael Bloomberg, moved to Iowa Falls when he was five. His father was a professor of psychology at Iowa. Along with his older brother Ashraf, a hedge fund manager, Rizvi graduated from Wharton business school.” “Suhail Rizvi: the 47-year-old 'unsocial' social media baron: When Twitter goes public in the coming weeks (2013), one of the biggest winners will be a 47-year-old financier who guards his secrecy so zealously that he employs a person to take down his Wikipedia entry and scrub his photos from the internet. In IPO, Twitter seeks to be 'anti-FB'” “Prince Alwaleed bin Talal of Saudi Arabia looks like a big Twitter winner. So do the moneyed clients of Jamie Dimon. But as you’ve-got-to-be-joking wealth washed over Twitter on Thursday — a company that didn’t exist eight years ago was worth $31.7 billion after its first day on the stock market — the non-boldface name of the moment is Suhail R. Rizvi. Mr. Rizvi, 47, runs a private investment company that is the largest outside investor in Twitter with a 15.6 percent stake worth $3.8 billion at the end of trading on Thursday (November, 2013). Using a web of connections in the tech industry and in finance, as well as a hearty dose of good timing, he brought many prominent names in at the ground floor, including the Saudi prince and some of JPMorgan’s wealthiest clients.” https://www.nytimes.com/2013/11/08/technology/at-twitter-working-behind-the-scenes-toward-a-billion-dollar-payday.html Y’all like that Arab money? How about a dude that can call up Saudi Princes and convince them to spend? Funniest shit about I read about him: “Rizvi was able to buy only $100 million in Facebook shortly before its IPO, thus limiting his returns, according to people with knowledge of the matter.” Poor guy :( He should be fine with the 16 million PLBY shares he's going to have though :) Shuhail also has experience in the entertainment industry. He’s invested in companies like SESAC, ICM, and Summit Entertainment. He’s got Hollywood connections to blast this stuff post-merger. And he’s at least partially responsible for that whole Twilight thing. I’m team Edward btw. I really like what Suhail has done so far. He’s lurked in the shadows while Kohn is consolidating the company, trimming the fat, making Playboy profitable, and aiming the ship at modern growing markets. https://www.reuters.com/article/us-twitter-ipo-rizvi-insight/insight-little-known-hollywood-investor-poised-to-score-with-twitter-ipo-idUSBRE9920VW20131003 Ben “The Bridge” Kohn is an interesting guy. He’s the connection between Rizvi Traverse and Playboy. He’s both CEO of Playboy and was previously Managing Partner at Rizvi Traverse. Ben seems to be the voice of the Playboy-Rizvi partnership, which makes sense with Suhail’s privacy concerns. Kohn said this: “Today is a very big day for all of us at Playboy and for all our partners globally. I stepped into the CEO role at Playboy in 2017 because I saw the biggest opportunity of my career. Playboy is a brand and platform that could not be replicated today. It has massive global reach, with more than $3B of global consumer spend and products sold in over 180 countries. Our mission – to create a culture where all people can pursue pleasure – is rooted in our 67-year history and creates a clear focus for our business and role we play in people’s lives, providing them with the products, services and experiences that create a lifestyle of pleasure. We are taking this step into the public markets because the committed capital will enable us to accelerate our product development and go-to-market strategies and to more rapidly build our direct to consumer capabilities,” said Ben Kohn, CEO of Playboy. “Playboy today is a highly profitable commerce business with a total addressable market projected in the trillions of dollars,” Mr. Kohn continued, “We are actively selling into the Sexual Wellness consumer category, projected to be approximately $400 billion in size by 2024, where our recently launched intimacy products have rolled out to more than 10,000 stores at major US retailers in the United States. Combined with our owned & operated ecommerce Sexual Wellness initiatives, the category will contribute more than 40% of our revenue this year. In our Apparel and Beauty categories, our collaborations with high-end fashion brands including Missguided and PacSun are projected to achieve over $50M in retail sales across the US and UK this year, our leading men’s apparel lines in China expanded to nearly 2500 brick and mortar stores and almost 1000 digital stores, and our new men’s and women’s fragrance line recently launched in Europe. In Gaming, our casino-style digital gaming products with Scientific Games and Microgaming continue to see significant global growth. Our product strategy is informed by years of consumer data as we actively expand from a purely licensing model into owning and operating key high-growth product lines focused on driving profitability and consumer lifetime value. We are thrilled about the future of Playboy. Our foundation has been set to drive further growth and margin, and with the committed capital from this transaction and our more than $180M in NOLs, we will take advantage of the opportunity in front of us, building to our goal of $100M of adjusted EBITDA in 2025.” https://www.businesswire.com/news/home/20201001005404/en/Playboy-to-Become-a-Public-Company Also, according to their Form 4s, “Big” Dong Liu and “lil” Suying Liu just loaded up with shares last week. These guys are brothers and seem like the Chinese market connection. They are only 32 & 35 years old. I don’t even know what that means, but it's provocative. https://www.secform4.com/insider-trading/1832415.htm https://finance.yahoo.com/news/mountain-crest-acquisition-corp-ii-002600994.html Y’all like that China money? “Mr. Liu has been the Chief Financial Officer of Dongguan Zhishang Photoelectric Technology Co., Ltd., a regional designer, manufacturer and distributor of LED lights serving commercial customers throughout Southern China since November 2016, at which time he led a syndicate of investments into the firm. Mr. Liu has since overseen the financials of Dongguan Zhishang as well as provided strategic guidance to its board of directors, advising on operational efficiency and cash flow performance. From March 2010 to October 2016, Mr. Liu was the Head of Finance at Feidiao Electrical Group Co., Ltd., a leading Chinese manufacturer of electrical outlets headquartered in Shanghai and with businesses in the greater China region as well as Europe.” Dr. Suying Liu, Chairman and Chief Executive Officer of Mountain Crest Acquisition Corp., commented, “Playboy is a unique and compelling investment opportunity, with one of the world’s largest and most recognized brands, its proven consumer affinity and spend, and its enormous future growth potential in its four product segments and new and existing geographic regions. I am thrilled to be partnering with Ben and his exceptional team to bring his vision to fruition.” https://www.businesswire.com/news/home/20201001005404/en/Playboy-to-Become-a-Public-Company These guys are good. They have a proven track record of success across multiple industries. Connections and money run deep with all of these guys. I don’t think they’re in the game to lose. I was going to write a couple more paragraphs about why you should have a look at this but really the best thing you can do is read this SEC filing from a couple days ago. It explains the situation in far better detail. Specifically, look to page 137 and read through their strategy. Also, look at their ownership percentages and compensation plans including the stock options and their prices. The financials look great, revenue is up 90% Q3, and it looks like a bright future. https://www.sec.gov/Archives/edgadata/1803914/000110465921005986/tm2034213-12_defm14a.htm#tSHCF I’m hesitant to attach this because his position seems short term, but I’m going to with a warning because he does hit on some good points (two are below his link) and he’s got a sizable position in this thing (500k+ on margin, I think). I don’t know this guy but he did look at the same publicly available info and make roughly the same prediction, albeit without the in depth gambling or cannabis mention. You can also search reddit for ‘MCAC’ and very few relevant results come up and none of them even come close to really looking at this thing. https://docs.google.com/document/d/1gOvAd6lebs452hFlWWbxVjQ3VMsjGBkbJeXRwDwIJfM/edit?usp=sharing “Also, before you people start making claims that Playboy is a “boomer” company, STOP RIGHT THERE. This is not a good argument. Simply put. The only thing that matters is Playboy’s name recognition, not their archaic business model which doesn’t even exist anymore as they have completely repurposed their business.” “Imagine not buying $MCAC at a 400M valuation lol. Streetwear department is worth 1B alone imo.” Considering the ridiculous Chinese growth as a lifestyle brand, he’s not wrong. Current Cultural Significance and Meme Value: A year ago I wouldn’t have included this section but the events from the last several weeks (even going back to tsla) have proven that a company’s ability to meme and/or gain social network popularity can have an effect. Tik-tok, Snapchat, Twitch, Reddit, Youtube, Facebook, Twitter. They all have Playboy stuff on them. Kids in middle and highschool know what Playboy is but will likely never see or touch one of the magazines in person. They’ll have a Playboy hoodie though. Crazy huh? A lot like GME, PLBY would hugely benefit from meme-value stock interest to drive engagement towards their new business model while also building strategic coffers. This interest may not directly and/or significantly move the stock price but can generate significant interest from larger players who will. Bull Case: The year is 2025. Playboy is now the world leader pleasure brand. They began by offering Playboy licensed gaming products, including gambling products, direct to consumers through existing names. By 2022, demand has skyrocketed and Playboy has designed and released their own gambling platforms. In 2025, they are also a leading cannabis brand in the United States and Canada with proprietary strains and products geared towards sexual wellness. Cannabis was legalized in the US in 2023 when President Biden got glaucoma but had success with cannabis treatment. He personally pushes for cannabis legalization as he steps out of office after his first term. Playboy has also grown their brand in China and India to multi-billion per year markets. The stock goes up from 11ish to 100ish and everyone makes big gains buying somewhere along the way. Bear Case: The United States does a complete 180 on marijuana and gambling. President Biden overdoses on marijuana in the Lincoln bedroom when his FDs go tits up and he loses a ton of money in his sports book app after the Fighting Blue Hens narrowly lose the National Championship to Bama. Playboy is unable to expand their cannabis and gambling brands but still does well with their worldwide lifestyle brand. They gain and lose some interest in China and India but the markets are too large to ignore them completely. The stock goes up from 11ish to 13ish and everyone makes 15-20% gains. TL;DR: Successful technology/e-commerce investment firm took over Playboy to turn it into a porn, online gambling/gaming, sports book, cannabis company, worldwide lifestyle brand that promotes sexual wellness, vetern access, women-ownership, minority-ownership, and “pleasure for all”. Does a successful online team reinventing an antiquated physical copy giant sound familiar? No options yet, shares only for now. $11.38 per share at time of writing. My guess? $20 by the end of February. $50 by EOY. This is not financial advice. I am not qualified to give financial advice. I’m just sayin’ I would personally use a Playboy sports book app while smoking a Playboy strain specific joint and it would be cool if they did that. Do your own research. You’d probably want to start here: WARNING - POTENTIALLY NSFW - SEXY MODELS AHEAD - no actual nudity though https://s26.q4cdn.com/895475556/files/doc_presentations/Playboy-Craig-Hallum-Conference-Investor-Presentation-11_17_20-compressed.pdf Or here: https://www.mcacquisition.com/investor-relations/default.aspx Jimmy Chill: “Get into any SPAC at $10 or $11 and you are going to make money.” STL;DR: Buy MCAC. MCAC > PLBY couple weeks. Rocketship. Moon. Position: 5000 shares. I will buy short, medium, and long-dated calls once available.
This match bears the dubious honor of being the first in T5 not to strike the eight-vote threshold set in T3, meaning that the total value of each vote is reduced so to prevent extreme disproportionate leads. Luckily, it was a tie anyway, at 3.5-3.5.
In the aftermath of the fight, there wasn’t much left of the stage - crystal, fungus, and scrap alike had all built up, scattered around the arena, and in the center of it all stood Funk Odyssey, skidding her bike to a halt after having eked out a victory at the last moment. Klein and Funk both stood near each other, both breathing heavily and trying to recover after the tiring ordeal, amid a roar of applause from whoever was there to watch the exciting fight. “AAAAND, WE HAVE A WINNER! A ROUND OF APPLAUSE FOR FUNK ODYSSEY! Wait, why’s the mic-” Cairo stopped in confusion, the microphone that was amplifying their voice cutting out all of a sudden. Shifting a glance towards the producers on set, it seemed like they weren’t aware of what caused the problem either. Confused murmurs could be heard from the stand users on-set. Okay, this was a technical error, but this was obviously salvageable - Cairo’s dealt with worse in the past, so- The already bad situation turned worse when the lights cut out entirely, the speakers in the warehouse humming to life again, though not by the hands of any of the crew members. A second later, a synthesized text-to-speech voice could be heard over the speakers. “HELLO, CITIZENS OF LOS FORTUNA. THIS BROADCAST IS BEING HIJACKED. ” What the fuck. Looking at one of the screens by the edge of the warehouse previewing the stream, Cairo could see that the stream’s been taken over entirely by whoever it was that did this, with them currently displaying some kind of placeholder image of a shrouded figure. Wasting no time, Cairo left the two combatants and made their way over to the filming crew, trying to figure out what the hell was happening and how it could be stopped. “WHETHER DUE TO MALICE OR WILLFUL IGNORANCE, BEING SO NORMAL AND ITS CREW HAVE BEEN COMPLICIT IN VARIOUS CRIMES, BOTH DURING AND PRIOR TO ITS RUNTIME.” Funk could hear the murmurings of stand users around her, and of Cairo and the rest of the crew trying to figure out what exactly was going on and how to stop them. Was this Peter’s doing? Was that why he needed her to be here? Funk remembered hearing him mention the source for this investigation of his a few times - apparently he’d been working with a “Jesse Jefferson'' from the Agricultural District who’d gotten his hands on a flashdrive made by Nova Nascens containing this information, and thanks to Peter’s skills (combined with some stand magic from that magic house Jesse lived in that repaired the hard drive every time it literally exploded in their faces). Meanwhile, it seemed like the show’s producers were still struggling to regain control of the stream. “CAIRO HAS BEEN COMPLICIT IN PROMOTING UNREST WITHIN THE INDUSTRIAL DISTRICT, WORKING ALONGSIDE ODIN TO SEND STAND USERS TO FIGHT WITH LOCAL UNIONS, LEADING TO RECENT RISING TENSIONS IN THE AREA.“ “FURTHERMORE, OTHER MEMBERS OF STAFF HAVE COMMITTED VARIOUS OTHER CRIMES, BUT NONE AS MUCH AS THIS SHOW’S LEAD CAMERAWOMAN - CAROLINE JEFFORDS.” The screen shifted to an image of a brown haired woman, who Funk could only assume was caroline. Then, it began shifting to a series of other, well-laid graphs, documents, and images, all presenting evidence for the accusations shown up until now. “OVER THE YEARS, THIS WOMAN HAS COMMITTED COUNTLESS CRIMES ALL FOR THE SAKE OF PROFIT USING HER STAND - SPYING ON FIGURES OF NOTE FROM WITHIN THE CITY AND SELLING THE INFORMATION TO THE HIGHEST BIDDER, REGARDLESS OF INTENT, AND COVERING UP CRIMES AND TAMPERING WITH SURVEILLANCE FOOTAGE FOR A PRICE. OF NOTE, EVIDENCE RELATING TO THE RECENT AND TRAGIC DEATH OF THE LATE ANDRÉ TIFÀNI HAS BEEN TAMPERED WITH IN ORDER TO FURTHER SHIFT THE BLAME ONTO-” The feed cut off entirely, power having simply been cut to the building entirely. If Peter had found a way to make the stream continue even after this, Funk wouldn’t be able to see it. For a moment, the warehouse was dead silent. Then, murmurings began between the various stand users in the audience, no one knowing what to make of this information. Regardless of whether the feed was cut or not, one thing was clear - The damage had already been done, and the truth had come to light. Surprises are everywhere, and there’s still yet more mysteries to be uncovered. Two boys have found doubles of themselves, who’ve lived their same lives yet all within the bounds of the city, and the four are now fighting. You only have a few hours left to vote in that when this goes up. Scenario: Sound’s Garden - Alexander Dickinson Amphitheater - Early Evening The entrance to the theater which had, months ago now, put on one of the greatest shows in the city’s history had again been filled with eager people, wanting little more than to enjoy yet concert by Metra Doria, or “TD/MD”; it had been the first in a little while, her last appearances onstage being a string of benefit shows she’d performed for immediately after the destruction of Capital Island. They weren’t bad, critics had said, but far from her best work, as though spending several weeks kidnapped by the head of a citywide crime ring had affected her ability to perform or something. Regardless, though, there were good feelings about this one, as since that fateful day, there hadn’t been a single bad show at the Alexander, and the local interview cycle had Metra come across as so much more genuinely excited than she had been, even if she also did publicly express her frustrations with the fact that, thanks to some act of sabotage, a leaking of information, the arrest of one Toby Fox had been subverted, and he and several of his buddies were still free to wreak their havoc. Guy Manuel-Mota wasn’t much one to complain about a gig, whatever that job happened to be, and though he’d known the unscrupulous nature of his client, the garish Tigran “Golden” Sins, he also knew exactly how much money the guy had, so when he said that he and Fox had wanted a man on the ground at the stage out of fear that somebody might attack Metra, that even if he was trying to move past his affections for the girl, he’d still wished to keep watch over her, quietly. If it was true, creepy. If it was a bold-faced lie, at least Guy knew damn well that they were good for their money if they had Seido fucking Shuto on retainer. Either way, he knew he’d get paid as long as he didn’t fuck up. As Guy walked up to the ticket-takers, corralling eager audience members forward, he noticed them offering strange shiny wristbands to every single person who walked by, telling them “wear it if you want!” and finding, every time, that they just sort of mindlessly nodded and did just that. When it came to be Guy’s turn, then, of course, he was much the same, accepting it and holding it in one hand, his stub in the other, as he looked the fake-gold, glittering accessory over, tilting his head as he noted the words, very subtly engraved, on it:
IWILLPLAY
“So… That’s your game, huh?” Guy asked, shrugging and slipping it on just like all the rest. He saw where this would go from here, and figured that what the guy paying him wanted was for him to play along. “Uh, sir-” The ticket taker murmured and stammered at somebody, “sir, please, you can only take one! W-we need enough commemorative wristbands for a full house, so please-” “Fuck off,” the pink-headed, ornery showgoer declared, yoinking the entire box away and fishing out several, putting a few all over his hands, “I want ‘em all!” Huh… Guess that’s ‘trouble,’ right on cue. Should I lead him somewhere alone, or just wait for something, or..? Before he could formulate a plan of action, Guy blacked out for what felt like a moment. Sound’s Garden Eastern Strip - Metra Doria’s Apartment - Earlier that Day “Well, well, well,” Ananas ‘Agnes’ Bayley said, before cracking open a can of soda, downing it in several drawn out seconds, cracking open a second, downing that in seconds, and then, a third time, before stacking all three, “how the turntables.” “…” Metra gave him a look, one which Agnes smugly knew was her asking herself, in that moment, ‘am I seriously going to work with this guy?’ It was a feeling he reveled in, being unwanted and dreaded, yet at once needed and tolerated. “So… Will you come? I’ll hook you up with VIP merch, owe you one in general, just… I dunno. I’ve been feeling extremely good about this show, excited, but now that Fox is out there again, I feel like I need… Backup, I guess? Like, I could take any one of those guys in a fight on my own, sure, but with a huge crowd, and trying to focus on my stuff, and…” “And Arpeggi and that fuckin’… catgirl were busy, I take it.” Agnes snickered, moving around the cans’ placement, never on one of Metra’s coasters, watching as little rings formed on the table. “Heh, fuck ‘em anyway. Dealing with a situation like this… You don’t need some ‘good guy’ worried about not making a mess or whatever. You need a bona fide villain to flex on these posers. Call it fate that I was available short-notice and they weren’t.” “Just…” Metra sounded resigned. “Please don’t cause too much trouble. Damages will come out of your reward.” “Snrk… Of course. It’ll come out of my pay. A sentence I hear every day from Gabanna, you know.” With Metra’s reluctance and Agnes’ amusement, a deal had been struck. Metra Doria, too, had been handed one of those strange wristbands, and she, too, seemed to black out suddenly, only realizing a moment too late exactly what, once again, this had all meant. She hadn’t approved ‘commemorative wristbands’ on the dossier, and the text on it… Goddammit! But… Her green room looked almost identical. What the hell was going on? Maybe her backup dancers would know something, or Agnes had noticed… He’d at least report to her if he had figured something out, right? …right? She stepped outside, then, only to find herself, and what she’d thought was her green room, atop a shelf in a very high-up, VIP area, a sort of outdoor box seating-type arrangement which the Alexander saved for its most prized guests. Almost always, somebody from Fox’s little club. She had been shrunk down to the size of a game piece, and sitting at a table nearby, watched with interest by about half a dozen suits she had come to recognize, was a perfect recreation of the entire stage and seating areas of the amphitheater. As she tried to process this, then, her view was taken up entirely by the giant, punchable face of Tigran Sins. “Evening, Metra! Looks like you underestimated me again… Heh, for some reason, people keep doing that.” The very garish man laughed, but his eyes were glaring down at her. Always, he’d hated her, resented the attention she’d taken from Fox. “Been awhile, hasn’t it?” “Tigran… What the fuck did you do?” Metra curled her tiny hands into fists, allowing her Stand, the headphones often seen at her neck, to manifest, “you… How many people are down there? I hear so many voices murmuring, even from here!” “Thousands upon thousands,” Tigran remarked, “all waiting none the wiser for the show you promised them… Including a side appearance from two Stand Users. You really put all your faith in a loose cannon like that Agnes kid who set a fire in my casino? You’ve been acting cool, but you’re desperate, aren’t ya? You know we’re here to stay… And what game we’re playing.” “You… You’d better run the hell away fast as soon as we’ve won, because we will ruin you.” She tried to sound defiant, there, but Metra was trembling. “Some things, a Stand User just can’t beat with all their strength, Metra… Now, c’mon.” He held up a cute little tiny limousine, cracking the door open. “You’ve got a show to do.” The crowd came to at once, already amassed within the amphitheater, seats filled, standing room similarly heavily occupied. There was hardly room to move one’s arms around in there. Which, of course, Agnes was doing anyway, swatting people away and getting called rude words, cackling as he made for himself some space. Something was fucking up here, and he did not want to be caught off-guard by- “Hey.” “Shit!” Agnes jumped, then, and turned around, seeing Guy Manuel-Mota face-to-face, staring him down with a somewhat even expression. “Hey, c’mon, I’m not that scary, am I?” Guy joked, rubbing his arms and making a point of showing off his bracelet, then gesturing at it, and at the stage, and saying, “anyway, my name’s Guy Manuel-Mota. You probably already realize this, Agnes, but… You’re already in a trap here. Both of us are stuck, even.” “Heheh, what, are you trying to warn me or something? Well, I don’t need an alliance with you… So fuck off.” “I wasn’t asking for one.” Guy corrected, then, adding, “you know how Tigran Sins works… The only way we’re getting out of this is through each other.” “My fucking thoughts exactly,” Agnes answered, “and exactly what I came here for… A chance to pound that gold-wearing fuck’s face in. I hear he really hates that shit, so I’ll make it permanent. Guy’s casual demeanor, then, turned into a stiff, serious face, hands at the blades on his person. “You won’t last that long.” “Oh, you’re fucking on, you-” “Alright, Los Fortuna! Give it up for exactly what you came here for!” An announcer’s voice cheered on, then, ringing through the arena almost deafeningly loud, followed by a cascade of rising cheers. The noise distracted Agnes, and Guy made his getaway. “Back again at the Alexander Dickinson…” Shit… So many people here, not even paying attention. Where did he go? “Unbreakable, unshakeable, here to give the show of her life again as she always does… TD/MD!” Metra strutted out onto the stage, then, to the cheers of the crowd, but Agnes noticed that she seemed to be frequently looking up towards the sky, or towards the various short-circuit cameras wired to display her on the jumbotrons. The crowd seemed too vapid, too fandom-consumed to notice, but there was apprehension in her every step in that casual yet elegant performing costume of hers. “It means so much to me to see you all out here… Really, I appreciate every single one of you, even if I don’t know you! Just the fact that you came here…” She was trying not to sound guilty as hell there, for what she and all of them had fallen into. Agnes wasn’t sure whether to feel bad, to get mad at Tigran Sins for pulling one over on them again, or to laugh. “So! I’m just going to start with a classic, alright? Keep the emergency exits in mind, but more than that, get ready, because what’s coming is something hard to describe! Let’s make it a night worth remembering!” Guy continued to grasp his swords, keeping close to the crowd, close to the stage. Cruel what you’re doing, Mr. Sins… And you didn’t tell me I’d be fighting the guy who ripped the Ocean Soul’s arm off. I’d better get a hell of a bonus for this. OPEN THE GAME! Location: The Alexander Dickinson Amphitheater, in the Entertainment District (specifically, a perfect replica of its crowd area). The area for the match here is 50 by 60 meters, with each tile being 5 by 5 meters. Agnes starts at the middle left and Guy starts in the middle right as represented by their respectively colored team tokens. The stage is at the top as represented by the grey semi-circle. The audience members are represented by the red circles and the venue is sectioned off as a concert generally would be. Each seating section is represented by the blue, green, and yellow transparencies. These areas are roped off to keep them separate. The dotted semi-circular line is a row of metal security fences to keep people from getting too close to the stage. Goal: RETIRE your opponent! Additional Information: The audience members all have flat two physicals, and are mostly paying attention to the ongoing concert, eager and excited fans that they are. Metra Doria is performing onstage with a backing band, and it’s quite loud, yet somehow (the noise-altering effect of her Stand, maybe?) you aren’t debilitated by it. The audience members won’t deliberately cooperate with you in any meaningful way, and don’t particularly care about one another either, but will try to avoid getting hurt if they can see it coming. Due to brazen threats on the guests by Tigran and the rest, none of Metra’s crew will interfere in the match, and are basically as good as non-entities mechanically, but it goes without saying that harming them or outright ruining the performance will lead to Fox canonically and successfully killing you with a giant rock. So don’t go on the stage itself.
“Faceless gazes passing by with me / The void in my heart changed with the path I chose” You find these ED guys absolutely loathsome, but the idea of completely stealing Metra’s thunder is nonetheless appealing to your villainous heart. Act as cool as possible in your own way!
“There's no limit to each new encounter - everything so ordinarily bizarre” These people want their shows to be impressive, right? Well, may as well get that check… Act as cool as possible in your own way!
Link to the Official Player Spreadsheet Link to Match Schedule As always, if you would like to interact with the tournament community and be among the first to get updates for the tournament, please feel free to PM a member of our Judge staff for an invite to our Official Discord Server!
Artist:Joji Album:Nectar Label: 88Rising Release Date: September 25, 2020 Listen: Spotify Apple Music YouTube Music Deezer Soundcloud 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?
A goodbye letter for the anti-President. Written by Michael D’Antonio.
I thoroughly appreciated reading this opinion piece. So much so that I’ve linked it and am pasting the article here as well. A goodbye letter for the anti-President Dear Donald, When we first met in 2014, I was a year into research for the biography I was writing about you. I knew about your stern father, your exile to military school at a tender age and your tendency to spin dramatic fantasies. I knew that you considered life a battle for survival and humans to be "vicious" by nature.* In your Trump Tower stronghold, you were attended by aides who looked like soap opera stars and surrounded by ego-boosting emblems: a wall of framed magazine covers, each featuring your face; a boxer's championship belt given to settle a debt; a stack of clippings delivered with a note that read, "Dad, FYI -- All great press. Ivanka." These totems of greatness, which I haven't seen in the quarters of other super-rich Americans, made me think of you as desperately, and perhaps dangerously, insecure.* In five interviews that lasted about 10 hours total, you would heighten my fear that despite a life spent in unending luxury and privilege, no amount of wealth and power would move you off the life-is-warfare view. Even worse, you told me that you might run for president because Twitter fans said you should (I wasn't surprised by your ambition and, given your celebrity, I thought you might win). Then, as we stood to inspect a framed letter you had received from the disgraced Richard Nixon, you said his only problem was that he had left office for the good of the country. In your view, he should have stayed and fought. *You ran for president and you won. And as you visited upon the country more pain than Nixon ever did, you fought on. Unrelenting in your aggression, lies and cruelty, you presided over four years of chaos and conflict provoked by your words and deeds. Though impeached, you escaped conviction and stayed in office to redouble your commitment to ego-driven chaos. As you refused to mount a serious federal response, the Covid-19 death toll surpassed 400,000. Defeated in your bid for reelection, you spun lies that created an alternative reality so powerful that hundreds of your followers formed a mob that carried out a bloody attack on the United States Capitol. Many there intended to overturn the election, which you had repeatedly claimed was invalid due to fraud that in fact had not occurred.* In the attack, which was televised by news networks and livestreamed on social media, five people -- including one Capitol police officer -- would die. A DC Metro Police officer, who had been Tasered several times, heard one of your followers say, "Kill him with his own gun." Although Congress reconvened after the mob was driven out, you stand disgraced as the only president in US history to be impeached twice, and all I can think is that you had finally made your narcissistic nightmare of a constant battle against vicious enemies come true for us all. Your dangerous narcissism was not widely noted when I interviewed you, but it seemed, to me, to be the hallmark of your personality. I consulted experts and learned that this grandiosity was likely a defense mechanism against a fear of shame and rejection. I came to believe this fear was installed by your father, who, when you were a child, demanded you be a "killer" and a "king." When you failed to meet his expectations and became a troublemaker, he exiled you to military school, at age 13. Talk about a scarring experience. The title of my book, "Never Enough," pointed to your endless drive to prove your superiority, which, ironically, led to bankruptcies, divorces and legal defeats. It's likely these failures provoked the same sense of shame and humiliation that you must have felt as a rejected child. You once told me you hated to reflect on the past, but in refusing to do this, you were bound to repeat your mistakes. No matter how much you achieved, it was never enough. And so, you went too far. (For more on this see what your psychologist niece, Mary Trump, wrote in her 2020 book, "Too Much and Never Enough: How My Family Created the World's Most Dangerous Man.") As President, your weaknesses posed terrible threats to the country. Your many failures at running businesses such as casinos or the airline Trump Shuttle showed that you were not a nimble thinker capable of leading complex operations. The Covid-19 pandemic has only made this glaring incompetence crystal clear -- and despite your efforts to deflect the blame, the country's death toll speaks for itself. More than 400,000 people have died from Covid-19 in the United States -- more than any other country in the world, according to Johns Hopkins University. Having seen your inability to recognize others as human beings, I have not been shocked by your indifference to the deaths of your fellow citizens. Nor have I been surprised by your encouragement of violence. Violence was what I always expected from your presidency. I just didn't know what form it would take. The power of your methods was obvious during your 2016 campaign, when you lied in a way that separated your most ardent followers from reality itself. You promoted many of your old conspiracy theories about 9/11 and climate change and added new ones on the fly. (When an attendee asked -- after first stating as fact that Obama was Muslim and not American -- about the wildly untrue idea that Muslims were running secret training camps in the United States to kill people, you refused to shoot down his claims, promising instead to "look at that." You also whipped people into a frenzy of hatred by describing opponents, critics and the free press as enemies. I recalled reading how your first wife, Ivana, had said you kept a book of Hitler's speeches near your bed. You once corrected a reporter, telling her it was "Mein Kampf" instead (though Marty Davis, who gave Trump the book, told Vanity Fair it was a book of speeches). For four years in office, you functioned as a kind of anti-President, inflaming rather than calming passions and attacking rather than negotiating, all while demanding adoration from your Cabinet and constant attention from the media. Having ordered aides to think of each day as an episode in a TV show before you even took office, you tried to gin up as much drama as possible. As President, you used the authority of your office to spread baseless claims about voter fraud, former President Barack Obama and even of a friendship between former President Bill Clinton and Jeffrey Epstein, the convicted sexual predator who was your Palm Beach neighbor and friend, to name a few. Many of your followers abandoned reason and dove headfirst into the QAnon conspiracy theory movement, which reveres you as a savior and regards the government and much of the news media as evil. Many of those who attacked the Capitol brandished Q symbols along with Trump flags, Jesus banners and the Confederate stars and bars -- a mix of powerful symbols that shows the breadth of your influence. Before the attack, you were among many who called for a big crowd of protesters to stop the Congress from affirming your election defeat. After your lawyer Rudy Giuliani, your namesake son ginned up the crowd, and they heard you call for them to march on the Capitol. "You have to show strength," you said, "and you have to be strong." You promised to go with them but chose instead to view the destruction on TV. I wondered if you understood that the violence that unfolded was real, and not something made for television. Did you order Cokes as you watched? Did you eat popcorn? I can imagine you snacking because you have played with violence, both real and imagined, for so long that you must be inured you to it. It all started back in the 1970s when you began employing armed guards-chauffeurs, for no apparent reason. I think it was because you enjoyed the sense of menace they added to your presence. During your 2016 campaign one of your security guards roughed-up a picketer outside Trump Tower in New York, while another physically forced reporter Jorge Ramos out of a news conference in 2015. At one rally you told followers, "If you see somebody getting ready to throw a tomato, knock the crap out of them." When a loud protester disrupted one of your other campaign rallies, you said, "I'd like to punch him in the face." Your tough guy image was embraced by followers who traded memes in which you were drawn to look like a superhero or shown brandishing weapons Rambo-style. Your avatar punched out a figure labeled with the CNN logo. Add this to the bigotry you expressed in words and images, which you shared with millions of people on Twitter, and a combustible mix was created. (Remember posting an image of Hillary Clinton, along with a Star of David set against dollar bills, brandishing her the "most corrupt candidate ever?"). The atmosphere of bigotry you helped create exploded in Charlottesville in 2017 as men chanted "Jews will not replace us" before a White supremacist murdered a counterprotester by running her down with his car. Heather Heyer was one of the first civilians to die in this charged political context during your presidency. It did not change your behavior. Instead, you declared there were "very fine people on both sides." By delaying your condemnation of her attackers and resisting efforts to remove monuments to those who fought against the United States to preserve slavery, you sent clear signals about your views on race and violence. With Charlottesville, questions about your bigotry grew louder. You made your stance clear when you reportedly said Haitian immigrants "all have AIDS" (though the White House denied it), and that people were entering the US from "shithole" countries. Add your vicious comments about Black athletes calling out police brutality, your penchant for slamming individual Black women, and your fearmongering about low-income housing, and everyone understood your perspective. Three years into your presidency, 65% of Black Americans said it's "a bad time to be a Black person" in the United States, according to a Washington Post/Ipsos poll. It would have been bad enough if your bigotry had been confined to words, but you enshrined it in policy by restricting refugees from entering this country. This led to a sharp decline, from about 85,000 refugees admitted to the United States in 2016 to about 12,000 in 2020. If the "huddled masses yearning to breathe free" didn't get the message, then they could consider the way you cozied up to strongmen, the likes of which many of them were fleeing. From Kim Jong Un of North Korea to Russian President Vladimir Putin, you showed a consistent admiration for dictators who jail and kill their critics. Along our border with Mexico, you began separating children from parents who arrived seeking asylum. By May 2019, six children had died in federal custody. In June of that year, Americans were shocked by the photo of a father and child who had drowned attempting to cross the Rio Grande. In December, a surveillance video obtained by ProPublica showed a 16-year-old Guatemalan boy was left alone in his Border Patrol cell in Texas for hours before he died on the floor, of complications from the flu. How many minors died in Border Patrol custody during the four years prior to your administration? Zero, per FactCheck.org. The deaths were just one measure of the suffering your harsh policies inflicted on asylum-seeking families. New data from June 2019 reveals there were around 5,500 known cases of children, from infants to teens, being separated from their parents and placed in facilities ranging from foster family homes to cells made out of chain link fencing. Amid all this pain, it seemed you still weren't satisfied. You asked about building anti-immigrant moats to be stocked with alligators. You wondered whether soldiers could shoot immigrants who threw rocks. Those ideas were nixed, but the crisis continues. Because of inept recording-keeping, your administration has not been able locate the parents of at least 545 children, according to court documents from last October. Refugee families, stuck in limbo while waiting for asylum in the United States, are still filling squalid camps on the Mexican side of the border, many of them fearing for their lives -- particularly in the midst of a global pandemic. You got away with cruelty in part because you conditioned many Americans to believe that brown-skinned, undocumented immigrants constituted a criminal horde that required a draconian response. You promised to build a "beautiful" concrete border wall along 1,000 miles of the frontier and force Mexico to pay for it. Only about 452 miles of tall steel fence has been completed as of January 5, 2021, according to a Customs and Border Patrol Report, and instead of the $8 billion you estimated for 1,000 miles, $18 billion dollars have already been devoted to the work because -- surprise! -- Mexico is not paying for it. Hyping the wall was just one example of the exaggerations, false claims and lies that came out of your mouth in such a torrent it was nearly impossible for anyone to react properly. You combined this strategy with denigrating the media as "enemies of the people" and purveyors of "fake news" with such consistency that facts seemed to lose their power. You added an Orwellian flourish when you said, "What you're seeing and what you're reading is not what's happening." What has been the effect on journalists? Threats became a part of our daily lives and the lives of our family members. (One of your followers found my wife's business phone number and called to say that he had located our address and to suggest we be careful.) A "press freedom tracker" run by the Committee to Protect Journalists and the Freedom of the Press Foundation has counted 421 attacks on journalists during your time in office. Far worse than the impact on journalists is your effect on Americans' ability to agree upon an established set of facts as they consider critical issues. You are not solely to blame for this problem. However, you have both contributed to it and exploited it. You have made more than 30,000 false or misleading claims, according to The Washington Post, which have landed with the authority that comes with the presidential seal. The easy way out for someone mired in disinformation is to pick a person to believe and go all in. Many of those who doubled down on their support for you found a sense of belonging amid the slogans, regalia and fervent rallies. They felt they were right. Those who disagreed were not fellow citizens but enemies who, some concluded, should be defeated by violent means. The loyalty of your followers meant that ordinary politicians feared provoking the ire of your base. When it came to light that you were trying to coerce Ukraine's President into helping your reelection effort, you were impeached for abuse of power and obstruction of Congress. But this fear helped keep the Republican-controlled Senate in line, and you were acquitted. Afterward, Sen. Susan Collins of Maine defended her vote to acquit you, saying you had learned "a big lesson." What you learned, it seemed, was that you could get away with anything. Even before you were elected, you claimed you could "stand in the middle of Fifth Avenue and shoot somebody," and not lose voters. Shortly after the impeachment trial wrapped up, you proceeded to mislead the American people about the novel coronavirus. You downplayed the dangers of the virus so that the vibrant economy, the main bragging point of your presidency, would continue to hum. In late February, at a White House coronavirus task force briefing, you said "It's a little like the regular flu that we have flu shots for." But you told journalist Bob Woodward weeks before that the coronavirus was "more deadly than your -- you know, your, even your strenuous flus." Nevertheless, you declined to organize a true national response and undermined public health officials who urged everyone to wear face masks. You also held mass rallies where people were infected. On May 8, when the death toll was more than 77,000, you continued this charade, insisting, "This is going to go away without a vaccine." To say that people died as a result of your posture is not mere speculation. Families have told stories of those who followed your lead, got sick and died. Harvard epidemiologists estimate that thousands have died as a result of your example. Today the Covid-19 pandemic continues to ravage the country. The death toll is now roughly equivalent to a 9/11 each day -- but many of your acolytes, even in Congress, still refuse to protect themselves and others with facemasks. Meanwhile, millions are turning to food banks. Mass evictions loom. When I consider the hungry, the infected, the traumatized and the deceased and hold in my mind the images of the deadly mob at the Capitol, I hear your voice summoning the worst in my fellow citizens. With those words you truly established yourself as the anti-President, a distinction that cancels any claim you might make to the respect normally accorded the office. When we met you told me to call you "Don," as if we were friends. You also invited me to examine your hair. I didn't do either because I sensed that you wanted to establish a bond that you would eventually try to corrupt. This was confirmed when you hinted that my book could make me rich if I abandoned my professional duty and wrote it to your liking. Thankfully, enough Americans recognized your immorality and incompetence and lack of human feeling so profound that the suffering and death so much a part of your presidency didn't appear to affect you at all. They chose Joe Biden in November, making you truly accountable for perhaps the first time in your life. After four years of your chaos, what's left is a wounded country grieving for its dead and for its innocence. But we will recover, and you now face criminal and legal threats in state courts, along with the harsh judgment of history. As you desperately summon the remains of your following for comfort and fundraising, your disgrace is growing with the mounting evidence that your words motivated the mob that attacked the United States Capitol. This incitement may be the single worst thing a president has ever done, and it will define you for centuries to come.
Anniversary Show - Reviving AEW Women’s Division and Championship
AEW’s Women‘s Division finds itself in a really weird place right now. For the past year and a half or so it’s felt like an afterthought and sorely lacking any attention at all. Now AEW have set up a huge USA vs. Japan 16-women tournament thats got a lot of hype to it, but Shida has been featured on TV barely at all since Double or Nothing still. The talent has improved a lot and they got a great core now with some very good homegrown stars like Nyla Rose, Anna Jay, Abadon, Britt Baker, Leyla Hirsch, Tay Conti etc. So my mission is to take this potential and fully capitalise on it. First we start in present day, and as part of the prompt all disappointing events up until now stay the same. With all that out of the way, here is how I would try and revive the AEW Women’s Championship and Division. AEW Women’s Eliminator: Nyla Rose vs. Abadon (February 10th, Dynamite) Veda Scott makes her return to commentary to team with Excalibur and Tony Schiavone for our women’s eliminator matches tonight, beginning with The Native Beast, Nyla Rose, taking on...as described by Veda, “what do you even call that...” Abadon comes out and haunts Vickie Guerrero but Nyla shows no fear. They both rush each other and it’s a brawl to begin. They soon spill outside where Rose tries to take the monster down using the guardrails, before Vickie exposes the turnbuckle and she slams Abadon into those. She goes for a finisher to end it early, but Abadon counters and the fight is back on. Abadon comes back with a Low Dropkick and Enziguri before clotheslining Nyla out. She throws her into the guardrails this time before setting Rose up on the apron, hanging over the ropes. She dives with a Leg Drop but Nyla moves and she lands flat on the mat. Nyla then hits a Guillotine Knee Drop but only gets a two count. She goes for an Avalanche Powerbomb to end it, but Abadon counters into a Super Rana and lifts both legs of Nyla up to pin her down, 1...2....3. Afterwards Nyla pushes Vickie off when she goes to speak with her. Abadon defeats Nyla Rose (12:11) Thunder Rosa vs. Britt Baker (February 10th, Dynamite) A rematch between these two women here as we unfinished business solved. The match starts with a Big Boot from behind by Baker and from there it’s off to the races. Reba gets a cheap shot from outside after Britt Irish whips Rosa and she keeps going. A roll up is kicked out of but she then flattens Rosa once more. Britt takes it outside where she goes to introduce Rosa to the ring post, but Rosa counters and knocks Britt in instead. She now comes back and uses Reba as a weapon, ducking another shot from her so she hits Britt. Rosa takes a dive to the outside into both men and the fight continues. Britt comes back with some shots to the midsection before taking it outside again, hitting a Snap Suplex onto the floor. That is kicked out of as Rosa flips Britt two birds and throws her around. Baker connects an elbow shot to avoid another flying attack, and goes for a Superplex, but Rosa turns it into an Avalanche Fire Thunder Driver to win and advance. Afterwards she raises her hand and wipes her busted lip, looking deep into the hard cam as Baker is down and out. Thunder Rosa defeats Britt Baker (10:59) We see the first segment of Hikaru Shida on this episode, a four part series leading up to Revolution. She is in Japan currently so they are filmed from the Ice Ribbon Dojo. This particular one begins with Shida walking around watching the girls train, and coaching as she looks on. She says in English “they are talented. They will become superstar.” We then move over to a tatami (traditional Japanese room, small with wooden walls, a paper sliding door, no windows etc.) There she sits down and is interviewed about her career with the assist of subtitles. She speaks of her training and relates to the girls she just saw there. She explains how much Ice Ribbon means to her and she’s excited to see their representation in the tournament. It closes with her about her finals days in Japan. She starts to talk about AEW, but it fades out and ends with a “To be continued...” Leyla Hirsch vs. Riho (February 17th, Dynamite) Riho returns to AEW for the first time in nearly a full year and is excited to be back in action, but she’s got some steep competition in her corner. Legit Leyla Hirsch walks out ready to kick some ass and take names, throwing the towel on her shoulders into the crowd as she walks and laughing at Riho. “She’s like the size of Leyla’s leg.” Veda says. Tony jumps to Riho’s defence we’ve seen her topple bigger and badder in AEW before, but we’ll have to wait and see. Leyla starts off dominant as she keeps Riho down with her submissions and MMA holds. Riho on occasions looks to mount a comeback but she keeps being knocked back down. Despite this, she keeps getting back up. Out of nowhere she gets a roll up on Leyla to stun her, before a Dropkick knocks her outside. She then does a Flying Crossbody to the floor! The fight is on. Riho uses high speed to fight against the power of Leyla. Hirsch goes for a dangerous Lariat but Riho ducks and hits a Headscissors into an O’Connor Roll to pin and win. Riho defeats Leyla Hirsch (12:45) After the match, Tony Schiavone tries to grab an interview with Riho about her win and how it feels to be back. She goes to speak, WHEN SHE’S ATTACKED BY TWO WOMEN! Leyla Hirsch walks up and puts both arms over their shoulders, as commentary reveal it to be Killer Kelly and Lindsay Snow! Excalibur says these two women took part in the Bloodsport Women’s Tournament with Leyla Hirsch months ago, and now they’re here in AEW! Leyla hugs them both Andrew all stand over Riho and walk off. We then see the next part of Hikaru Shida’s video series. This time begins with her training with some wrestlers, and giving feedback before we go back to the tatami. She says she thinks the girls can be big once more, and name drops a few in particular that she sees as the best. She’s then asked if they could ever expand out of Japan like herself. Shida then leads this off into saying it’s not an easy thing to do. The girls can do it but she did it herself and it’s tough. She then talks about moving to America about a year and a half ago and how she’s felt, how she’s adapted, and what AEW means to her. She details how much it means to her to be here in America and holding the most important title in the world to her. She set out to break boundaries and prove she is the best to the American audience, and she did, having held the title for 9 months. She’s now observing who’s going to stop her, but despite the immense talent - nobody is like her. Anna Jay vs. Tay Conti (February 17th, Dynamite) Two best friends clash, with Tay Conti and Anna Jay taking part to face in the next round. Tay offers a handshake but Anna looks away to ignore it. This leaves a bad taste in Tay’s mouth but she pushes on. They lock up and it’s intense, until Tay gains the upper hand. She uses her Judo background to dominate until she tries a Tayogoshi. Anna gets out and gets the cut off. She wrestles with a lot of aggression to the point commentary question that these two women are partners. Anna shows no mercy against Tay with some brutal offence. Conti eventually comes back and applies some vicious submission holds. Tay comes back with a Jumping Knee before a Bicycle Kick off the apron. Anna then hits her with a slam onto the apron and keeps the aggression going. In the climax of the match we saw Tay grab hold of Anna by the wrist and cling on, as they fall forward in exhaustion and rest over each other’s shoulders. Tay wraps an arm around and they hug, until Anna hugs back as she slowly lifts Tay up. They stare into each other’s eyes, continuing to breath heavy, ONLY FOR CONTI TO HIT A BRAZILIAN KICK!! PINS AND WINS!! Tay Conti defeats Anna Jay (10:47) Yuka Sakazaki vs. Mei Suruga (February 15th, Super 16) Exclusively on AEW’s YouTube channel, “The Super 16” is presented live from the Ice Ribbon Dojo. Yuka Sakazaki is someone that AEW fans are familiar with from her various matches on PPV and Dynamite. Since her last AEW appearance she has added more muscle, she's expanded her moveset, and she lost TJPW's top title. Mei Suruga meanwhile is one the smallest and least experienced wrestler in the tournament, being one of Emi Sakura’s many students. She managed to get a clean one on one victory over Hikaru Shida right before Shida left Japan. She's a 21 year old prodigy who's status reaches beyond her experience level. She has Riho’s style mixed with Emi’s influence, for a brief summary. This is a high speed match up, a common style in Joshi, as the two women fly around each other with high risk offence. Yuka does a Springboard to the outside, over the guardrail to take Mei out for a good bit. She mounts a comeback and goes for a finisher to end it, but The Magical Girl reverses and pins to advance forward. Yuka Sakazaki defeats Mei Suruga (08:46) VENY vs. Emi Sakura (February 15th, Super 16) VENY is someone some of you might know as Asuka. No not that Asuka, back in Japan WWE Asuka was known as Kana and the woman now called VENY is now known as Asuka. VENY is a favourite of mine. She can do damn near anything in the ring, she's extremely charismatic, and is in her prime as one of the top indie wrestlers in Japan."Veny" was supposed to debut in America during Wrestlemania weekend 2020, but the pandemic put a stop to that. This tournament is going to be her introduction to western fans. Meanwhile Emi Sakura is someone AEW fans probably know after her match with Riho at Full Gear. Since her last AEW appearance, she's been surviving the pandemic in her own little corner of the wrestling world by regularly producing Youtube wrestling shows(ChocoPro). In recent months, she's been slimming down to more of her natural weight which helps her with speed and her noted back problems. She’s now faster and better than when AEW fans last saw her. This is a technical match up with the two women indulging a game of wits, trading submissions and holds. She goes to use her new found quickness but VENY matches ever at that and puts her down to advance forward. VENY defeats Emi Sakura (14:32) Maki Itoh vs. Ryo Mizunami (February 15th, Super 16) Maki Itoh is one of my favourite wrestlers right now and that’s not a joke. She’s the most popular wrestler in the field and someone that Joshi fans have been waiting to see crossover to the west more often for the last couple of years. She's insanely charismatic. She's a limited athlete, but she's an excellent storyteller and shines in singles matches. She’s only worked Mania weekend in the States so far but we’re hoping to see that change. Mizunami then has worked AEW before, but that was such a long time ago that AEW fans have probably forgotten her. She's a veteran with an extremely high level of charisma and she will chop the soul out of you. Primarily a brawler, but also has that charisma to work this kind of match. This is set to be our character matchup as Maki and Ryo square up, with Itoh crediting herself as “I AM DEITY OF SHIT”. She credits “Cornette-san” as her biggest fan. They then go at it. Ryo dominates Itoh until the comeback, when she catches Mizunami out of nowhere with a Flying Hurricanerana to win. Maki Itoh defeats Ryo Mizunami (08:41) Aja Kong vs. Rin Kadokura (February 15th, Super 16) Main event of the evening and it’s looking like a doozy folks. First we have Aja Kong, easily the most legendary name in the tournament. She's 34 years into her career and still going. While we aren’t expecting to see the Kong that was battling Bull Nakano in the 90s, she is still a very smart veteran and she is still willing to taking some crazy bumps in the right occasion. She’s wrestled in both WWF (Survivor Series 1995) and AEW (Double or Nothing 2019) so she’s no stranger to the big stage. Rin meanwhile is most comparable to Shibata. She doesn't have a huge western fanbase, and she's not a big personality, but she's the Joshi version of "a wrestler's wrestler" and is capable of having the best match of the tournament. She comes Marvelous who are basically the Ring of Honor of Joshi. They are more physical and technically sound than TJPW or Ice Ribbon. Rin and Aja have a stiff and brutal matchup with terrifying strikes from the two women. Aja keeps kicking out of what’s thrown at her, not allowing to go down to a younger girl. Aja misses a Senton off the apron and hits the floor which allows Kadokura to win. Afterwards they hug as we fade to black. Rin Kadokura defeats Aja Kong (15:22) Quarter-Finals: Riho vs. Tay Conti (February 24th, Dynamite) Into the quarter finals we go as Revolution is fast approaching, and kicking it off is these two women. Both are top babyfaces, with Conti having just come out of her emotional war with Anna Jay and Riho suffering at the hands of Leyla Hirsch’s squad. They shake hands to begin and we’re set. Tay has expressed interest in wrestling in Japan before, so this is her forte into the Joshi world. Once everything’s back to normal I’d really like to see her hold the SWA World Championship in Stardom, and potentially face Riho again for it. Riho uses her speed to take Tay down, at one point dropkicking her off the apron and she falls into the guardrail, where Anna Jay sits. Anna looks at her coldly as Tay gets back up, ONLY TO BE HIT BY A BACKSTABBER BY RIHO! SHE COVERS AND WINS!! Riho advances forward to the semi-finals, while Conti stares back, equally as cold, at Anna Jay. Riho defeats Tay Conti (07:01) We see the third segment of Hikaru Shida in her tatami speaking of her story. She goes into detail about Corona hitting and being stuck in America, and how she felt about that. She says all that mattered then was the AEW Women’s World Championship. So much stuff was happening back home in Japan in the Joshi world (death of Hana Kimura), and she needed to topple The Beast, Nyla Rose. She describes the match, says it’s the most physical she’s ever been in, describing each painful bump and how after every move she was more worn down. But she refused to lose, and came out on top. Since then she’s carried this belt, and hadn’t dropped it. Despite the level of talent in the Super 16, no one has the talent to defeat her. Abadon vs. Thunder Rosa (February 24th, Dynamite) Last quarter final now, with the winner going on to face Riho in the semi’s. Thunder Rosa - having defeated Britt Baker, and Abadon - having defeated Nyla Rose. Abadon screams at Rosa to begin but she’s unphased, shouting back and the two meet forehead to forehead. They then start trading shots as the match begins. It spills outside where they continue to brawl messily. Abadon hits a Bloodline onto the floor followed by some biting. She goes for a Twist of Hate on the apron, but Rosa counters into a Cutter! They both sell before going back inside. Abadon runs for a Spear but when it’s leapfrogged, she hits a Headbutt and then runs the ropes again. She connects the Spead this time and covers, but it’s kicked out of. They go back outside where they fight up the ramp. Rosa dives with a Double Foot Stomp before they head up to the announce table. They fight there, and Rosa hits an Inverted DDT on it. Abadon rolls into the announcers chairs and lays there. Once back in, Rosa goes for a Snake Sleeper, but Abadon kicks her leg back and fights back. She throws Rosa into the ring post to bust her open. She calls for a Gravedigger, BUT ITS REVERSED INTO A FIRE THUNDER DRIVER!! ROSA PINS AND GOES TO SEMIS!! Thunder Rosa defeats Abadon (16:11) Maki Itoh vs. VENY (February 22nd, Super 16) Heading into the Japan half of the quarter finals, we travel across the Pacific to the Ice Ribbon dojo once more. Itoh talks shit before the bell as VENY stands stone faced wondering what’s she did in a past life to be in the opposite corner of this. She goes to speak about Cornette-san once more but VENY cuts her off and the match has begun. She dominates the early stages until Maki out of nowhere counters a Suplex into a Falling DDT. She hits a Dropkick off the apron and VENY eats shit. Maki applies a Boston Crab, but VENY gets the ropes and flips Itoh out. She big boots her and is back on the offence. They take it to the apron where Itoh goes to pick VENY up, but VENY knocks her down and they roll back inside. Maki goes for a Ito Special but it’s reversed, and VENY goes for a Powerbomb. Itoh reverses that into a Itoh Royale, which is kicked out and they double down with stereo dropkicks. Maki climbs the top ropes for a Diving Headbutt, but VENY quickly runs up and hits a Superplex. She pins and wins to advance forward into the semis. VENY defeats Maki Itoh (09:18) Rin Kadokura vs. Yuka Sakazaki (February 22nd, Super 16) Yuka runs around Rin to begin with, using her quickness to avoid being caught by any strikes or holds. This proves unsuccessful as after running the ropes for a Flying Shoulder Tackle, she’s hit with a stiff elbow in midair to knock Yuka down. This is the cut off as she dominates from this point forward. Rin goes for a Meteora from the middle ropes, BUT YUKA HITS A FRONT DROPKICK OUT OF MIDAIR!! She scales the top ropes and FLIES WITH A CROSSBODY!! KICK OUT! Yuka continues to run circles before taking Rin to the apron. She then jumps from inside, over the ropes, WITH A HURRICANERANA TO THE FLOOR!! The Magical Girl is back in action as she hits a Baseball Slide Dropkick into the railings. She rolls out to grab Kadokura but Rin throws her into the guardrails instead. She takes control back and does a Lala Histro Cradle into a Cross Armbreaker but Yuka gets a foot on the ropes. She manages to rally up for a huge flurry of offence to take Rin down and cover after a Magical Girl Splash, 1.......2......3! She’s going to the semi-finals where she will face VENY. Yuka Sakazaki defeats Rin Kadokura (11:45) We get a live performance from the Itoh Respect Army - Maki Itoh and Mizuki perform live in living colour a rock idol anthem. This gives Yuka a rest before the main event of the evening, the Semi-Finals match between Yuka Sakazaki and VENY. Itoh and Mizuki hype everyone up with the performance ahead of the big match, before the music stops and they leave. That’s when VENY walks out. Semi-Finals: VENY vs. Yuka Sakazaki (February 22nd, Super 16) She walks down menacingly with pure seriousness on her face. There is no fucking around here. She’s winning this tournament. Yuka meanwhile is as happy as can be. Yuka high fives everyone and jumps down in joy. They shake hands, but immediately after the bell rings VENY immediately kicks Yuka down and dominates. Yuka is tired while VENY is relatively fresh having only wrestled the opener. She dominates until it heads to the outside. She goes to slam Yuka into the railings, but Sakazaki reverses and dumps her over. She then hits a Springboard Flying Seated Senton, over the railings, into VENY. She mounts her comeback and hits for the Magical Girl Splash, BUT ITS KICKED OUT OF! Yuka starts having to match VENY’s strikes, as once VENY starts laying them in, Yuka becomes impervious to pain and fights back with her own. It turns into a slugfest here, but after a Diving Double Foot Stomp from Yuka only gets two she’s out of options. VENY capitalises here and looks to finish with a Powerbomb, BUT ITS TURNED INTO A FRANKENSTEINER! MAGICAL GIRL SPLASH! YUKA IS GOING TO THE FINALS!! Yuka Sakazaki defeats VENY (19:21) On March 3rd, Dynamite, we see the final of Hikaru’s segment, starting with her rolling a suitcase while wearing a mask as she walks to her plane back to America. We go back to the tatami where she’s asked about Revolution, and what she thinks of Yuka Sakazaki. She speaks on her before being asked about Riho and Thunder Rosa. She speaks about Rosa and their feud, saying she’s beaten her before though at last years All Out. The interviewer asks about the All Out the year before that. Who did she face then. Did she win? Shida seems insulted by that but keeps going, saying Riho got the better of her. But while she’s spent the past year back home, she made a new home - AEW. And she is now the queen of that home, and no amount of Riho will stop. Riho vs. Thunder Rosa (March 3rd, Dynamite) We’ve reached our American semi-finals, and 5 days after Yuka Sakazaki’s defeat of VENY - Riho and Thuhder Rosa are set to main event Dynamite. On Saturday Night then, the day before Revolution, we will see the Super 16 Finals streamed on YouTube between Yuka Sakazaki and the winner of this match, with the winner going on to face Hikaru Shida at Revolution. The match starts physical and doesn’t slow down. They go to the mat straight away and trade submission attempts. Rosa then dominates until Riho counters out of a corner charge with a roll up only to get two. Rosa punishes Riho using the ring post. Riho fights back though as she flies off the apron and uses speed to keep Rosa down. She goes for a springboard but is caught midair. Rosa then starts to kick the shit out of Riho, striking her repeatedly. It spills to the floor where Riho mounts a comeback, utilising the ring post to her own advantage this time. With Rosa tied up in the post, Riho runs off the apron with a Double Foot Stomp to the back. It goes into back and forth inside the ring, before Riho flies out once more. Rosa is up first and sets up a table, before they go back inside. Commentary note the No DQ on the outside rule. RIHO HITS A DOUBLE FOOT STOMP TO ROSA OFF THE APRON THROUGH THE TABLE!! They’re both out now, but while down, OUT COMES BRITT BAKER!! SHE HITS ROSA WITH A CHAIR! Riho doesn’t notice as she takes her back inside and covers to win! Britt walks off with a smile on her face, and waves at a fuming Rosa. Riho defeats Thunder Rosa (23:41) Finals: Riho vs. Yuka Sakazaki (March 6th, Super 16) The Magical Girl comes down happy as ever, high fiving and hugging fans and running circles around the ring in ecstasy. Riho then comes out in her signature dress and also with an umbrella with the Imperial Japanese Flag designed on it. Both women offer their hands to each other, and both embrace before locking up. A collar and elbow is engaged and maintained, Yuka breaks the chains by connecting a Dropkick, followed by another Basement Dropkick! Riho ducks a Lariat attempt and runs the ropes, performing a dizzying array of spins before landing the Tornado DDT! 1.....2....Yuka kicks out! Yuka runs the ropes and hits a Seated Senton in the centre of the ring. She goes for a cover but Riho kicks out. Riho takes Yuka down with a Half Crab. Yuka winces in pain and cries in agony but throws Riho off her leg. Yuka then hits a Slingblade and rolls to the outside. Riho connects a Baseball Slide Dropkick through the both ropes, before lifting Yuka up and hitting an incredible Deadlift Suplex into the middle of the ring. Excalibur makes note of Riho being 98 lbs so that feat of strength is truly incredible. Yuka connects an Enziguri and begins a Three Amigos. Riho flips out of the last one and hits a Roundhouse Kick followed by Double Foot Stomp! She covers, 1.......2....Kick Out! Riho seems annoyed at this and takes Yuka to the corner. They trade elbows for a bit before Yuka swaps them around and hits a Roundhouse Kick! She then takes Riho to the top turnbuckle. Yuka attempts to hit a Avalanche Butterfly Suplex, but Riho doesn’t move. Riho shoves Yuka onto the apron and Yuka grabs her back in pain. Riho then hits a Diving Double Foot Stomp onto the apron! That receives a holy shit chant as Riho throws her back into the ring and goes to cover. Yuka rolls into a Fujiwara Armbar! She channels her inner Zack Sabre Jr. and begins to stomp on Riho’s head as she has the submission locked in. Riho rolls forward into a School Boy but Yuka kicks out. Yuka rolls back but is met by a Basement Dropkick! Riho then hits a Northern Lights Suplex! She goes to cover but Yuka rolls out. Yuka whips Riho to the apron. She hits a Dragon Screw on the ropes and connects a Baseball Slide Dropkick! Yuka goes for a Half and Half Suplex on the apron, but Riho gets out and hits a Belly to Back Suplex! Right on the hardest part of the ring as Yuka sells the pain. Riho rolls back into the ring, but is met by a Springboard Front Missile Dropkick by Yuka! Yuka then heads to the top ropes and does a magical pose, Diving Double Foot Stomp! 1........2.....KICK OUT!!! Yuka is now desperate and decides, “fuck it”, and begins a frenzy of attacks. Any and everything used. Yuka hits a Running Meteora! She goes for another but Riho catches with an Enziguri and then hits a Running Double Foot Stomp! She picks Yuka up and hits a German Suplex but Yuka lands on her feet; Half and Half Suplex! Yuka hits a Slingblade and begins a series of Daniel Bryan like Roundhouses, with a few yes chants thrown in from the audience. She keeps going until Riho ducks one and hits a Bicycle Knee! Yuka responds with a Bicycle Kick! Riho hits an Impaler DDT!!! She gets the crowd going and goes for an Exploder Suplex, but Yuka counters into a Backbody Drop! Yuka then hits the Exploder Suplex followed by a Pendelum Kick! She takes Riho to the top ropes and goes for an Avalanche Butterfly Suplex! RIHO COUNTERS MIDAIR IN A ROLL UP!! 1......2.....3!!!! Riho is going to face Hikaru Shida tomorrow night for the AEW Women’s World Championship! Riho defeats Yuka Sakazaki (10:17) AEW Revolution 2021: Anna Jay vs. Britt Baker vs. Tay Conti vs. Thunder Rosa - Four-way Match AEW’s Women’s International Eliminator Tournament has come and gone, and with it many women have some grudges held. Thunder Rosa was cost the semi-finals with Riho after Britt Baker interference. This is of course, due to Rosa beating Britt in the First Round. Also, Anna Jay and Tay Conti faced in the First Round where Conti was successful. That drove a wedge between them as we’ve seen. There is enough tension where we need a resolution, and so they’re all put into a match together - whoever is the best comes out on top. The Four-way is made for Revolution, with the winner set to be Shida or Riho’s next challenger in the coming weeks. However before the match, we see Brandi Rhodes come out for the first time in 2 months. She has a mic in hand and says that two years ago there was a similar multi-women match set. That was the during the genesis of AEW. A three-way became a four-way. Now we know how talented of a roster the AEW Women’s Division is, but what if it could be blustered? Well she’s got the perfect solution to that. How could she make this match even more stacked however? Easy answer, add another women. But not just any women...a Virtuosa. So with a little helping hand, she’s secured someone to really put up a fight. Outcomes Deonna Purazzo. The current Knockouts Champion makes her way out and joins the fray. The crowd applaud loudly at the surprise arrival, as this match is now made a Five-way. Immediately the beefing girls go for each other, Britt and Rosa and Tay and Anna. Deonna meanwhile just picks people off, playing it smart and looking for the win. She’s not fuelled by animosity like the rest, she is just being intelligent. We see the rest of the women all take themselves out to the point Britt turns around into a Jumping DDT and Fujiwara Armbar. She taps out and Purazzo wins the match. She takes the mic afterwards and hoists her Knockouts Championship high. “Who’s ready for a Battle of the Belts?” she says before leaving. Deonna Purazzo defeats Anna Jay, Britt Baker, Tay Conti and Thunder Rosa (11:17) Hikaru Shida (c) vs. Riho - AEW Women’s World Championship We’ve seen the whole tournament so far and the mini-doc of Hikaru Shida. It’s the first majorly built AEW Women’s Championship PPV match...ever, so it’s got some expectations on its shoulders. Shida walks out wearing her attire from the AEW video game trailer, pointed out by Excalibur. Riho is just coming off a match from last night while Shida hasn’t wrestled in nearly a month, so she is fully in control early on. She busts out some early signature moves so the audience get a groove of her once more since it’s been a minute. They go outside where Riho starts to come back and from there it’s back and forth. They recreate the finishing sequence that won it for Riho last time, ending with Riho getting a roll up originally, but this time Shida kicks out! They then keep going as Riho kicks out of a few more moves by Hikaru. Riho goes for a Diving Double Foot Stomp, but she’s hit midair and then by a Tamashii no Three Count! KICK OUT!! They keep fighting as Riho once more tries for the finishing sequence that won it for her last time, but this time it ends when Shida lifts her into a Falcon Arrow! 1..............2..............3!! She wins and retains! Hikaru Shida defeats Riho (14:56) We now head into the build for Double or Nothing. However we aren’t all building towards that. See, it’s announced at Revolution a supercard of supercards is set for April 4th. The “Bloodshed Supercard” is coming up, pitting stars from AEW, NJPW, NWA and Impact against one another. The big match advertised is a Lethal Lockdown Match: pitting Kenny Omega, The Good Brothers and Kenta against Jon Moxley and Death Triangle. But also set for the show, we’ll get into detail here. Deonna Purazzo is now the #1 Contender to the AEW Women’s World Championship, and an appearance by her is advertised for the Dynamite after Revolution. She shows up and cuts a typical promo of hers on Hikaru, claiming herself the one true Virtuosa and hyping her credentials. These outmatch everything Shida has ever done, and when they face, she’ll truly outmatch her for all to see. The match is dubbed “Battle of the Belts” after AEW trademarked that. Knockouts Champion vs. AEW Women’s World Champion. Next week Shida goes to speak, but she’s cut off by Deonna. Purazzo attacks her and beats down the rival champion. She tells Shida she should of stayed in Japan, because now she’s crossed the Pacific she’s in HER country. The Virtuosa runs the place here, and she is going to cement herself as the best champion in the entire country - nay, the world. Later in the night when asked about how she felt of the attack, Hikaru says “Next Tuesday. Impact Wrestling. Watch me.” before leaving. Then, on Impact, we see Hikaru come out after a Ten-person Knockouts Tag Team Match. She looks around with her title, and walks over to the captain of the winning team, Kiera Hogan. She shakes her hand and points back and forth between the two. Kiera vs. Shida is sanctioned for next week on Impact. They face, but due to Hikaru now being in Deonna’s house, she makes her presence known with an attack. Part of rebuilding the Women’s division is other feuds need to exist in it, so let’s touch on those. Firstly, Leyla Hirsch and her new stable, dubbing themselves “Bloodsport” have made an enemy out of Riho. The two face with the stipulation that the winner will face Serena Deeb for the NWA Women’s Championship. Hirsch wins after making Riho tap. Then in her match with Deeb, a returning Allysin Kay comes out and interferes. Deeb rolls up with her distraction. Leyla doesn’t attack Kay however. After all, she was the fourth women in that Bloodsport tournament along with Hirsch, Kelly and Snow. They offer her a spot but Allysin declines and says she just wants that NWA Women’s Championship back. A Three-way then is made, which ends with Kay pinning Deeb. She gets her title back, and afterwards, offers an embrace to Hirsch. Snow and Kelly get her to accept. Bloodsport pose together with Allysin Kay now in their rankings, but tension between her and Hirsch is clear after Kay just took the title she’s been craving for weeks. However, they’re now a unit. Also, Anna Jay and Tay Conti. Anna takes a leadership role in The Dark Order as her and Conti slowly start patching things up. They both agree they got lost in the tournament and were drunk off the thought of glory. They hug it out and walk out together. Then, Thunder Rosa and Britt Baker. The first thing we see on Dynamite after Revolution is Thunder Rosa brutalising Britt Baker. She destroys her. She kayfabe reinjures her and puts her back on crutches. Britt doesn’t wrestle after this but has a vendetta against Rosa, and Rosa is likewise. The women all have feuds, with only one revolving around the title, and they actually get TV time on Dynamite. It’s basically just what AEW do with the guys, but the gender is changed. That’s literally how you do women’s wrestling. Bloodshed Supercard: Deonna Purrazzo vs. Hikaru Shida - Battle of the Belts The singles match main event of the show, it’s the heavily anticipated “Battle of the Belts.” Shida is out first, wearing a kimono and carrying her own umbrella to the ring. She twirls it around at the hard camera in a optical illusion before walking down. Deonna is out afterwards and the Virtuosa walks with purpose, hoisting her title over Shida’s head. Hikaru hoists hers up and they meet forehead to forehead. The match the begins. Shida and Deonna trade goods and submissions on the mat before it goes outside and gets physical there. Purrazzo uses the guardrails and ring posts, before taking it to the apron. Shida hits her with a Superkick and runs the ropes inside the ring, dropkicking Purrazzo into part of the set. Once back up they have some stiff back and forth with a lot of shots and strikes to knock the other down. Both women keep kicking out however. We see many moments when Hikaru looks like she’s about to tap but resists and keeps fighting. They head outside once again where Deonna hits a Backbody Drop onto the floor. Once back inside, Shida hits a Falcon Arrow into a Tamashii no Three Count to win. Afterwards her and Deonna resiliently shake hands in respect. Hikaru Shida defeats Deonna Purrazzo (25:10) Heading out of Bloodshed Supercard, Britt Baker and Thunder Rosa are still battling it out. Britt is set to return to action on the April 14th edition of Dynamite, where she will face Rosa in a No Disqualification, No Countout Match. It’s a brutal bout with Britt showing the aggression she did in her Tooth and Nail Match on Rosa. She ends up winning after a chairshot and kendo stick assisted Lockjaw makes Rosa pass out. Meanwhile, Hikaru Shida continues her trail of dominance over the AEW Women’s division. She’s earned the respect of Deonna Purazzo’s who’s gonna back off to Impact. Shida cuts a promo in English after the match saying she wants more of the Knockouts, and they are an amazing group of girls. She once again faces Kiera Hogan, this time on Dynamite, with interference banned. They have a clean bout that ends with Shida once again winning. They shake hands afterwards. This is Hogan’s first AEW match and she makes a big splash, but comes up short. Next in line is Nyla Rose, who is still with Vickie Guerrero but their relationship is going very sour. Nonetheless, as we approach a year after Hikaru took the belt from Nyla, they’re set to face one more - this time it’s 2 Out of 3 Falls. It’s an excellent bout that ends with Shida winning by falling onto Nyla after the two basically kill themselves. Nyla the next week cuts a promo on Shida, saying she wants one final shot, and if she loses - she will never challenge for the title while Shida is champion again. This is when Britt Baker gets involved and puts her stamp on the picture. She limps down on a crutch as that match with Rosa as temporarily hurt her again. She cuts a mini promo of her own, before blasting Nyla with the crutch. A #1 Contenders Match is set up, with the winner going on to face Hikaru at Double or Nothing. Britt wins after a very hard fought and brutal contest. Afterwards, Tony Schiavone comes out and reads a letter from Brandi. She congratulates both women on the incredible match. She then announces Nyla as the first women to take part in the AEW Women’s Casino Ladder Match at Double or Nothing. In the final weeks before Double or Nothing, Britt cuts some very passionate promos about the struggle she’s went through to even become a wrestler, and as soon as she became the best thing in this company she was injured. But this time, nothing is going to stop her. She’s not going to be hindered by dentistry, not by trying to being a good guy, and not by injury. She will be victorious. Reba is banned from ringside, as if she gets involved Britt automatically loses. Baker is now fuelled by anger as she wants to take down the unstoppable Hikaru Shida. Then, our other stories. Well the premier one is the aforementioned Women’s Casino Ladder Match. Once more it’s decided there’s too much beef amongst the AEW Women’s division, so Tony Khan’s solution is to throw nine of them into a ladder match, and whoever isn’t dead by the end gets an AEW Women’s Championship shot. And just like last time, there will be a mystery participant. Women gradually get announced via AEW’s Twitter, with Nyla Rose as the first on TV before they slowly start adding names to the field, like they did last year. Anna Jay and Tay Conti are announced together, Serena Deeb, Leyla Hirsch, Riho etc. Thunder Rosa and Abadon face once more after their epic match in the Super 16. Abadon hits a Spear into part of the stage which takes them both out and it goes to a double countout. Both women are then put into the match, with the ninth women remaining a mystery. Double or Nothing 2021: Abadon vs. Anna Jay vs. Leyla Hirsch vs. Nyla Rose vs. Riho vs. Serena Deeb vs. Tay Conti vs. Thunder Rosa vs. ??? - Women’s Casino Ladder Match Serena Deeb and Nyla Rose start it off hot, Nyla trying to dominate but Deeb using her strength to counteract. Tay Conti comes in and her and Deeb come to a babyface arrangement to take the big women down. Thunder Rosa follows suit and starts to mix it up with everyone. Leyla Hirsch, Anna Jay, Riho and Abadon all come out and continue the fight. It’s multi-man chaos, with each women sabotaging the other from getting that poker chip. They all want the prize. Killer Kelly at one point tries to walk down and help out Hirsch, but Riho valiantly takes her on and brawls with her to the back. She then dives off the stage with a Crossbody into Lindsay Snow and Killer Kelly. Allysin Kay comes out and puts her through a part of the stage to take her out. Riho comes back, freshly bruised by Kay, and looks to climb the ladder, but Anna Jay pushes her down. She then starts to taunt and mock the 9th and final entrant while she waits for them to appear...and it’s RETURNING KRIS STATLANDER! Statlander comes in and wrecks house; takes out all the people involved while the action continues. Abadon lets out a mighty scream as she goes to climb the ladder. Tay and Anna push her off and meet at the top. They then start throwing shots at each other. They all fall under Thunder Rosa pushes them off and climbs up, grabbing the poker chip and holding it high it in triumph. She now with a future AEW Women’s World Championship match locked in. She takes the mic and tells Hikaru “good luck - you’ll need it.” before dropping it and heading to the back. Thunder Rosa wins the Women’s Casino Ladder Match (16:35) Hikaru Shida (c) vs. Britt Baker - AEW Women’s World Championship Baker comes out without Reba for the first time in a long time, pure determination on her face to succeed. Both women put their heart and soul into the match, pouring every last bit of fight they’ve got in. Britt gets a Lockjaw in near the end and refuses to let go when Shida grabs the ropes. The ref has to physically pull her off, ONLY FOR SHIDA TO HIT ONE FINAL TAMASHII NO THREE COUNT!! She pins and wins. Hikaru Shida defeats Britt Baker (10:21)
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