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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
  1. XO.
  2. House of Balloons.
  3. Thursday.
  4. Echoes of Silence.
  5. Trilogy.
  6. Kiss Land.
  7. King of the Fall.
  8. Beauty Behind The Madness.
  9. Starboy.
  10. My Dear Melancholy.
  11. 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.

House of Balloons.

Didn't wanna make this NSFW, so here's the super clean edited cover
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.

Valerie on the cover
Welcome to the other side. (Life of the Party)
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.

Echoes of Silence.

Diana on the cover
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.

Rolling Stone video doubled as a shoot
You don’t know what’s in store. (High For This.)
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

Kiss Land.

Iconic
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.

King of the Fall.

King of the Fall 2020 cover (even though I talk about three other songs here)
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

Beauty Behind the Madness.

I can hear this image
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

Starboy.

Filled with bops
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.

My Dear Melancholy.

Note the comma
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.

Talented, Brilliant, Incredible, etc.
My darkest hours. (After Hours)
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
submitted by AHSWeeknd to popheads [link] [comments]

Album of the Year #24: Run The Jewels - RTJ4

Artist: Run The Jewels
Album: RTJ4
Date Released: June 3rd, 2020
Listen
YouTube
Spotify
Tidal
Apple Music
Artist Background
The duo consisting of Atlanta rapper Killer Mike, and legendary underground produceMC El-P, known together as Run The Jewels, originally came together as a result of Adult Swim executive Jason DeMarco who introduced the two in 2011. After his 2011 album PL3DGE peaked at #115 on the US charts, Killer Mike told Jason that he wanted to make his own AmeriKKKa’s Most Wanted. Jason informed Mike, “If you want AmeriKKKa’s Most Wanted modernized, the only producer I know who comes close to the Bomb Squad-level of production is El-P”. The duo’s chemistry was immediate, as El-P went on to produce all of Killer Mike’s 2012 last solo album R.A.P. Music, and Mike featured on El-P’s final solo album Cancer 4 Cure. Mike and El’s respective albums released within a week of each other in May 2012, and the two embarked on a twenty-city US tour in the following months. After returning from tour, the pair had found a friendship growing between themselves, and made the decision to put other projects on hold and focus on the chemistry that had been sparked. Recording at an upstate NY studio beginning in April 2013, the duo re-appropriated the phrase “Run The Jewels” from the LL Cool J track “Cheesy Rat Blues", and released their self-titled collaborative album, for free via digital download, only a mere 2 months later in June 2013.
36” Chain vs. Pistol & Fist
Run The Jewels discography currently exists in a distinct pairing. With Run The Jewels as their debut, this record set the group's tone as a light-hearted, braggadocious duo with as much confidence in their abilities as swag in their punchlines. Just over a year later, the sequel Run The Jewels 2 took the foundation set from their freshman effort and dialed the insanity up to 11. RTJ2 pushed the boundaries of their aggression and flows to new heights; with incredible energy in their verses, and absolutely impeccable beats, blending El-P’s signature industrial sound with sharp synth arpeggios, chopped Zach De La Rocha vocals, and absolutely bonkers Travis Barker drums.
It was then nearly 3 years before Jamie and Mike followed up their breakout RTJ2, with Run The Jewels 3 being released again ahead of its scheduled release date via free digital download, this time on Christmas Eve 2016. Instead of these two attempting to outdo the pure insanity and in-your-face attitude found in their predecessor, Mike and El decide to evolve themselves as a group. The duo had noticeably pulled back on the swag and dick jokes which made such a splash on RTJ2, instead choosing a more subdued, electronic approach to their beats, as well as a clearly stronger political approach in their lyrics. This change in sound and style is demonstrated in the album cover’s artwork. The first two records featured the distinctive RTJ “Pistol and Fist”, with the fist tightly gripping a chain. The chain, in my opinion, represents the swag and braggadocio that drove the aggressive nature of their first two albums. In RTJ3 the chain is removed, leaving only hands that have transformed from bleeding and bandaged, to a pristine gold.
This brings us to early 2020. It’s been nearly 4 years of living in a post-Trump America, and El-P announces that Run The Jewels fourth record has been completed. Mike and El live-stream the first single “yankee and the brave” on Instagram on March 22nd, 2020. Lyrically and sonically, RTJ4 exists as the successor to Run The Jewels 3, with Mike and El again taking the good from their previous effort and launching it into the creative stratosphere. El-P’s beats are again leaning towards the synthetic, electronic side, this time with the intensity dialed all the way up to 11. From a lyrical perspective, RTJ takes the politically-charged lyrics from their predecessor, and again, up the ante, laying down some of the hardest hitting and politically poignant bars either of these two have ever spit.
Album Review
2020 was a year that none of us will soon forget. An unprecedented global health crisis kept the majority of us inside for months at a time. RTJ4 was announced on May 12th, 2020, with a release date slated for June 5th, 2020. However, with 2020 as the gift that won’t stop giving, the end of May was highlighted by the unjust killing of George Floyd. The phrase heard around the world, “I can’t breathe” instantly became a rally-cry for the oppressed to finally take to the streets to demand systemic police reform, as Floyd’s death was not the first time this phrase was uttered in an unjust police killing. In fact, a 2020 study by the New York Times showed that at least 70 people have died in police custody after using the same phrase over the past decade. As millions of American’s began organizing protests and demonstrations in the wake of Floyd’s death, Run The Jewels made the decision to release their latest chapter two days ahead of the scheduled release. El-P tweeted, just minutes ahead of the drop, “Fuck it, why wait. The world is infested with bullshit, so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love”. In line with all past Run The Jewels releases, the album was made available for free digital download, two days ahead of its scheduled release date, on June 3rd, 2020.
THE RETURN (we don’t mean no harm but we truly mean all the disrespect)
RTJ4 opens with the first single, “yankee and the brave (ep. 4)”. Using the team names from their respective hometown baseball teams, Mike and El use the opening track to prove that they’re not just a hip-hop duo, they’re brothers, for better or worse. El-P kicks this installment off with rapid-fire, machine-gun esque snares, matching Killer Mike’s aggressive flow and tightly packed rhymes, before El jumps in to trade some dense rhymes as well. Mike and El depict themselves as outlaws, with Mike surrounded by cops with only one bullet remaining. He contemplates suicide instead of allowing the police to take him alive, until El-P jumps back in, offering Mike a way out, with a getaway car waiting outside. This tense situation is depicted lightheartedly in this song’s music video, which was released via Adult Swim and features the duo animated.
The trade-off between Mike and El’s short verses are reminiscent of late-80’s EPMD flows, while the production sounds like boom-bap that’s been sent to us from the future. This distinctive blend of old-school rap roots and forward thinking production is what continues to separate Run The Jewels from absolutely all of their contemporaries. While so many artists are continually playing catch-up with the latest trends, RTJ are side-stepping the trendy and moving forward with the mind-bending.
FLEXIN’ (ayo one for mayhem, two for mischief)
The second single “ooh la la” samples a Gang Star track "DWYCK (feat. Nice & Smooth)" as the basis for the chorus. I say “samples” as that’s how it is credited in the album’s liner notes, however it’s truly an interpolation of Greg Nice’s bar, slowed down slightly, and sung by El-P and Greg Nice himself. El-P is a true old-head at heart, and it’s abundantly obvious in his work, even going as far as to recruit legendary producer DJ Premiere to handle the scratching on the back end of this banger.
Out of key piano chords are looped to quickly create an unsettling aura surrounding the track, before El-P’s voice cuts through the infectious piano like a whip. Pounding, up-tempo drums are introduced after the chorus’ first iteration, creating what is possibly El-P’s first danceable beat. Lyrically, Mike and El-P initially seem scattered on this track, however the music video quickly makes their point very obvious.
”we imagined the world on the day that the age old struggle of class was finally over. a day that humanity, empathy and community were victorious over the forces that would separate us based on arbitrary systems created by man.
this video is a fantasy of waking up on a day that there is no monetary system, no dividing line, no false construct to tell our fellow man that they are less or more than anyone else. not that people are without but that the whole meaning of money has vanished. that we have somehow solved our self created caste system and can now start fresh with love, hope and celebration. its a dream of humanity’s V-DAY… and the party we know would pop off.”
The video envisions a society celebrating the fact that the class system we currently exist within has finally imploded. Money is worthless, and we have rejected the desire to bind ourselves to the constraints of capitalism. All creeds and colors unite to burn the system that has so effectively controlled us for over a century. It’s a party, and if there was a song to celebrate the end of the world as it is currently known, “ooh la la” is that song.
Mike’s last verse features a few metaphors and comparisons celebrating the destruction of capitalism, saving the most poignant for last:
I used to love Bruce, but livin' my vida loca
Helped me understand I'm probably more of a Joker
When we usher in chaos, just know that we did it smiling
Cannibals on this island, inmates run the asylum
Premo’s expertly cut scratches lead us into the equally hard hitting sample flip of “Misdemeanor”, by Foster Stevens as the basis for the beat to “out of sight”. Lending yet another nod to the old-school greats that laid the foundation for RTJ, “out of sight” samples the same track as The D.O.C.’s “It’s Funky Enough”, only adding a bouncy, electronic synth atop the inverted chord hits, and uptempo, industrial drums, to create an absolutely infectious groove for Mike and El’s dynamic chemistry to shine, rapidly jumping between each other’s two line flows in the first verse.
“out of sight” shows each MC providing insight into how each of them earned a living and achieved their current status. Mike and El’s opening verse each details themselves robbing people in order to eat. El alludes to the fact that he crossed his accomplices in crime for the whole bag, while Mike details the fact his assailant tells him it’s an “honor” to be robbed by his mother’s only son.
While El-P’s production is the obvious stand out on first listen, Killer Mike comes through with one of the most sonically pleasing and technically proficient verses of 2020.
We the motivating, devastating, captivating
Ghost and Rae relating product of the fuckin' '80s
Coke dealin' babies, never regulating, bag accumulating
It would not be overstating to say they are underrating
The pride of Brooklyn and the Grady, baby
We don't need no compliments or confidence
Our attitude and latitude is "fuck you, pay me"
The dense, intricate rhyme schemes smack you in the face, almost distracting you from Mike’s delivery and blistering flow on the verse; flexing his legendary status while paying homage to his drug-dealing past. This absolutely stunning display of technical skill, story telling, and complex rhyming illustrates how RTJ seamlessly integrates the best of both old school and new school hip-hop.
“out of sight” also features a guest verse from 2 Chainz, and he continues to lay the braggadocio on thick. Considering Tity Boi’s dedication to trap stylings, his verse feels right at home on the flex track, despite it’s late 80’s tribute sample, a considerable departure from his usual sound palette.
Up until this point, I haven’t mentioned any of the El-P’s lyrics specifically. El-P is a great rapper, but Killer Mike… Well, Killer Mike is an incredible rapper. He’s the guy who draws you in. El-P is the one who lays the foundation for greatness and Mike is the show stopper, and that’s generally the case for most RTJ tracks. But on “holy calamafuck”, El-P seems determined to make people stop and ask, “Who the fuck is this?!”.
A sharp, yet nearly minimalistic drum kit backing a heavily distorted synthesizer melody lays beneath rhymically knocking cow-bells. This aggressively set stage allows Mike and El to flex as the dynamic duo they are, until the beat suddenly takes a turn for the chaotic. A gnarled, ultra-menacing synth overtakes everything while Mike screams into the abyss, until a distorted snare, enormous 808s, and skeletal hi-hats cut through and launch the beat switch into another dimension. The minimal, yet incredibly dark soundscape allows El-P to snap in a way I have never heard from him previously. His rhymes schemes are reminiscent of an old MF DOOM lyric notebook, while his topics flawlessly combine flexing, psychedelic use, and his well-cemented legacy in the hip-hop community. Cutting and pasting a few of his bars into this review could not convey a fraction of how stunning El-P’s performance on “holy calamafuck” is.
Slightly later in the track list, making liberal use of the Ether song “Gang of Four”, “the ground below” samples and loops the sharp guitar riff and adds aggressive, pounding drums as the basis for the beat; this is finally reminiscent of the forward-thinking, stridulous production El-P has built his reputation on. Capitalising on the classic RTJ moment, Mike and El both flex in their own unique ways. Mike compares himself to Godzilla taking on Tokyo, and El-P demands respect for his name as the legend he is, threatening to smack dying children for mispronouncing his name with his middle finger to the world; his complete disregard for human life and confidence in his abilities are summed up at the end of his verse.
You see a future where Run the Jewels ain’t the shit
Cancel my Hitler-killing trip
Turn the time machine back around a century
SO¢IAL JU$T-ICE (until my voice go from a shriek to whisper...)
While the first few tracks aren’t without their social and political themes, the back-end of RTJ4 is where Mike and El start to bust out the heavy topics. “goonies vs. E.T.”. starts off light, with El-P pointing to the irony of how once he finally started to make it “big” in the industry, the world began to descend into chaos due to climate changes, increasingly obvious social injustice, and political madness. He culminates his frustration with our disregard for the Earth with a fantastic quotable.
Fuck y’all got, another planet on stash?
Far from the fact of the flames and our trash
That is not snow, it is ash, and you gotta know
The past got a wrath, it’s a lover gone mad
Mike’s verse takes the light-hearted frustration expressed by El-P, and turns the aggression to the next level. Aiming his sights against the ruling class and their society that’s been designed to oppress people for profit, who have very meticulously painted themselves as celebrities and idols to the American public. Mike accepts that he will be villainized by these people for speaking against them, but he welcomes the nefarious role, knowing that the working class will eventually eat the rich, no matter how much they are stomped into the dirt.
And this is just the warmup.
If it’s possible for a song to represent a moment in time that captures the absolute shit storm that has been 2020, “walking in the snow” is that song. It’s release coincided perfectly with the protests for George Floyd which were sweeping the nation. Killer Mike’s verse directly references the phrase “I can’t breathe”, the last words of Eric Garner, which also happened to be the last words of Floyd as well. The fact that this verse was reportedly written in November 2019 perpetually underscores the importance of the content and perfectly represents how persistent this problem is. “walking in the snow” is a true encapsulation of both a defining moment in time and an ever-persisting issue.
But he doesn’t just stop at the racial injustice. Mike goes on an absolute rant about the American education system; how it’s not designed to teach people, but to discriminate against poor populations, limiting their legitimate opportunities, and therefore disproportionately leading them into a criminal lifestyle. He calls out the media as fear-mongers, and the apathy of the American public in the face of indecency. Fortunately for Mike, by the time we finally had the chance to hear this masterpiece, we were already on our feet, using this album as a war cry to mobilize against a tyrannical government that militarized against its own citizens simply for asking that we recognize systemic racism and demanding change. Killer Mike has the best verse of the year, no doubt in my mind.
The only drawback is that Mike’s verse is so fucking good that it completely overshadows El-P’s, which is also amazing. A menacing guitar riff and haunting synths kick the track off into a bouncy groove, where El-P unleashes a flurry of internal rhymes that does not relent for about half his verse. Even adding layers of social commentary within the densely packed bars, El refuses to quit and continues on his political tirade; criticizing ICE’s detainment center practices and the “pseudo-Christians” who support them, with a bar that now lives in my head:
Pseudo-Christians, y’all indifferent, kids in prison ain’t a sin? Shit
if even one scrap of what Jesus taught connected you’d feel different
what a disingenuous way to piss away existence, I don’t get it
I’d say you lost your goddamn minds if y’all possessed one to begin with
The combination of two of the best verses spit by any rapper(s) this year and production help from El-P and long time RTJ collaborator Little Shalimar, create a bouncy, aggressive, deeply truthful banger. “walking in the snow” not only encapsulates the crux of 2020 with lyrics that will become more powerful as they age, but will also forever be associated with the Black Lives Matter movement and the determination to expose continuing racial and societal injustices.
The sonic palette of RTJ4 holds an extremely unique place in El-P’s discography. Jamie is the definition of a self-made 90’s hip-hop legend. This is the dude who put New York underground hip-hop on the map with Company Flow, and he did it with his unique flavor of dark, noisy, dense, boom-bap. Whether he was doing it with the help of Rawkus, or completely independently during his Definitive Jux run, El-P has never made music with the intention of becoming famous. Funcrusher Plus, Fantastic Damage,I’ll Sleep When You’re Dead, and Cancer 4 Cure are all highly revered as industrial, technical, abrasive, and completely unsuitable for the radio or a party. The fact that three songs on RTJ4 could easily be heard on the radio, at a party, or in a TV series credits scene is frankly, astounding. In a 2002 interview/documentary on El-P’s budding record label Def Jux, he stated that his friend bet him $500 that he could not make a beat that was “happy”. At the time of the interview, El-P said that he had not won that bet yet. While I might not qualify the beats on RTJ4 as “happy”, if you showed El-P the beat for “JU$T” in 2002, I believe he might have won that bet.
Pharell opens “JU$T” with the pre-chorus, spitting varied examples of how we’re all slaves to our current system throughout the track, over echoing snares and bouncy 808s before bright synth chords and up-tempo hi-hats burst in while Killer Mike delivers the chorus, pointing to the fact that the majority of the people featured on American currency owned slaves at one point in their lives. Mike’s verse touches on the fact that he has committed crimes to get where they are today. Mike is publicly open about his past as a drug dealer. So why is he a criminal, but Benjamin Franklin isn’t? These are the people who built our country, and they built it on the backs of slaves. He illustrates this theme with a more recent examples:
You believe corporations runnin marijuana? Ooh (how that happen?)
and your country gettin ran by a casino owner (ooh)
pedophiles sponsor all these fuckin’ racist bastards (they do)
When corporations are able to sell cannabis legally, but the government continually incarcerates people who trap, our president is a notoriously fraudulent businessman, and the people who helped put him in power run a pedophile ring, yet none of them face consequences and are allowed to continue to profit and remain in power while people suffer; well, we might be closer to slaves than previously imagined.
Rage Against The Machine frontman Zach de la Rocha also makes his mandatory feature appearance at the end of “JU$T”. As the only artist to feature on three Run The Jewels albums, Zach is essentially an unofficial member of the group at this point. His fiery verse is spit with the same “Rage” energy that set him apart in the mid-90’s, ending the track questioning his place in a capitalist society as a recipe for his inevitable demise, since his “breath”, or art, as his weapon to express himself is still being exploited for other’s profit.
Continuing with RTJ4’s heavily synthetic sonic palette, “never look back” features wavering synth leads resting above the slow-jams snappy snares and thumping bass, while a haunting voice echoes in the background. This unsettling aura provides additional gravity for Jamie and Mike to continue self-reflecting on defining moments in their childhood, and as well as how far they’ve come from those moments. Mike and El are both self-made men, and while they have a certain fondness for those gritty moments that defined them, moving forward in life is undoubtedly more important.
Skeletal drums reminiscent of a slowly pounding heart opens “pulling the pin”, before rhythmic hi-hats and textured, watery synths fluttering in the upper register resting above a bouncy synth lead, and punchy 808s, burst in. The track digs itself into a slower, marching groove and shows the duo figuratively doing exactly what the title implies. Painting a portrait of a society that has turned on itself, Mike and El are ready to pull the pin and start over.
The duo both detail their despise for the ruling class, pointing out multiple examples of how the elite have designed our society to keep poor people in their class. Simultaneously recognizing their own hypocrisy for profiting in a system that inherently discriminates; Mike reflects on his own success, knowing that living the lifestyle he enjoys is one built on oppression, and expresses the guilt that has caused him. El-P opens with a brutal metaphor for police, implying that they’re the root cause of the “wretched state of danger” our society exists within, and that the only effective corrective action is to numb yourself with drugs. Despite his advice, Jamie knows this is not a permanent solution, but one that causes more self-inflicted wounds.
The final piece of the puzzle that is RTJ4, “a few words for the firing squad” begins to close the album with ever crescending strings, and loud, thunderous drums which never seem to resolve, continuing throughout their verses. While the drums that lead to nowhere can be sonically unpleasant, the unresolved melodies are intentionally representative of their current mindsets. Their verses are reflective and grim, but simultaneously optimistic and envisions a world where tragedy is a less common occurrence.
El is grateful for what he has now but recognizes his entire life has been skewed by traumas, so out of place feels normal for him. He reflects on his current success, noting that the worst people tend to end up with the most, which makes becoming “rich” something not as desirable as it once was.
Mike opens up about the death of his mother who died while he was on an airplane, admitting his struggles to not cope with his trauma with opioids. However, his wife provides him the most important reason to stay clean “but my queen/say she need a king/not another junkie rapper fiend” while a heartbreaking saxophone solo highlights the gravity of his lyrics.
The track ends with what sounds the like wrap-up voiceover to a TV show, a conceptually satisfying ending, as the opening track “yankee and brave (ep.4)” began with El-P stating:
”This week, on Yankee and The Brave”
This voiceover paints the duo as brothers on the run from the law and crooked cops, and while this does close this “episode” out as intended, the critic in me is bothered by the slightly kitschy outro to such a spectacular album. The voices singing over and over, “Brave, brave, braaaaaave, Yankee and the Brave” would be, simply put, better left on the cutting room floor. The ending of this track alone is what knocks my score of this album down a few points. Despite its stellar lyrical content, with drums that never seem to reach that “holy shit!” moment, and the easily skippable outro, it’s upsetting to me that an album this great ends on such a low note.
Overview
RTJ4 is by far my favorite album of the year. El-P’s cutting edge approach to their sound, blended with lyrical content that continues to be more relevant by the day, the duo have come together with what is objectively their most accessible album to date. RTJ4 is the natural evolution of sound and subject matter for the duo; taking the foundation set by Run The Jewels 3 and evolving it into a more concise, more accessible, and more conceptual album. While I still personally prefer the “fuck the world” intensity and experimental nature of Run The Jewels 2, RTJ4 opens themselves up to a whole new world of exposure, and when you’re as talented as these two, you know they’re going to capitalize on it. RTJ is currently at their apex, and they’ve created an album that will make many new life-long fans going forward.
9.2/10
Discussion Points
  • How does this compare to other RTJ releases? How about in comparison to the member’s solo works?
  • Does the overwhelmingly positive critical reception of this album surprise you?
  • How will this be looked back on in 5 years?
  • What are your favorite lyrics?
submitted by jordanbeff to hiphopheads [link] [comments]

"I think I've lived long enough to see competitive Counter-Strike as we know it, kill itself." Summary of Richard Lewis' stream (Long)

I want to preface that the contents of this post is for informational purposes. I do not condone or approve of any harassments or witch-hunting or the attacking of anybody.
 
Richard Lewis recently did a stream talking about the terrible state of CS esports and I thought it was an important stream anyone who cares about the CS community should listen to.
Vod Link here: https://www.twitch.tv/videos/830415547
I realize it is 3 hours long so I took it upon myself to create a list of interesting points from the stream so you don't have to listen to the whole thing, although I still encourage you to do so if you can.
I know this post is still long but probably easier to digest, especially in parts.
Here is a link to my raw notes if you for some reason want to read through this which includes some omitted stuff. It's in chronological order of things said in the stream and has some time stamps. https://pastebin.com/6QWTLr8T

Intro

CSPPA - Counter-Strike Professional Players' Association

"Who does this union really fucking serve?"

ESIC - Esports Integrity Commission

"They have been put in an impossible position."

Stream Sniping

"They're all at it in the online era, they're all at it, they're all cheating, they're all using exploits, probably that see through smoke bug got used a bunch of times"

Match Fixing

"How many years have we let our scene be fucking pillaged by these greedy cunts?" "We just let it happen."

North America

"Everyone in NA has left we've lost a continents worth of support during this pandemic and Valve haven't said a fucking word."

Talent

"TO's have treated CS talent like absolute human garbage for years now."

Valve

"Anything that Riot does, is better than Valve's inaction"

Closing Statements

"We've peaked. If we want to sustain and exist, now is the time to figure it out. No esports lasts as long as this, we've already done 8 years. We've already broke the records. We have got to figure out a way to coexist and drive the negative forces out and we need to do it as a collective and we're not doing that."

submitted by Tharnite to GlobalOffensive [link] [comments]

My point of view about New Canada

Canada is now a strange country, and most Canadians seem to be socialists. As in all socialist regimes, Canadians love collective repression and are generally against any form of individual freedom. They believe that for quality service government must spend their money, so it costs 10 times the regular price… when at the end of the day the service they receive is always of very poor quality. And even though the most of their schools and hospitals are poorly managed, they believe they are very lucky that their government is providing this service for them while they are just getting robbed.
Mass media justice
Canadians are against justice; they prefer to keep all legal procedures secret so that their system looks good even when it is wrong. Instead of listening to both sides and forming an opinion in a dispute, Canadians prefer to rely on the story the medias tell them, which often has as their sole source official press releases from the justice system or the police. Canadian medias are funded by the government and only exist in metropolitan areas. The events that occur in the suburban areas are non-existent in media coverage. They do not do any investigative work since a journalist’s duty is limited to writing 750-word texts on a subject given by the publisher. The topics of the day are oriented by the government which dictates the news with its new policies, while the media only serve to relay its message. Most of the time, journalists who share the socialist ideology becomes columnists and their main mission is to influence people to perceive things in the way the government have perceived them. The medias deliberately put forward liberal columnists to push their good relationship with the government.
The end of Canadian capitalism among political corruption
Canadians dream of a great social reset to bring down the capitalist system. Canada is in the process of voluntarily destroy its economy by closing every business and location with audiences, including basic needs like getting a haircut or go to a gym. The only shops that do not close are grocery stores, there citizen's control is tightened to the point of having to be told where to walk or not. In more remote areas, small grocery stores are running out of food because they do not have enough money to adequately fill the shelves. As Canadian commercial laws are very strict, stores must throw away their food after a date decided by the government even when it is still good. Several other parameters are controlled like the number of employees required to operate. Canadian taxes are also very high, making it is impossible for a local store to make a profit that is worth it. Local entrepreneurs manage to live off their debts, until the revenue agency eventually finds minor irregularities and initiates proceedings that typically shut down businesses. Canadian revenue officers have an interest in destroying businesses, because the government gives them bonuses based on the number of cases they initialize. The Canadian government monopolizes all criminal sectors of the economy such as alcohol, casinos, lottery and even weed. Because Canada has an anti-monopoly law, the government is breaking its own law to indirectly monopolize other sectors of the economy such as the internet, telephony, communications, factories, real estate, electricity, public transports and so on. In the manner of a communist country, the Canadian government is a shareholder in most companies that offer these essential services. The government is therefore passing several laws that unfairly favor its competition against small Canadian businesses, for example by setting fixed prices, which makes these American companies even richer in a trade of political favors.
Canadian politicians have a lot of power and are deeply corrupt. The country is basically ruled by two parties that are exactly alike, except one seems dumber and less dishonest than the other (you choose which one). Most of the Canadians' money is wasted to give all kinds of contracts to these big companies which, in return, use their resources to win elections and support the government in its measures. Obviously, the prize for the worst service and Canadian monopoly goes to health care. Health care is by far the biggest budget in Canada. Ever since we are into pandemic, they are the worst G7 country in the race for vaccination by far last in terms of quality of care. Health Canada voluntarily chooses not to follow the manufacturer's protocols to inflate the statistics on the number of people vaccinated and Canadians think this is a great idea. In their strategy, they also waste the little amount of vaccine they have on the elderly who are going to die soon anyway and on the indigenous communities.
Canadian sociology
Canadians are deeply racist and politically believe that testing vaccine on indigenous people is in fact a humanitarian act. The first line of this country's charter of rights and freedoms says that religion is a fundamental right, yet the government has no problem sending police into mass arrest for people who practice in churches. If the church is Jewish or Muslim, Canadians (especially Quebecers) applaud the politicians for shutting down communities within their right of religious practice. Like good socialists, Canadians support all the politically correct causes borrowed from the United States, like the radical fight against climate change, movements like Antifa, Black Life Matters, #MeToo, lgbtqia2 + and so on. Canadians believe that they are much more virtuous and smarter than Americans. In their racism against the US, they are convinced that Americans are all fat and poorly educated to the point of not knowing where to pin Canada on a world map.
Since Canadians are better than anyone else, they think they should behave in a politically correct and exemplary manner in public. A Canadian could very well go to Tim Hortons and buy a coffee, get spit in his face, and say thank you at the end if that gives $1 to a subsidized foundation that pays themselves big salaries. Canadians believe that society is collective and that everyone should be responsible for participating in the way they see fit. For example, in the health care system nurses are slaves to the government. They are not allowed to take vacations and even if they are sick the police will pick them up from home to force them to work and they might be judged as having endangered the lives of patients for not showing up at work. In all spheres of public employment in Canadian society omerta reigns since most leaders are dishonest and rob Canadians, but these people are protected by political power or unions’ leverage. In private employment, omerta is also present, but rather to protect the employer because if the company works it often means that it has succeeded in somehow abusing public money with the complicity of the government.
Young Canadians have absolutely no ambition because there are no prestigious jobs in Canada. Some dream of becoming internationally known artists on the internet, while some others think of suicide as the aspect taken by this repressive regime is ruining their lives. The lives of young people in Canada are already mapped out so that they will go all the way to university to study socialist theories and get a worthless degree that does not give access to any job. For most of them, their life will be mainly reduced at the level of working forever in a business for minimum wage. Even while working, it is not enough to afford an apartment and to eat adequately. The price of real estate in Canada is inflated by the Mafia like other sectors of the economy, and the lack of competition between businesses also means that food is more expensive than it should be. Young Canadian men are ready to hang out with anyone, anyhow, while young women have no idea about sexuality and are very unpleasant as both genders are deeply uneducated. This social factor, combined with the lack of education among Canadians, means that most couples in Canada live together for financial reasons. Even the conception of a child for the poorest becomes a monetary consideration since the government grants tax advantages based on the amount of children you have got. Even for the poorest, the Canadian tax rate is close to 50% of the annual salary.
Often living in debt, the average Canadian has no leisure. Simple activities like fishing or riding a motorcycle require expensive permits and are highly regulated. Taking advantage of the Canadian winter to ski or snowboard is seen as something very luxurious. Even a night at the movies is off budget, but that was back in the days when leisure was legal. In its mission to destroy capitalism, Canada has banned all forms of leisure except those that are well regarded by intellectuals. It is illegal to play hockey, but it is legal to visit a museum or library. Still in the same vein, Canadian police have suddenly become very aggressive and have the power to instantly issue fines of $5000 for no good reason at all. For instance, it is normal in Canada to see a police officer guarding a stairway and fining someone who climbs it too quickly by claiming it was jogging since sport is illegal. It is also normal to walk on the street and suddenly a police car starts following you just to intimidate. If you react badly you will have big problems. In addition to having your life ruined financially, you will lose your job and the people around you will be socially encouraged to judge you negatively.
Canada's “ new normal ”
To further divide Canadians, the Socialists rely on very cruel coercion reminiscent of humanity's worst war crimes. They sequester elderly people in long-term care facilities by depriving them of food while preventing their families from visiting them as the survival rate on average is of 2 years within these facilities. They also forbid humans to socialize, currently government decrees do not allow you to meet with people not living your house. If you choose to invite a friend over, your neighbors are encouraged by the government to call the police and you will then be arrested. The few Canadians who are fortunate enough to be professionals and to have a real job have an alleged duty of reserve which compels them not to express opinions that are contrary to those of the government. Canadian professionals are often governed themselves by paragovernmental instances that have the power to prevent someone from practicing their job if they see a lack of loyalty to the regime.
According to polls, Canadians strongly support the way their government currently runs the country. The pressure on the government is ever greater to continue to abolish even more fundamental freedoms. For over a year now, the Government of Canada has stopped manufacturing and renewing passports. Recently, Canada also added several additional barriers to prevent those with still valid passports from fleeing the country. Currently, Canada is in the process of constructing detention facilities or “quarantine facilities” to sequester those who will return to the country because their visas have expired. It is claimed that the detention in quarantine is voluntary, but refusal results in criminal imprisonment and a penalty of $750,000. The facilities are provided with airtight cells supervised by armed guards and the quarantine is for 15 days… if the results are negative. Even people who have tested negative upon return or been vaccinated will face this jail sentence upon their return to Canada.
Under Canadian law, internet service providers are responsible for reporting criminal behavior to the police. Since the new legislation, Canada considers criminal to post information on the internet that would be deemed fake or provoking hatred. It has therefore become normal and common for people expressing opinions against the government on the internet to be arrested, tried, and then jailed for making comments on social media. When this happens, the state medias are conducting the People's Court, and your reputation is ruined forever. If what you put on the internet is too sweet to be accused of anything, political employees will notice you and find a roundabout way to make you lose your right to speak. For instance, they will call directly Facebook or Twitter to suspend your account and they will also complain to your bank. Your assets will thus be easily suspended under the simple vague pretext that you have violated the terms of use.
For that reason I now use a VPN and I no longer feel safe at home.
submitted by shadowloud to Canada_Politics [link] [comments]

Unleashed pt. 47

This chapter was a labour of love, heists are hard. Big thanks to u/eruwenn for helping tidy up this bag of snakes.
First / Prev / Next
 
 
“Ranjaz K’Lua, you thieving scumbag!” the Kah’Ree in the purple suit exclaimed loudly as he spotted them across the busy room. “As I live and skral, I never thought you would have the Jolos show your face here again!”
Two J’Rami in suits detached themselves from the lobby wall, walking towards the Kittran and his friends. “Alfor, my old friend!” Ranjaz smiled broadly. “No need for the welcoming party, I’ve got your credits” —he gestured to Cygna— “and a sweetener, for all the trouble I caused last time.”
Alfor paused, lecherous eyes assessing the Fae’Dan. “You know I have a thing for purple.” He chuckled at his own joke and waved the guards back to their posts. “How about we have a drink, and discuss your forgiveness.” He pointed to Thor and Eruwenn. “Brought your own security, or are these Gal. Fed. goons? Everyone knows about your probation.”
The Kittran gave a broad grin. “I got a Tulseria-damned pardon, a new ship and a very lucrative opportunity.”
The Kah’Ree smiled. “How’d a thieving cat like you get a pardon?” He gave Ranjaz an appraising look up and down. “Oh? Now, let me guess, you need something from me and my brother?”
Ranjaz fired his finger guns. “You were always the smart one Alfor, that’s why you run the casino floor.” The Kittran stepped in close. “The item, do you still have it?”
Alfor tilted his head back and away from Ranjaz. “Your little guarantee?” He looked back down at Ranjaz. “We have it somewhere safe. Had some unusual people come by after you got caught. Asked a lot of questions. Made a lot of threats.” His face contorted in anger. “We got audited thanks to you.”
The Kittran smiled. “If only they knew you better, they could have simply paid you for the information.”
“We give nothing for free.” The Kah’Ree gave a sinister smile. “House rule.”
Ranjaz walked forward to put his his arm on Alfor’s back. “Let’s go see your brother. Have a few drinks, maybe gamble a little, and discuss our future riches.”
 
 
Ripley stood in the shadows of the staff shuttle bay, watching as the numerous employees of assorted races came and went. Loud laughter caught her attention, and a very strangely dressed Niham broke away from a small group and walked towards her. Ripley tried to maintain her low profile as the scantily clad female strutted towards her in long black boots with pointed heels that clacked loudly with every step.
Deliberately avoiding eye contact the Awakened tried to will herself into the wall but it was too late and a voice called out to her. “Hey Darling! You must be the one I’m looking for.”
Ripley shook her head. The Kittran had said the contact was an Ashi pirate captain, a master gambler and expert in procuring the unusual. “I don’t-”
“Listen cutie,” she interrupted, “you’re the one lurking in dark corners drawing attention to yourself. I’ve got your security card. You tell that fluffy little stud he owes me. And more than a bottle of Fae’Dan wine and a good time, if you know what I mean.” She held up the card between her fingers, just a little out of Ripley’s reach.
The Awakened considered the phrase ‘fluffy little stud’ and decided that, despite her hopes, this was probably her contact. “You’re Captain Whiplash?”
The Ashi laughed genuinely, the jiggling of tightly squeezed breasts bursting at shiny black restraints making Ripley nervous. “Oh, Darling! Only my little pets call me that! You may call me Sho’Na.”
Ripley was momentarily confused. “So, you aren’t a pirate captain?”
“I’m anything they pay me to be.” She smiled at the silver-haired woman's naivety. “You really are new to this.”
Ripley, caught off guard, simply nodded, then replied, “I’m a quick learner.”
“Good for you, Darling.” Sho’Na handed over the card. “Just make sure you get paid up front, and don’t use your real name with clients. Ruins the mystique.”
Ripley was unsure of what was being said. Turning the card over in her hands she saw that the holo-image on the front was of a male Arkellian. “This isn’t me?”
“Honey, I was given half a cycle to get you a level three security card. Just be glad it’s a biped.” Sho’Na looked Ripley up and down. “Our mutual acquaintance told me you were some sort of master of disguise who could even trick Selva Blaster.”
Ripley paused, then smiled. Her appearance had become such an integral part of her identity she had forgotten that it was entirely optional. “It won’t be a problem.” She looked at the card again. “Unless the owner comes looking for it.”
Sho’Na gave another bosom-trembling laugh that threatened to spill out at any moment. “Oh, don’t worry, he’s tied up at the moment.”
The Awakened considered the risk. “Hmmm, but for how long?”
The few strips of shiny black material that comprised Sho’Na’s revealing outfit strained under her amusement. “Don’t you worry, Darling. He paid for the whole night.”
 
 
Eruwenn had reassessed her opinion of Ranjaz many times since meeting him. The criminal. The loyal friend. The lazy trouble-maker. All were true, but now she was seeing something new. He sat opposite Toran, the brother of Alfor, in a game of dalcho she wished she could have taken part in, but was equally glad she did not.
At first she had thought the Kittran was outmatched, a few reckless mistakes costing him dearly as the Kah’Ree deftly selected his tiles. Toran was clearly a seasoned gambler, using a blend of the Remee Le’Bow Gambit and the Kowals’Kee Analysis she hadn’t seen before. It seemed to be dismantling Ranjaz’s tiles before he could even prepare his cards. A few fortunate dice rolls and he had taken a strong lead from the outset. The Kittran appeared desperate, playing any tile available to try and slow the defeat.
It had all been a ruse, she saw it; Ranjaz had saved his best tiles and carefully thrown hands to manipulate the cards. In just a few rounds he would be able to dominate the board and raise the stakes, recouping his losses and changing the course of the game entirely. She had encountered few players who could manipulate the game so deftly, using memory and layers of strategy to corner their opponent. It was magnificent.
Eruwenn couldn’t tear her eyes from the board as she stood beside Thor. The Awakened had shown no interest in the game, studiously watching the opposite door as Toran’s staff came in and out. When a waiter entered and began preparing drinks at the small private bar in the executive gambling room, Thor coughed. It was a strange thing for an Awakened to do, and Eruwenn finally looked up from the table. “Are you ok?”
Thor nodded. By the time he had looked towards her, she had returned her attention completely to the game. “You don’t seem concerned about your friend?” he asked.
The Anatidae watched as Ranjaz used a blind double feint, and the sheer audacity of such a move made her swallow hard. She didn’t look back to Thor, but mumbled a response. “I’m very confident in her abilities.”
The waiter was methodically placing drinks by each of the players, but when they stood behind Ranjaz the Kittran surged to his feet, shouting, “Hey! No cheating Toran! Getting your waiter to look over my shoulder? That’s a dirty move I’d expect from your brother!”
Thor had reacted faster than Eruwenn, pinning the arms of the Arkellian waiter in a vice-like bear hug. Toran slowly stood. He was big, heavily muscled, and the veins on his neck bulged as his anger rose. “Don’t accuse me in my own place.” He cracked his knuckles and glowered down at Ranjaz. “I run a straight game.”
Fearlessly the Kittran walked right up to the Kah’Ree and stared up into his face from waist height. “Don’t try and intimidate me, you son of a Vogel.” Ranjaz puffed out his chest and began pushing the burly casino owner. “Nobody cheats me!”
The blow caught Ranjaz across the cheek and sent him sprawling across the room. Eruwenn winced at the impact, but maintained her composure. Toran laughed. “Watch your tongue or I’ll add it to my collection.” He walked round the table and kicked Ranjaz in the stomach, glaring at Thor and Eruwenn, daring them to act. “Know your place trash. You’re at this table because you put credits up front. You are a dishonest thief, begging for scraps, and cosying up to me any my brother to get your little trinket back.” He returned to his seat. “Why would I need to cheat against the likes of you?”
Ranjaz stood, brushing himself off. “Fine, fine.” He waved a hand and Thor dropped the Arkellian. Ranjaz tapped him on the chest. “My mistake.” He sat down and picked up his cards once more. “You’re right Toran, you run a clean game. I’m just a sore loser.” He shuffled the order of the tiles that were still face down on the table. “To show my sincerity, how about we double the buy for the rest of the game?”
Toran snorted. “Double?” He looked at the Kittran, scrutinising his opponent. The game was already over; he had control of the board and his tiles occupied the three prime positions. Was the thief trying to buy his favour, he wondered? How much was the trinket he wanted truly worth? He decided it was worth testing. “Triple, and I’ll forget you dared touch me.”
The Kittran swallowed hard, his ears flat to his head. Toran momentarily worried he’d pushed for too much but a decision seemed to be reached. “Fine. Triple.” The look of defeat was delicious to the Kah’Ree.
 
 
Cygna had done her part and lured Alfor to a private room away from his security. She had danced, skipped and side-stepped his groping hands so far, maintaining a playfulness that ensured he complied. This sort of thing was not new to her; she had spent time undercover in the past. Fortunately, there had been little call for it since she had joined forces with Eruwenn.
Alfor’s eyes scanned her body once more. “The Kittran has very good taste.” He licked his lips, a small amount of drool escaping and running down his chin. He wiped it on his sleeve. “Now, I brought you somewhere quiet. How about you show me how sweet you can be?”
The Fae’Dan smiled coyly and continued her dancing just out of reach, glancing to the doorway where Alfor’s two guards stood watching her. “With an audience?” She raised her eyebrows expectantly.
With a sly grin he waved the guards out of the room. “Now come here and let me satisfy you like only a Kah’Ree can.” His eyes wandered over her body once more.
Cygna smiled, her own eyes moving from the Kah’Ree’s hands to his shoulders, then up towards his neck. An interesting fact about the Kah’Ree was the thick blood vessels on the side of their neck. They often bulged when a Kah’Ree was angry or excited, like Alfor’s were as he leered at her. She danced closer. Another interesting fact was that their brains were not as efficient as those of other species, hence the requirement for additional blood flow; more oxygen per limited thought.
He leaned forward, his eyes locked to her swaying hips. Cygna turned slowly, and his head tilted to appreciate her assets. The third, lesser known, fact about the Kah’Ree was that an interruption to the blood flow while they were in this excited state caused them to lose consciousness rapidly as their brain burned through the available oxygen. “My eyes are up here.” She smiled as he looked up at her with his head still tilted.
He sneered. “Who ca-”
The Fae’Dan struck the side of his neck with the edge of her hand, targeting the throbbing blood vessel with a powerful blow. The interruption to his brain's oxygen supply worked perfectly and he fell face forward onto the ground at her feet. She let out a sigh of relief and looked down at his unconscious body. “Thank you, that was particularly satisfying.”
She walked over to the door and peeked out, finding the guards standing either side. “He said to order us some drinks.” One of the guards nodded and immediately put his hand to his lapel communicator.
Back inside the room, Cygna used her foot to roll Alfor to his back and began searching his pockets. She came up empty. Her eyes caught a glimmer from his collar and she found a heavy gold chain, at the end of which was his security key. She removed it just as a knock came at the door. A deep voice from the other side called out. “Your drinks, boss.”
The Fae’Dan quickly messed up her hair. Using the back of her hand she smeared her lipstick sideways, and then pulled the strap of her dress down off her shoulder. She opened the door and, to her surprise, was faced with an Arkellian waiter. The bodyguards noted her dishevelled appearance and shared a smirk, and she said, “Oh, I wasn’t expec-”
The waiter pushed the trolley into the room. “Don’t keep the boss waiting, lady.” Before Cygna could reply they were inside and the door closed. “Relax, it’s me.”
Ripley’s voice sounded bizarre coming from the male Arkellian form, and Cygna’s eyes went wide in shock. Her sharp mind quickly adjusted to this new information. Of course the Awakened could change their physical appearance; she had just never seen it. They all seemed quite attached to their chosen human forms. “Neat trick.” She held out Alfor’s key. “Did you get the other one?”
Ripley nodded. “The Kittran played his part well. I didn’t see him take it, and didn’t feel it when he placed it in my pocket. Now that was a neat trick.”
The Fae’Dan smiled. “I think I’ll pass on that dalcho game.”
The Arkellian Ripley smiled. “Probably wise.” Turning, she slipped the key into her pocket and headed back out of the door.
 
 
Ripley entered the elevator to the owner's private offices on the top floor. Thanks to the distractions downstairs, the two large desks in the centre of the room were empty. She walked straight past them to the large leokas painting on the wall and swung it forward. Behind it was a Fae’Dan safe; she took out the two keys and a small homemade device the Kittran had given her.
Attaching the device to the bio-lock and standing before the safe, she elongated her arms to reach both key positions at once. There was more than one reason she was the one chosen for this task. The device beeped twice and small lights above each lock lit up. She simultaneously turned both keys, and there was a satisfying clunk.
She raised an eyebrow. The device had worked. The heavy safe door swung open and she began her search. Ranjaz had been very specific: while there was one item she had to get, she was to grab as much as possible to obscure their true target.
Quickly grabbing as much as she could she retrieved the keys and ran back across the room towards the elevator.
 
 
Cygna hauled Alfor back onto the seat, putting him in a more natural position and messing up his hair. She looked away as she began unbuttoning his clothes, pulling his trousers around his ankles and opening his shirt up to bare his chest. From a secret pocket inside her dress she pulled out a lace thong, setting it on his head like a bandana. She also had a small box which she opened, inside of which was a replica mouth with lipstick that matched her own.
Cygna carefully applied kiss marks all over his exposed skin before popping the fake lips back into the secret pocket. She took the Fae’Dan wine and partially filled two glasses, making sure to take a long drink from one and leave more lipstick marks. The rest of the wine was poured into the ice bucket.
She heard the sound of voices outside the door. The guards were arguing with someone, refusing them entry, but when the name Toran was mentioned it was Ripley who entered, still in uniform but now looking much like her usual self. She smirked at the Kah’Ree in his derobed state. “I can see you had fun.”
The Fae’Dan chuckled. “That’s the idea.” She looked at the Awakened in her true form. “You look… better.”
Ripley cocked her head. “It would be strange if the waiter came back to deliver a message.” She tossed the necklace key to Cygna, who replaced it on Alfor’s neck.
Reclining on the sofa and picking up her glass, Cygna took another long drink. “Get the other one back to Ranjaz quickly. This one won’t be napping much longer.”
The Awakened gave an almost Ranjaz-like grin. “You could always hit him again.” Before the Fae’Dan could reply she had ducked back out of the door. She caught the eye of one of the bodyguards and gave a head tilt back towards the room. “The boss is really enjoying himself!”
As the suited pair chuckled, the larger of the two got a message in his ear piece. “Hey, silver hair.” He grunted. “Boss has an important guest. Meet them in the foyer and bring them to the dalcho room.”
Ripley was relieved – she needed a reason to get into that room. “On my way.”
 
 
Toran was seething as he watched as the Kittran flipped his final tile. Why would he have waited so long to play the Wings of Tulseria tile? His stomach sank, and he couldn’t hold back his anger any longer. “Damn you!”
Ranjaz gave a full-fanged grin. “Looks like my luck turned at just the right moment.”
“Luck!” Toran’s tile snapped between his fingers. Why had he let the damned cat goad him into constantly increasing their bet? The cycle had started with him owing the brothers a million credits plus interest, and now the infuritating Kittran had won nearly forty times that. “Nobody is that lucky.”
“Woah!” Ranjaz held up his hands. “I would never cheat, well... certainly not a second time. After you caught me, I’d be a fool to try.”
“Hmm.” Toran looked at the two behind the Kittran. The big one would be a problem, but the Anatidae looked to be nothing special. “How about I give you back your little trinket and we call it even?”
“My trinket?” Ranjaz shook his head. “I had to convince you it was worth the million I owed. Why would you think I’d trade it for thirty eight million credits? I’ll pay what I owe, take my trinket and my winnings and leave.”
Toran folded his arms and looked across the dalcho board at Ranjaz. “And why would I let you do that?” The atmosphere in the room changed as the two security guards changed their stance. “Transfer the credits back to the house.”
Ranjaz dropped the grin, replacing it with a defiant glare. “What happened to you running a straight game?”
“The game was straight. You won, didn’t you?” He leaned forward, his eyes cold and hard. “You’re just in no position to collect.”
The Kittran was about to argue when the door behind Toran opened. He looked up as Ripley entered, and his eyes widened in shock. She wasn’t alone. “Toran, you bastard! You sold me out!”
“For ten million credits.” Toran stared hard at Ranjaz. “Care to make a better offer?”
Eruwenn’s eyes blazed with anger as the grey-suited Niham pulled up a seat and sat down beside Toran. “Now, now, you lied to me about having the item before. Don’t double cross me.” Sentinel Krast placed his hands together on the table, interlacing his fingers. “I’m not somebody who forgives easily.” He looked directly at Eruwenn. “Isn’t that right, former Councillor? A little far from your new Ambassador position, aren’t you?”
Ripley stood back against the wall. She had no idea who the newcomer was, but this most definitely was not the plan. The golden green Anatidae walked forward to stand behind Ranjaz. “Oh, I had a little vacation time saved up, and decided to spend it with my good friend here.” She placed a hand on the Kittrans shoulder. “And what brings a Sentinel here?”
Krast’s lips curled in what might approximate a smile. “I’m also acquainted with Mr K’Lua. In fact, we go back a very long way.” He turned to look directly at Ranjaz. “Now, return what is mine.”
Toran looked from Ranjaz to Krast. “Yours? You don’t look like the tiara wearing type.”
The Sentinel didn’t turn his head. “Ah, so you hid the data chip inside some shiny bauble. As inventive as ever, Mr K’Lua.” The Niham finally acknowledged Toran by looking at him. “Bring. It. Here.”
The Kah’Ree sucked air through his teeth. “Well, seems like we have something mighty important, and two very interested parties.” He stood and walked to his two security officers, who drew their weapons in unison. “Now then, I believe you” —he nodded to Krast— “offered ten million. How about it Ranjaz, old friend? What’s your counter offer?”
The Kittran had been sitting, silently seething at his double cross being double crossed. He looked at Krast. “Were you the one?”
Toran was surprised at being ignored, but before he could reply Krast answered, “The one?”
Ranjaz’s eyes narrowed, his ears alert, his tail swishing aggressively. “The one who took my friend!” he snarled as he felt Eruwenn’s hand holding him back gently.
Krast’s eyes glittered as he saw the impotent rage in his opponent’s eyes. “Ah, the poor deceased human?” He smiled his mannequin-esque smile. “And if I was?”
Toran snatched a pistol from one of his men and fired a blast at the ceiling. “Your quarrel can wait. Let’s settle our business first and you can kill each other after I’m paid.” He paused, then added, “but, not in my casino. Body disposal costs extra.”
Eruwenn’s hand gripped Ranjaz’s shoulder harder, and he braced himself. In one smooth move she both threw him backwards and to the right, and kicked the dalcho table up and forward into Krast's face. The Sentinel fell backwards as a blast from Toran struck the table, but Eruwenn was already on the move, sidestepping left and ducking forward into a cartwheel. Toran's gun had been following Ranjaz, but as her leg swept down it knocked the weapon from his grip.
Once she stabilized, her fist, already primed with momentum from the cartwheel, struck Toran below the ribs and knocked the wind from him. The guard, whose gun the Kah'Ree had been holding, lunged forward to grab Eruwenn but she simply deflected his hand, pairing his forward momentum with her rising elbow to swiftly render him unconscious.
The second guard had just begun to raise his weapon when a huge fist struck him in his chest, sending him careening backwards into the wall. Thor loomed over him, shaking his head as he retrieved the energy pistol. “Too slow.”
Ripley helped Ranjaz to his feet as Krast pushed the table off his chest. Toran was coughing and struggling to breathe as Ranjaz pressed the retrieved energy pistol to his forehead. “Double cross me?” He dragged the Kah’Ree forward. “I want to see the item, then I’ll pay what I owe.” The two of them awkwardly made their way back towards Krast, so Ranjaz could point the gun in his face. “Then we can talk about your body disposal fee.”
Krast stood, and his phony smile was gone. “You can’t kill me. The Sentinels will tear this place apart, hunt you down and kill you. You think I came alone? My ship is in orbit and waiting for my orders!”
Ranjaz grabbed him by the jacket, pulling him down to his level, and struck him in the face with the butt of the pistol. Thor cooly kept his stolen pistol pointed at Toran and the one conscious guard. By the third blow Krast’s face was bloody, his nose broken and he began to struggle against Ranjaz’s assault.
A muted boom caused everyone present to stop in their tracks. Alarms began to sound and Toran swore loudly. He pulled out his communicator, ignoring Thor’s pistol. “What the hell was that!” He held the device close as he listened. “My office?” He patted his pocket. Finding his key in place, he looked to Ranjaz and then Krast. “Seal the casino! And where is my brother?”
Ripley suddenly understood why the Kittran had told her to leave his device on the safe door. After a brief further moment of shock, which she kept from showing on her face, she realized that she had been carrying an explosive without being told. If they survived, Ranjaz was going to need to explain himself. Thoroughly.
Eruwenn, Thor and Ranjaz had backed away to the opposite side of the room, standing by the door. Krast stood alone, holding his profusely bleeding nose. The opposite door soon opened to reveal scrambling casino security, with Toran and his guard standing nearby.
The unconscious guard was carried out without comment, and the Kah’Ree turned to Ripley. “Why are you still here?” She nodded and slipped out of the door, leaving one less concern for the remaining three. “Alright, which one of your skrolg-licking bastards broke into my private safe?”
Krast spat blood onto the floor, pointing at Ranjaz. “He’s the thief. You and I had a deal.”
The Kittran smirked. “I’m a better thief than blowing up a Tulseria-damned safe. If I wanted to steal it, I would have done just that. I would not have announced my arrival and sat down to a game of dalcho.”
Toran looked between the two of them. “He’s got a point.” One of his men handed him a pistol, and he continued to talk a little distractedly into his communicator. “Well, check everywhere!”
Ranjaz stirred the pot. “He’s the bastard who double crossed me, why would he honour your deal?”
Eruwenn nodded. “A government agent can’t be seen working with criminals.”
Krast's face contorted in rage. “Don’t be a damned fool, Toran!” He pointed at Ranjaz. “This is clearly some convoluted distraction.”
Toran shook his head. “They had the upper hand. You were the one getting your face ruined.”
 
 
Cygna watched nervously as Alfor began to stir. Things were taking a lot longer than expected. Finally, her signal came; it was not as subtle as she had been led to believe. As soon as the explosion went off the two bodyguards quickly came into the room, glancing from Alfor’s sleeping body to her. She staggered forward, wine bottle in hand. “We need more drinkshh!”
The guard ignored her as he saw the condition of his boss. “Not again,” he groaned. “Toran will kill us for letting him get like this.”
The second guard stepped out into the corridor. “I’m not dressing him! Last time he tried to kiss me!”
Cygna paused, not having expected it to go this way. The first bodyguard walked out as well. “He pissed on my new shoes the time before that. I’m not moving him.”
Their communicators went off and their faces became more serious. Bodyguard two spoke first. “Damn it. Toran wants him.”
The first turned to look at the increasingly bewildered Cygna. “You!” He smiled. “You got him undressed. You can dress him.”
Cygna spotted Ripley running down the corridor towards them, causing her confusion to grow further. The Awakened shouted one word. “Sentinels!”
The Fae’Dan’s mind raced. The plan was clearly blown, and they had to get out. Fast. As the guards were now facing Ripley, she took the opportunity to kick one in the back of the knee. He fell forward, and as the second turned he was met with the upward swing of a wine bottle. The first guard discovered first-hand the shocking truth of how hard the knee of an Awakened could be, and both were unconscious by the time they hit the ground.
Cygna smiled at Ripley. "Thanks."
The Awakened gave a swift nod of acknowledgement. “A Sentinel turned up, so Ranjaz set off the diversion he promised. The other brother is busy trying to figure out whether it’s us or the Sentinels robbing him.”
Cygna took on board the new information quickly, knowing she needed to help the others. “I have an idea. Lie over there and look dead.” She ran back into the room, where Alfor was groaning and starting to move. She slipped the chain from his neck and dropped it into the ice bucket, where it sank out of sight below the dark Fae’Dan wine. She began to slowly shake him.
“Huh,” he grumbled, and slowly opened his eyes. “Wha.. what happened?”
Cygna clung to him tightly. “Oh thank goodness! I thought they killed you!”
“Killed?” Alfor’s head was pounding, his memory blurry. “Who-” He caught sight of his downed guards in the open doorway. “What the hell happened?” He began pulling at his clothes, and swiftly checked that his trousers were dry.
“While we were.. You know…” He nodded; he was buttoning up his clothes. He didn’t remember, but he knew. “Some scary men burst into the room and shot you! I was so scared.” She hugged him tight, pressing herself against him.
He put his arm around her. “What men? Be brave, and tell me what happened.”
She looked up at him, trying to make her eyes as big as possible, adding a lip tremble to really sell it. “I don’t know! They wore grey suits. And one of them took your necklace!”
“My necklace.” He clutched at his chest where it should have been. “Damn Sentinels! I told Toran we couldn't trust them!”
He stepped into the corridor, where Ripley lay on the ground with a terrible energy weapon burn on the side of her face. He pulled out his communicator. “Toran.” He instantly got hold of his brother. “I didn’t answer because I was knocked out. Damn Sentinels took my key, killed some of our guys.” He looked around. “Nobody important, just some waiter.” He finally pulled the underwear from his head. “I’ll go to the security room and look at the video.”
He ended the call and turned back to Cygna. “You stay here.”
She smiled. “Sorry, we can’t let you check the security footage.”
“Wha-”
Ripley struck him from behind and he crumpled to the ground, her fake burn melting from her face. The Awakened looked around, rechecking that all was clear. “I think that’s all we can do; we should get out of here. Come with me, my shuttle is in the staff bay.”
 
 
Toran closed his communicator and motioned to a guard. “Search him.”
Eruwenn wished she had some way to capture the look on Krast’s face when the remote detonator was pulled from his pocket. She'd have to hug the light-fingered Kittran later.
The Sentinel grit his teeth. “That’s not mine.”
“Sure, sure,” Toran agreed, while simultaneously shaking his head at the Sentinel. “Looks like you really didn’t come alone.”
Krast was furious, yelling, “I’m telling you-” He broke off when Ranjaz shot him in the leg, falling to the floor.
The Kah’Ree pointed his pistol at the Kittran. “Can’t let you kill a Sentinel in my casino, even if they did just rob me.”
Ranjaz was surprised the Kah’Ree had believed them so easily. “What about us?”
Toran sighed, lowering his weapon. “Take your winnings and get out. If you stole the thing once, I’m sure you can steal it again.”
Eruwenn and Thor both made to leave. Ranjaz paused, knowing he might not get another chance. “And him?”
The Kah’Ree looked at the Sentinel holding his wounded leg. “We’ll send him back to his ship. As much as I hate it, the Sentinels are untouchable.”
Ranjaz raised his pistol. “He took my friend.”
“And we’ll get him back,” Eruwenn said softly. “Then we’ll all deal with him, and the rest of the Sentinels.”
Krast sneered and spat blood once more. “Your human is dead.”
Ranjaz fired.
Krast screamed and grabbed his other leg. “You bastard!”
Toran and his men raised their weapons as the Kah’Ree yelled, “Get the hell out of here!”
Ranjaz turned and followed the others out of the door, but just as it was about to close he poked his head back in. “Oh, one last thing.”
Toran could be seen looking up just as the Kittran fired again, but he ducked out of sight before the true outcome of his shot could be seen. The shrieks of agony, however, followed the trio down the corridor as they broke into a run. Eruwenn spared a glance down at Ranjaz during their retreat. “What did you do?”
The full-fanged grin had never been larger. “Made sure we’ll see him again.”
On the floor of the dalcho room Krast was screaming in agony. He turned over to stare at the closed door. “I’ll kill you! I will hunt you down and kill every last one of you!”
Toran spoke into his communicator. “Tell the Sentinel ship to come get their man. And, bring a doctor. A really good doctor.” He nudged one of his guards and finally let out a chuckle. After all, the Sentinels had just robbed him. “You double-crossing scum always get what you deserve.”
The J’Rami guard raised an eyebrow. “Not sure anyone deserves getting shot in the balls.”
 
Next
submitted by Sooperdude24 to HFY [link] [comments]

A Rundown of Each Gang In Cyberpunk 2077

Hey all, Here is a rundown of the details of each gang, ranging from sphere of influence, crimes, uniforms, where they reside and how they make money in Night City. If you keep up to date with the lore, most of this information will not be new to you, so don't expect anything fancy. This is mainly for those who want some basic information on each of the gangs, and don't invest a lot of time into the lore. Hence, this information is kept very basic and straight forward.
If you want a video format of this information, here is a link, but I highly suggesting reading it, as well as other material too! https://www.youtube.com/watch?v=NI13y1xF63o
Most of this information can be found directly on the Cyberpunk Wiki: https://cyberpunk.fandom.com/wiki/Category:Gangs
The Maelstrom Gang
The Maelstrom Gang is the most dangerous of Night City's gangs. With 1300 members, they reside within the Watson district, and spawned from the remains of a previous gang called the Metal Warriors. When this gang was almost fully wiped out, the Maelstrom gang replaced it, and grew exponentially in size. They took shelter in Watson, within a pig slaughterhouse called the All Food Plant. This is where the brains of their organisation stays.
The Maelstrom specialise with illegal medicines and drugs, being their primary form of income. Before selling these, they usually acquire such illicit objects from organised raids and hit jobs on whoever they deem needs to be taken out. They do not discriminate - they will kill anyone and anything to get to the top, and to get what they want. Think of them a lot like the Mafia - very organised and structural, where you need to do your part for the organisation, otherwise it's game over for you.
Like many of the gangs in Night City, they own a club, called the Totentanz Club. It is said to be the most popular of all clubs in Night City that are owned by a gang. They also have their own uniform, containing clothes of leather and chrome, alongside their array of high-tech cyberware. Their kind of gang structure has a particular name for it - a Boostergang. These are gangs with members who often enhance themselves with cybernetics. In fact, many Maelstrom members are Cyberpsychos - a mental illness of identity loss due to an excessive amount of cyberware on one's body. They lose a sense of what and who they are. But they know one thing - they serve the Maelstrom, and they kill for the Maelstrom Gang.
The Maelstrom are lead by Simon Randall, a.k.a Royce. V will have the opportunity to eliminate Royce in the quest 'Going Pro', where you must find a Flathead spiderbot through infultrating the Maelstrom headquarters.
The Maelstrom, being the most dangerous gang in Night City, have an Extreme Threat Level in Night City. Look out for them, because they will look out for you.
​
The Scavengers
The Scavengers are a nasty gang that inhabit all of Night City, with a particular presense in Pacifica and Heywood. Similar to the Maelstrom Gang, they are ruthless, and will attack anyone or anything. But they have their own method. Instead of organised crime, any of their members simply attack weak and innocent people.
They have ties to the Soviet Union, with many of their members being fluent in Russian, as well as very involved within the culture. Their uniform consists of tracksuits, cyberware and tattoos.
The name of the game for the Scavengers is as the name suggests - scavenging. This gang kidnaps people and forcibly harvests everything they can from their victims. Organ harvesting proves profitable for them. But most importantly, they will take the cyberware from their victims. As such, they are filthy rich from distributing their looted cyberware off to other gangs, ripperdocs, and a range of other criminals.
If the Scavengers aren't scavenging, they're committing other crimes such as common assault, mutilation and dismemberment of whomever they please.
When you roam in Night City, look for Russian graffitti to sniff out the presence of the Scavengers, otherwise, they might find you first.
Within Night City, they have a Medium Threat level.
​
Voodoo Boys
The Voodoo Boys take their name to heart, with very tribalistic and cult-like activities in Night City, primarily in the District of Pacifica. They came to birth after Haiti and Dominica were devasted by natural disasters in the 2060s. Upon migrating into Night City, they started their own community of criminals. They like to keep their blood strong, maintaining members to only be of Haitian and Dominican descent alike. The Voodoo Boys are classified as a terrorist or nihilist gang - a gang that commits abnormal atrocities, and don't have any meaning in life other than to cause harm to others.
They have several hundreds of members, and are the best in the business when it comes to non-synthetic drugs.
But there is one thing that they are even better at. The Voodoo Boys are the kings of the Net. Many of their members are Netrunners, who love to freeze neural networks, and plant viruses on the Net to take down many of their targets. In fact, their primary source of income is through hacking databases and accounts, stealing both important data and of course, money. Their main targets are big corporations.
Their other goal with the Net is to breach the Blackwall - a virtual wall to protect against free A.Is causing chaos, of which the Voodoo Boys believe Free A.Is would be beneficial. This means the gang is at odds with the organisation that protects the Blackwall - namely, Netwatch.
Cosmetics and uniforms for the Voodoo Boys consist of tattoos, piercings, implants, cybernetics, dreadlocks, and charms made of bones. They are scary, both physically, and virtually throughout the Net.
The Voodoo Boys are led by Brigitte, a deadly Netrunner whom V will certainly encounter in Cyberpunk 2077, as well as her second-in-command, Placide.
Their threat level throughout Night City is quite low, however they are by far the most dangerous gang on the Net - it's their territory.
​
Animals
The main rival for the Voodoo Boys in the physical world is a gang that is just as crazy - the Animals. The Animals likewise reside within Pacifica, leading the two gangs to often go head-to-head. They're an aggressive street-fighting gang who love enhancing their bodies with cyberware, supplements, and their special drug called 'the Juice'. This drug increases speed and strength, making members of the Animals gang particularly deadly in a one-on-one fight out in the street.
The Animals are just as deadly as the Maelstrom out and about in the city, performing deadly attacks on residents and other gangs. With over 2500 members, they have hundreds of small packs, or groups, that carry out these attacks by the day and night.
You will often find Animals members as bouncers or hired muscle, as well as in the fighting minigames, as their raw strength and ferocity proves useful in these scenarios. If you do see one, they'll typically be seen with cybernetics, implanted muscles, plastic surgery and skin modifications to ramp up their ferocious and bestial physiques. These attributes has led to the gang being classified as a Combat Gang, a.k.a a gang that centers around a Warrior Code.
The Animals are possibly the most well versed and profitable in the world of illicit and black-market drug dealing. This is their main method of income creation, on top of other crimes like racketeering.
The gang is led by their ad-hoc leader, Sasquatch, who is incredibly strong through her use of steroids, and has a sledgehammer as her weapon of choice. The 2019 Deep Dive revealed a quest where you can infiltrate their base and have the option to kill Sasquatch. The consequences are yet to be revealed, if you kill her, or leave her to live. The decision is yours.
The Animals are a High Level Threat within Night City.
​
6th Street
The 6th Street came to be after the 4th Corporate War, where Veterans of the war decided to make their own gang as the NCPD was incompetent in protecting them against the local gangs. With 2300 strong, these American patriots believe solely in bringing justice to the city.
Their primary activities consist of robbery, extortion and gun smuggling within their home districts, Santo Domingo and Heywood. These activities may also spill over to the Badlands, where they have extensive connections to many of the Nomads in that area. Another way they make money is through protecting local businesses upon the provision that they pay tribute to the gang for such protection.
Their other speciality is to do with vehicles. Not only do they run taxi services around Night City, but they steal and modify cars using Techies, and then sell them afterwards.
The 6th Street gang is often not on the friendly side of other gangs as they wish to rid of many of the other gangs. The NCPD hence tolerates the 6th Street gang, as they assist the police in dealing with plenty of criminals in the streets.
The 6th Street gang has a Medium Threat Level within Night City.
​
Valentinos
The Valentinos are a traditionalist-style gang located within the district of Heywood. It is one of the largest gangs, housing 6000 members, all mostly of Latino descent. This is understandly why our main man Jackie Wells used to be a member within the gang.
The gang is motivated by a different cause than most others. To seduce women. The more prestigious and unobtainable the woman is, the better the target for seduction by the members of the gang.
In true traditionalist fashion, they hold some old-school values high, like justice, honour and brotherhood, and will defend these values to the death. They are also quite religious, but no concrete details of their religious activities have been revealed just yet.
Unlike most other gangs, they are open to who joins the gang, and they are extremely territorial. Also different to other gangs, they head up a lot of legitimate businesses in Night City. You'll find many Valentinos managing restaurants, nightclubs, car workshops, construction companies and more.
But don't be fooled. They still love your run-of-the-mill criminal activities. The Valentinos are particularly fond of gun smuggling, theft, trafficking, burglaries, hit jobs, and almost every other crime you can think of.
Like the 6th Street gang, they receive payments to protect members of the neighbourhood and their businesses. This often puts the Valentinos and the 6th Street gang at odds with each other within Heywood. Be very careful who you mess with in Heywood, as you might find one of these gangs coming after you soon after.
Valentino clothing is very bright, colourful and shiny, with jewellery, tattoos and colourful clothes being worn often. It will be hard to miss a Valentino in the streets.
The gang has a Medium to High Threat Level in Night City.
​
Tyger Claws
The Tyger Claws are a large Japanese gang found in Night Cit, centered primarily within the districts of Westbrook and Watson. They came to fruitition when the Asian community within Night City was under poor protection around the year 2045. After teaming up with the mega corporation Arasaka, they were able to grow into a strong combat gang, just like the Animals, but with a much stronger focus on defense. This means that they are quite controlling of their own territory, and will defend it at any cost.
The gang consists of around 5500 members, most of which are very old-school in their methods of combat. Their weapons of choice don't involve cyberware like all the other gangs. The Tyger Claws much prefer to use martial arts, strong reflexes and traditional Japanese weapons like the Katana. This doesn't stop them from being a very potent threat within Night City - they know combat all too well.
The Tyger Claws own the most legiitimate businesses out of all the other gangs. Bars, resturants, braindance outlets, brothels and casinos. You name it, they own it. Many of them can be found in Japantown, a beautiful sub-district of Westbrook. The crown jewel of their assets and their operations, the Clouds Nightclub can be found here. Behind the scenes, these businesses can also act as tools for illicit activities like money laundering and manufacturing drugs. But this doesn't name all of their income earners. The Tyger Claws also love human trafficking and prostitution. Their poor treatment of women in the sex industry led to the creation of their rival gang, who we will discuss after this.
Crimes for the Tyger Claws are like any other. Assault, torture, abduction, hit jobs, murder and street fighting. They commit these crimes in their signature uniforms and visual identifiers - katanas, fast street bikes, luminated tattoos and tantos, which are like small knives.
The Tyget Claws gang poses a Medium to High Level Threat to Night City.
​
Moxes
The Moxes are the newest edition to the gangs of Night City. They formed just eleven years before the events of Cyberpunk 2077,. The gang rose in power after their leader, Elizabeth Lizzie Borden was murdered by the Tyger Claws. She was murdered after killing 3 members of the Tyger Claws, who raped a prostitute who worked for Lizzie. This bar, is of course Lizzie's Bar, where we can find the braindance technician Judy Alvarez, who is also a member of the Moxes Gang. They own a few other brothels as well around the city, where they can extend their work in the sex industry.
The Moxes gang's HQ is in Lizzie's Bar, which is located in the Watson District, in the sub-district called Kabuki. Here, the Moxes gang makes most of their income from the sex work that occurs in this braindance club.
The gang is therefore primarily composed of around 250 sex workers, punks, anarchists and sexual minorities, who value the protection of the working class against violence and abuse.
As to be expected, they are not at all fond of the Tyger Claws gang for their actions against Lizzie. However, they will only attack if they are provoked. The Moxies are usually quite a passive gang. Unlike the other gangs as well, they don't tend to involve themselves in much criminal activity. The only speciality of theirs that is somewhat illegal is their extensive work in prostitution, of which many of their members take part.
If you see a Moxie, you can expect them to dress in a Punk style, or in cheap fashion that prostitutes may often wear. They are also quite fond of using Realskinn, a plastic covering used to disguise cyberware and cyberlimbs, to which the Moxies endulge in too.
The Moxies are a Low Threat Level within Night City.
​
Wraiths
The Wraiths are the first of two large gangs within the Badlands. Gangs in the Badlands are made up of hundreds of rogue Nomads, who travel around quite a lot. The Badlands is a dog-eat-dog world, and so the Wraiths are gruesome and ruthless - they atttack their prey during the night, and will raid or murder their victims. These raids will be conducted through their custom cars made to travel through the Badlands - they call these vehicles the Reaver. A customised version of the Type 66 Quadra, made especially for driving on rough terrain.
This leads us to their primary source of income, and that is raiding. Many transport convoys or lone vehicles are great targets in the open Badlands to be attacked and robbed from. They also will raid lots of small villages around the Badlands, taking anything from drugs, boosters, cars, car parts, and cyberware, where they can enjoy the spoils of their work.
Many companies in Night City also give them transportation contracts to protect valuable transport. However, the Wraiths may take it upon themselves to ransom or raid the vehicles that they were contracted to protect. They don't care of the consequences.
You will find plenty of Wraiths outside of Night City, where it's estimated that there are anywhere from 300 to 1200 members. If these members aren't raiding anyone, then they're probably fighting tooth and nail against their rival gang, the Aldecaldos, who we'll discuss soon.
The gang is led by a human-skin wearing man named Dogkiller, who we will hopefully be able to encounter in Cyberpunk 2077. However, if we do, they won't be nice to start out with.
The Wraiths are a High Level Threat in the world of Cyberpunk 2077, namely in the Badlands.
​
Aldecaldos
The gang was formed by its leader, Juan Aldecaldo who fled California to go to Mexico City back in the 1980s. In 2015, the gang returned to the US, and brought a certain someone with them. A great man named Johnny Silverhand, who was in hiding for several years.
The gang emigrated to Night City, where they inhabitated the Badlands, running farms and transporting stolen goods to get by day-to-day. They still do this in 2077, led by Santiago Aldecaldo, the new leader of the gang. He is a good friend of Johnny Silverhand. This will mean the Aldecaldos will be far easier to get on the good side of then their famous rivals, the Wraiths.
The gang consists of over 10000 members, making it one of the largest gangs in Night City. Several hundreds of these members actually reside inside the walls of Night City, extending their influence out further.
Not much else is known just yet about their day-to-day activities, so we'll have to discover this on December 10th.
The gang is most likely of a Medium Threat Level in Night City and the Badlands.
Let me know what gang(s) you'll side with, and what one(s) you'll seek to destroy. I love how the Maelstrom look but I think they're too dangerous to be alive. I may side with the more chill gangs like the Tyger Claws and the Aldecaldos.
submitted by Makhairo to cyberpunkgame [link] [comments]

has anyone robbed a casino video

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Footlocker_Armed Robbery

A terrifying ordeal for some customers and employees of a Buckhead Nail salon who were ambushed and robbed Friday night. Atlanta Police said two armed men bu... *Well, kind of. Meet Frank Bourassa, a Quebec native who printed a reported $250 million in counterfeit money and was able to sell $50 million of it before g... Anyone with information can contact BSO Detective Marcus Williams at 954-786-4256 or ... The Man Who Cheated Vegas Casinos For Years And ... Thief has robbed 16 phone stores since ... In 1987, 'The Oprah Show' had only been on the air for five months and trouble was brewing in the deep south. Forsyth County, Georgia, known for being a hotb... This is the moment masked burglars raided a casino in Strangeways on Christmas Day. At about 9pm on Sunday 25 December 2016 four men forced their way into Grosvenor Casino on Ramsgate Street. The ... The Fort Lauderdale Police Department responded to an Armed Robbery that occurred on Tuesday, December 11th at approximately 12:30 P.M. The incident occurred at the Footlocker, located at 930 West ... GTA Online Casino Heist ... to the vault. Gain access to the vault, take its contents, and get out of there before they even know they've been robbed. ... anyone that re-uploads any of my ... The Shreveport Police Department has released an image captured from surveillance video during an armed robbery at a local business in west Shreveport late last night. At approximately 10:55 p.m ... Each time President Trump spends a weekend away from the White House, there’s a massive military effort to protect him from threats… including from above. TO... If anyone has any additional information regarding this crime contact Hollenbeck Area Robbery Detective Miguel Barajas at 323-342-8991. During non-business hours or on weekends, calls should be ...

has anyone robbed a casino

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