Karma

Intro Post!!

What is this blog even for?

To give you lovely people my unsolicited opinions and analyses on anything and everything that I happen to attach myself to in the moment.

From K-Pop, XXXTENTACION, and Taylor Swift to Benjamin Netanyahu, Bill Clinton, and MAGA republicans: I, your not so humble, friendly neighborhood leftist, will throw all sorts of opinions and analyses at you. Both incredibly vague and far too detailed; you get a bit of everything here.

But wait… who even are you?

My name is Karma. I’m 21 years old and from the “great” America. I am an anarchist, pagan, queer human, and mixed native all wrapped up in a big ol’ bundle of mental illness and chronic pain. In short, I’m a hot mess. But hey! At least I’m hot, right? (Right?)

I have all sorts of interests including but not limited to:

- K-pop

- Pokémon

- Guitars

- Writing

- Reading

- Psychology

- Reptiles

- and more!

Last but most certainly not least:

What are your credentials for any of this?

Leftism/Anarchism: Since the age of 12 I’ve been an out queer person and incredibly public about my sexuality and gender expression. Because of backlash from this and simply an innate need for learning, I dove head first into human rights activism. At age 14-15, I was already on the streets protesting for not only my rights but the rights of all humans. I participated in the BLM protests in 2020-2021, aided and attended many protests in my local area for all sorts of issues, and began speaking out on social media as well as within my family unit/community. Now, I do as much as I can to help my loved ones and the people most in need even through my chronic pain issues. I have lived and breathed human rights activism since before I could even fully understand the world.

Unsolicited opinions: I have a voice, I can use it. Cut the tape.

Just kidding!

As I said above, I have lived and breathed human rights activism since age 12. Throughout that, I have researched and gone down rabbit hole upon rabbit hole of information. The ADHD brain just gets the best of me and I hyper focus too hard to stop myself. But outside of that, I have started a psychology degree. In the process of doing so, I have learned the studying of human behavior, thought processes, the effects of trauma on the human brain, spotting manipulation, and so much more. Because of this, I have gained a unique perspective on the world around me. I view most things through the lens of emotion and the human experience. I also view many political issues through the lens of (not only psychology but) history. I was a huge history nerd throughout school and it has carried over to now.

Thank you for reading!

And remember: Question everything. All art is political. Yes, it is that deep. And have a good one, folks!

Xoxo, Karma 💜

The Leftist Breakdown

As it is a continuation of The Epstein Emails. But this will be a relatively short one.

So, as usual…

Welcome to The Leftist Breakdown. The series where I, your friendly neighborhood anarchist dive into media, messaging, propaganda, and more from a leftist view to pull you out of the trenches of right-wing media.

In this post, we aren’t going to exactly breakdown very much of anything. Instead, we are going to look at this situation as a whole.

TRIGGER WARNINGS!!!!!: There will be heavy discussions moving forward regarding incredibly triggering and disturbing topics. If you so choose to continue reading, please be mindful of your mental state. DO NOT continue reading if you become ailed by the topics discussed. Your mental health is very important.

The Leftist Breakdown!

The series where I, your friendly neighborhood anarchist dive into media, messaging, propaganda, and more from a leftist view to pull you out of the trenches of right-wing media.

Today, we have a pretty big one. So buckle up and prepare for The Epstein Emails... it’s gonna be an interesting one.

DISCLAIMER: Everything from this point forward is alleged!! I don’t claim to know or speak for anyone mentioned or implied!!

*If you’d like to read them closer for yourself, this is the link I used for the first three, and this for the other. Otherwise, screenshots of each email will be at the bottom of the post.*

Without further ado, let’s dive headfirst into this entire situation.

First, who is Epstein? Basic run-down: Jeffery Epstein is an incredibly well known pedo and sex trafficker who later died in prison. He owned an estate and island in which he ‘threw parties’ and committed horrific acts against children. (Allegedly) Many celebrities and politicians visited the estate and joined in on these acts. The entire ordeal is documented rather well in what is called The Epstein Files.

Right now, we are going to focus on the recently released emails. I won’t pick apart every tiny word of each email, however, I will offer insight into what they could mean for the future of America.

The first three emails gave us a visual into both some semblance of truth and even how Epstein himself views Trump.

We see Epstein refer to Trump as, “the dog that hasn’t barked.” Looking at it in context (or even the lack thereof), this could mean several things. Many would jump to thinking something along the lines of, “Trump just hasn’t exposed me yet.” However, that doesn’t seem to be the entire truth of the matter. In later threads, we see Wolff tell Epstein he can ‘hang’ Trump in way that makes him look good. And in another email (not shown) we see Epstein acknowledge that he has the ability to ‘take down’ Trump.

With that said, Epstein’s verbiage of ‘dog’ seems intentional. He’s demeaning Trump. This man isn’t afraid that Trump will expose him, that grave had already been dug by that point, he was smart enough to know that (even if he hadn’t been, it wouldn’t have mattered to his ego). It seems more that he was gloating. Showing that he really did have the power— that is the reason Trump hadn’t ‘barked’ yet. I believe that, that line alone is to say that Trump is afraid of Epstein rather than the other way around.

We also see Epstein, plain as day, admitting to knowing Trump had been alone “for hours” with a victim. Pretty damming evidence right there, if you ask me. Not only was Trump worried for the power Epstein held over him but also WHAT he had against him.

Which leads me into the most… interesting of the emails. We see Jeffery Epstein and Mark Epstein having quite the exchange. Among which, the infamous: “ask him if Putin has the photos of Trump blowing Bubba?”

Now, I want you all to know that THIS is the what that Epstein had against Trump. Not the trafficking, not the pedophilia, not anything else. Simply, Trump acting in a way that he so vehemently is against. You need to know that THIS is what Trump is trying to hide from the public and his supporters.

MAGA doesn’t give two shits about children to begin with, why would they care about pedophilia? News flash: they don’t. But what they do care about is if something is ‘emasculating’ or, heaven forbid, gay. This is why Trump is ‘the dog who hasn’t barked.’

Regardless of if ‘Bubba’ refers to former President Clinton as we so suspect it does, the fact that the act could have existed at all is damaging enough to Trump and his ego. Which is amazing news for us.

I want to circle you back to the first batch of emails again. We see in a conversation between Epstein and Michael Wolff quite a few interesting things. Not only do we see Wolff telling Epstein he can ‘hang’ Trump (or rather watch him do it himself), but we also see a clear display of government manipulation.

This exchange happened in 2015, the year before Trump was first elected and the pair are discussing a prospective conversation between CNN and Trump. In which, CNN planned to ask Trump about his relationship with Epstein.

When asked, Epstein doesn’t respond how we would think. Instead, he turns it around on Wolff and asks how he would ‘craft an answer’ for Trump. Wolff responds in a rather cocky manner, often typical within manipulation.

I bring this to your attention to ask you one thing. When Trump was first publicly asked about his relationship with Epstein, how did he respond? Sound a little familiar? It should.

Anyways, folks! I hope you enjoyed this one even with how much shorter it was than the others. I’ll do a deeper dive into this situation once I’ve read through more of the released documents from the House Oversight Committee and more things have been released. But for now, I shall leave it there. Have a good one, and remember: all art is political. Yes, it is that deep. And take care!

For the spiritual people such as myself, I have Burned Feathers: The Ashes of Eden.

That story follows Lucifer through stories in the Bible as well as historical events and how they “actually” happened. There is lots of romance, yearning, leftism, and religious trauma. Perfect for the mentally ill, religion obsessed goblin that lives in quite a few of us.

For those who are more interested in delusional fantasy, I have: Brothers in Arms.

This story follows two sisters through a medieval wartime after their kingdom of Amera was attacked by some unknown force. If you’re looking for a Last of Us style story with heavy symbolism, mental illness, sisterly love, family dynamics, and major twists, that’s what this one is here for.

There are also a couple stories I wrote a few years ago based on Stranger Things. Neither are finished but if they pick up traction again, I may finish them.

Sick Like Me (Billy Hargrove fanfiction)

This story follows, you, the reader in your move to a new state. You had been looking for a fresh start when you came across the familiar face of Billy Hargrove.

Runnin’ with the Devil (Eddie Munson fanfiction)

This story follows, you, the reader— a musician and stoner at heart. Eddie is your dealer and things quickly go south after the pair of you had been invited to Tina’s party.

And the last published story you will find is pretty fresh like the first two but may not get as many updates or as often. Fade Away

This story follows main character, Lydia through an unexpected romance turned toxic (practically ab*sive) relationship. Heavily based on true events, Lydia finds herself enamored with Taylor at a birthday party and everything is downhill from there.

Little warning, however. If you’re going to read any of these stories, for the love of everything, please take care of your mental health. These stories vary in their severity but they all have their moments at one point or another. Not all of them have warnings either! So please be careful.

The Leftist Breakdown!

The series where I, your friendly neighborhood anarchist dive into media, messaging, propaganda, and more from a leftist perspective to help you out of the trenches of right-wing media.

If you’ve stayed tuned this long, I applaud you and thank you for your time. If you’re just joining us, hi there, thanks for being here. Each and every one of you are super appreciated around these parts! Especially if you’re not a huge k-pop nerd like I am and stuck around anyway. Y’all are awesome. There will be more to come in all different areas, don’t you worry!

Now, with that being said, last time we covered the song, Wake Up, by k-pop group ATEEZ in their album:

THE WORLD EP.2: OUTLAW

Now we move onto the final song in the album, Outlaw. I truly hope you’ve enjoyed up until this point as much as I have being able to dive into my favorite ATEEZ album. And without further ado, let’s get into the lyrics:

“I got that burning warning sound

Running away from the drooling wolves

Shaking up this place, entangling up your heart

There is a jumbled mess (Huh, burn it)

I can only breathe, my senses can't be fooled, let's put our hands on our heads

Take the phobia with my name, hurry up

There's no hope, I can't write regrets

I'm sorry, I was born with nasty nature,”

Verse one brings us in with this dark and aggressive sound. The drums are heavy, the lyrics are strong and cutting. It’s setting the tone for their overthrow of the power they’ve been up against this entire album. By this point, the revolution has been long underway and we are in the final stages of bringing down this regime. Or perhaps at the very start of entirely new world order.

“You wanna know? I'm on fire

Don't cross the line, don't intrude

Let's keep it for real

The sound of warning

You're gonna see your terrifier

Feeling right now, now you feel it's going on

I'll find you, danger

Danger,”

The refrain shows us more hints toward the “new world order” possibility. The boys are back to their taunting and showing off their willingness to spill blood when needed. Which we’ve come to learn usually means they’re about to enact some kind of change. They’re even returning to threats like in Django, “I’ll find you, danger.” They’ve effectively taken over the power at this rate and they’re just waiting for you to see it. To dare to get in their way.

“Rugged look

My body is getting hot

It's about to explode

The heart is overdriving (Woah, woah, oh-oh-oh)

Don't open it inside me

Another me is about to come out

This is my sector one,”

The pre-chorus and we are back to playing on the humanness of the message recipient. They’re giving them physical sensations to describe feelings and then cutting back in with a threat. This is a clear show of power. They know they’re dangerous, they know that you know they’re dangerous, and they’re using that to their advantage.

“I won't say it twice, warning

Don't wake me up, the monster inside me

A big accident that I can't prevent

Trying to stealthily run away

Don't try it, never

You can't handle it, game over (Ooh)

That's your big mistake

Better run 'cause I'm the outlaw,”

Our boys back at us again being the KINGS of the revolutionary energy in the chorus. Not only are they making references back to each of the previous songs, but they’re relying heavily on Django’s ruthless messaging. This is deliberate. They’ve even brought elements of Django into this song as well. Listen to the similarities in the instrumentals to fully understand what I mean. It’s not a perfect match, but it is eerily similar. This is by design. They’re further proving their willingness to defend themselves by any means necessary… from anyone they deem a threat.

“Yeah, yeah, haha

Give me, give me that, give me, hit it, bang, run it, run it back

I do it as I please, play my way, disobey (Huh)

Du-du, gunshot, it's about time

Cheeky with a reason between fake gimmicks

I raise my eyes in the fierce atmosphere

Entangle my body at the border between temptation and reason

On my way, don't move, I can only get you there

Don't be nervous in the dark, uh,”

Verse two with Hongjoong and Mingi, yet again a true lyrical masterpiece. But that’s neither here nor there. Let’s break it down by section:

Hongjoong’s section:

“Yeah, yeah, haha

Give me, give me that, give me, hit it, bang, run it, run it back

I do it as I please, play my way, disobey (Huh)

Du-du, gunshot, it's about time

Cheeky with a reason between fake gimmicks.”

Notice how aggressive he seems to have gotten with this verse? He’s not just angry, he’s enraged. As a leader does, he is embodying the revolution with every fiber of his being. And he’s even challenging someone to stop him, “play my way, disobey… gunshot, it’s about time.” He’s both telling his followers to continue fighting in a covert manner and threatening those who oppose him in an outright manner.

Mingi’s section:

“I raise my eyes in the fierce atmosphere

Entangle my body at the border between temptation and reason

On my way, don't move, I can only get you there

Don't be nervous in the dark, uh.”

Mingi brings back in that cult-like quality that Wake Up had. He’s keeping the followers hooked amidst all of this. He’s keeping all eyes on him to deliberately distract them from the threats being spewed in the other lines. He’s reminding you of your place. Reminding you that he is your savior so you don’t question their methods. He sounds almost drunk while doing this, no? Almost like he already knows whatever he has to say won’t truly matter. He still has the control, why waste too much energy on keeping it?

“Wave the white flag (Oh-oh-oh)

There are no rules in the jungle, yeah

Na,”

The bridge snaps us back into reality where they’re once again, threatening their opposition. Telling them to, “wave the white flag,” or surrender now. They’re employing the same “hopelessness” tactics that were once used on them. They’re turning the tables.

“Run far away (Woah-oh, woah)

Your prayers are useless (Woah-oh-oh)

There are no rules here

Welcome to the Outlaw (this is mine),”

The interlude and… okay, wow. They laid in heavy and fast on turning the tables here. They’re practically outright saying that opposition is hopeless, “your prayers are useless,” and, “there are no rules here.” There is no use in trying to oppose this new world order. “Your prayers are useless,” your hope is gone just like their’s was. “Welcome to the outlaw,” in other words, welcome to retribution. Revenge. Justice. The same themes we saw in Django. The outlaw.

“I won't say it twice, warning (Woah)

Don't wake me up, the monster inside me (this is mine)

A big accident that I can't prevent

Trying to sneakily run away (This is mine)

Never try (Oh, woah)

You can't handle it, game over (this is mine)

That's your big mistake

Better run 'cause I'm the outlaw.”

The final chorus and the last lines of the song. Though most of these are repeated from earlier, I want to look at that very last line, “‘cause I’m the outlaw.” Now knowing the context of the previous lines in the interlude, we can see now that they are painting themselves to be the threat now. They’re no longer heroes. They’re a product of the society that raised them.

Thank you guys so much, again, for sticking around this long! Stay tuned for my final thoughts on this whole album and what is to come after that! You guys are amazing! And remember: all art is political. Yes, it is that deep. And, as always, have a good one, folks!

The Leftist Breakdown!

The series where I, your friendly neighborhood anarchist dive into media, messages, propaganda, and more from a leftist point of view to help you out of the trenches of right-wing media.

If you’ve been following along (No shame if you haven’t), last time we covered Django, the fourth song in the k-pop group ATEEZ’s album:

THE WORLD EP. 2: OUTLAW

And in this post, we are continuing on to the second to last song in the album: Wake Up

Now, if you know me personally, you know that this is by far one of my most favorite songs on the album and one of my favorite songs of all time that ATEEZ has made. Second only to Django which, as I said, we covered previously. With that being said, the overall take away of this song in particular will be heavily doused in my own feelings on it. As the rest of these posts have been (I fear I haven’t been very silent about this aspect) this one will be heavily biased and influenced by my own perspective. Though I will present these things as fact, please do not take my words as the gospel or any official lore re-telling. Any and all relation to the set ATEEZ lore and storyline is by complete coincidence or influence of previous knowledge of pieces of lore (which I don’t know all of). This is true for all previous and future posts within this series as a whole. Though I will present these things as fact, I do not know everything and am open for discussion on anything I say/have said.

Now, without further ado, let’s get into the song.

“Do you hear my voice?

I'll set you free

If you wanna know

Follow me, then you'll see,”

Okay, right in with the cult type themes in the intro. “Do you hear my voice,” in other words, have you heard my warnings? Have you seen the revolution happening all around you? A million questions could be asked with this one simple one (thank you, Yeosang). Another method of simple yet effective messaging like we’ve seen in the previous songs on this album. They then kind of shift gears with, “I’ll set you free,” even the abruptness in which it is said is jarring. Almost as if it’s meant to snap you out of something… or perhaps put you under a sort of spell. Is it the same as the spell we found ourselves in, in This World? No. But it is very similar. They want to control your viewpoint and show you “the truth” as they have been mentioning throughout the album. “Follow me, then you’ll see,” shows us that perfectly. They’re attempting to lure you in. You. Yes, you. The listener.

“Everything that was taken away is lost once again today

One by one, I lose and forget simple facts

Got no one to blame, but I know that you're in pain

Locked in illusions, bound up by lies (Mm, fix on)

Falling further in the empty space (Ayy)

False desires will devour me up (Ayy)

Revert back, revert to crazy, feelings are an error

The deeper you permeate, the more eyes will pounce at you, ayy,”

This is it. Verse one. They’re showing you. They’re showing what you’ve been trying to hide from this entire time. They even call out the control itself, “revert back, revert to crazy, feelings are an error.” This is what the control did to them. They’re laying it out to you on a silver platter. And they’re making sure you can’t look away this time. You will hear them. You will see them. You will see what this regime has done.

“Oh, breathing out of tempo (Breath out of tempo)

Oh, lost soul

Feel me (feel) in your subconscious (in subconscious)

My voice will be resonating, yeah,”

The pre-chorus brings back that cult like quality. The boys are calling you out directly. They’re telling you exactly what to do, “feel me in your subconscious.” In other words, let them in. You will listen to them. Whether you like it or not, you will listen to them. They’re drilling that into you here. They’re telling you that even if you don’t hear them now, their voices will be there in the back of your mind and eventually, you will listen.

“Hey, you can hear my voice, I know it (Oh-oh; Know it, know it)

Face my eyes, your eyes (Oh-oh-oh)

Let me take you there, not even once (Woah-oh-oh)

A place you've never seen, so wake up (Oh-oh-oh)

So wake up (Wake up)

Oh-oh-oh-oh (Time to wake up)

Wake up

Open closed eyes, wake up in hypnosis,”

Okay, so they’re pretty much throwing it directly in your face with the chorus. They’re telling you once again that you will listen to them. And then they’re commanding you to, “wake up.” They’re not asking anymore. They’re telling. They’re going to make you see it one way or another. And once again, we see a hint of that cult like quality toward the end there, “open closed eyes, wake up in hypnosis.” This is all just one big propaganda for their now cult-like revolution against this unnamed power. And they’re recruiting you directly.

“You'll be bewitched and lose all your other thoughts

You get swayed here and there without resistance

When it rains in this dry and worn-out drought

Only then will you know who you are and who you are not

Falling out (Oh, yeah)

Beauty in chaos (Hey, hey)

La-li-la (Hey, hey)

The dissonance of ego (Hey, hey)

In the sense of losing

I know you're confused

The boundaries of reality are mixed up

I will shake your heart and wake you up,”

Verse two plays even heavier into those cult-like themes we’ve been seeing pop up here and there. They’re painting themselves as saviors here. Telling you that they can save you, they understand you, they know what it’s like, and only they can “wake you up.” They’re showing you what this unnamed power has done whilst also using it to their advantage. They’re painting you this beautiful picture with them as the heroes. And from the sounds of it, it’s working. Notice how they no longer sound desperate? Notice how all that helplessness from the previous songs is suddenly gone? They know their power and influence and they also know that they have you hooked. By this point, you’re already entranced, you just need to be coaxed a little further.

“Release it now

Awaken your senses

In the dark, in the maze

I won't let you go,”

Jumping to the bridge, they’re playing on the very thing that makes you human. They’re playing on your existence. They’re commanding you to, “release it now,” and “awaken your senses.” In other words, let down your last defenses and let them in. Let them show you the truth, the light. Let them show you hope. Because they “won’t let you go…” they have you now. You have no choice but to “wake up.”

“Hey, you can hear my voice, I know it (Oh)

Face my eyes, your eyes

Let me take you there, not even once (Oh)

A place you've never seen, so wake up,”

The final chorus. Notice how they’ve gotten louder? Notice how Jongho’s voice seems to be cutting through a lot more all of a sudden (and getting entire lyrical sections to himself)? Notice how the instrumental feels much more aggressive now? This is all by design. They’ve infiltrated your mind and these are the final steps before you’ve truly seen the truth. They’re on the brink here and they show that both lyrically and instrumentally. You’ve let them get this far, just take that last step.

“Hey, you can hear my voice, I know it

Face my eyes, your eyes

Let me take you there, not even once

A place you've never seen so wake up.”

The outro. It’s official, they have you. Now all that’s left is to open your eyes. To see what’s been in front of you all along. To see your saviors. And join them. “So wake up.” That final, “wake up,” is whispered. Hongjoong, the head of this operation is the last one to speak. The figurehead of the revolution is that final straw that breaks it all. So, naturally, when the song ends you… Wake Up.

Stay tuned for the final song on the album! I hope you’ve enjoyed these so far! And remember: all art is political. Yes, it is that deep. And have a good one, folks!

The Leftist Breakdown!

The series where I, your friendly neighborhood anarchist dive into media, messages, propaganda, and more from a leftist point of view to help you out of the trenches of right-wing media.

Last time we talked about Bouncy (K-Hot Chili Peppers) by k pop group ATEEZ in their album:

THE WORLD EP. 2: OUTLAW

This time, we are going to dive into the next song in the album: Django.

Before we jump into the lyrics though, let’s talk about who Django is. Django (aka Django Freeman) is a character in a movie from 2012 called Django Unchained. Although he is not based on a real person, he is often assumed to be based off of real historical figures such as Bass Reeves (a black bounty hunter) and Dangerfield Newby (a former slave). However, the history of Django goes back further than the 2012 movie.

Back in 1966, Django actually came from an Italian Spaghetti Western about a mysterious former union soldier now drifter becoming caught in a conflict between revolutionaries and Confederate sympathizers. In the film, Django plays both sides to reach his goal of avenging his wife’s death. It is a heavily violent film with racist themes and an overarching theme of revolution.

In the 2012 film, Django is a slave who partners with a bounty hunter to save his wife. With his German compatriot, Django eventually comes upon the Calvin Candie plantation. Where his wife is still alive and working as a slave. Throughout the movie it portrays heavy and dark realities of slavery and the system that causes it to function as it does.

In both tellings, Django is a revolutionary and hellbent on justice and revenge for his wife. It is no mistake that ATEEZ chose him as the frame work for this song. They’re throwing the reference directly in your face even amidst a happier sounding beat and almost lackadaisical tone of the choruses. It’s a wolf in sheep’s clothing style and also a direct call to their revolt all the same.

Now for the lyrics:

“Calling me

Do that, okay, go ahead

You feel dangerous

On the off chance

Come and show me what you're betting

One action, bet everything on it

One, two, three, four face it, faster

Try each other's destiny

Who owns the Goddess Smile,”

Verse one and the boys are building the story of Django whilst also using it to almost threaten the authorities they were speaking to the in the previous song. Their revolution is growing stronger and they’re becoming more confident in their abilities.

“You know what? These are the rules right here

You think about tomorrow, oops, yeah

It means you won't be able to handle it

It means we only live for today,”

The refrain serves to lull the receiver of their message into a false sense of security. They’re being casual and lackadaisical on purpose. They’re trying to appear unassuming as can be seen a lot throughout this song. But they won’t let you forget about their danger either. They’re forming themselves into this lethal adversary that to outsiders would appear unassuming and harmless at best. Making the authorities question themselves much like the boys had done under their control.

“Pop it like it's hot, the flame is burning

Show me what you got, start spinning, roulette

Hands up in the air, now, stop it

I told you not to stand out, you know what I mean,”

In the pre-chorus, they’ve once again returned to that familiar taunting pattern we’ve come to expect from them throughout these last few songs. They’re showing how crazy the receiver sounded trying to keep them down. They’re spitting the words back at them.

“Put everything on the line and shoot, right now

Final round with fate on the line

If you want to run away, then run away

Ain't nobody mess with Django, call me Django

Pre-determined scenario

You can't control me

'Cause I just live today, don't care about a thing

Call me Django,”

This is my absolute favorite part of this song, the chorus. They’re employing several tactics here and it’s so interesting to see. Their tonality is casual and lackadaisical, like they truly “don’t care about a thing.” But it’s a trap. All of the other lyrics around it are aggressive. Some are direct threats and challenges to “shoot, right now.” They’re saying, “I’m not afraid of you, but you should be afraid of underestimating me.” Within the media context of who Django is, they’re throwing a threat directly into the faces of authorities and showing them that they’re not above spilling blood for justice.

“Shake it off, clap your hands, and agree (Hey)

I create the culture, I plan your move (Hey)

My chess game at the end of this century will be trouble (Up)

As the beat gets bigger, I'll pop it like a bubble, huh

Woah, woah, woah, woah, ah hot, blow up, up, up (Yeah)

There is no middle ground, get rid of the inside pain, inside, inside (Yeah)

I cannot wait, I can't help it, even for half a penny

Your period is my charge forward, uh, yeah, that's how you end,”

Verse two and dare I say… they’re calling for the death of a dictator? Perhaps not directly and perhaps not in a way you’d expect, but walk with me here. Listen to HOW they say these lyrics. Mingi sounds angry, fed up, and possible volatile. Hongjoong sounds disgusted. Together, they’re everything the revolution is feeling. They’re everything all eight of them have been feeling under the control of this authority figure/dictator. And what do people resort to when they’ve become so incredibly tired of a system? Violence. Hongjoong even directly says, “that’s how you end.” This, to me, screams assassination if I’ve ever seen it. Perhaps even a threat to carry it out themselves. In either case, however, this is a clear declaration that they will end the regime they’re under.

“Run, better run (Oh, you)

You'd better run (Oh, no)

I'll take it all

I can't stop it, no one

On the game board, playing drums and drums

I'll show up like Underdog, untie your leash, and chew you up, Django

Not okay, time's up, run away or die young

Last adios, this is my way, Django

Kill it (Hey, yeah),”

The bridge only proves my earlier point. They’re calling for death to a dictator and the regime they’re forced to live under. This also only serves to show that the previous lines were, in fact, a threat to carry it out themselves. This screams revenge and aligns perfectly with the tellings of Django.

“Bra-ta-ta-ta

I can hardly stand it (Hey, yeah, hey, yeah, hey, yeah, hey, yeah)

Bra-ta-ta-ta, bra-ta-ta-ta

I'm a lone gunman, bang, bang, bang, bang,”

Yunho with the post-bridge. It’s simple but effective in its messaging. He is aligning himself directly with a “lone gunman” and uses sounds to mimic gunshots to further show his willingness to end this regime’s reign. He is showing that he is incredibly serious and capable of carrying out such a feat despite being earlier seen as unassuming. Intentionally breaking the facade to prove his drive for change.

“D-J-A-N-G-O (Watch out)

Get out of the way, all of you (Ooh)

I am the one who has no tomorrow (Oh, yeah, oh, yeah)

Sunset Outlaw (Yeah)

D-J-A-N-G-O (Oh, woah, oh, woah)

Get out of the way, all of you (Ow)

I am the one who has no tomorrow

Outlaw of the sun(Hands Up).”

The outro and we can already see that spark they cultivated back in This World finally taking shape. They don’t care what they have to do or who stands in their way, they want revenge and they will get it by any means. They’re fighting for themselves and even hailing themselves as almost deified entities or vigilantes, “sunset outlaw… outlaw of the sun.” They’re throwing away everything for the sake of revenge and revolt, “I am the one who has no tomorrow.”

Stay tuned for the next song in the album! And remember: all art is political. Yes, it is that deep. And have a good one, folks!

The Leftist Breakdown!

The series where I, your friendly neighborhood anarchist dive into media, messages, propaganda, and more from a leftist point of view to help you out of the trenches of right-wing media.

Last time we talked about Dune from K-pop group ATEEZ’s album:

THE WORLD EP.2: OUTLAW

This time, we are diving into the main event! The title track of the album: Bouncy (K-Hot Chili Peppers).

So without further ado, let’s get right into it.

“What you gonna say? (Yeah)

Sit back and relax, man

Don't you wanna bet, man?

I got time but it's not for you, bro

Don't you realize what I'm saying?

What you gonna do? (Let's go, let's go)

Ayy, let's go,”

The intro gets us right into a more upbeat and aggressive sounding track. The boys seem to be taunting someone. Perhaps offering themselves as both a distraction and a method of messaging. This is the beginning of the revolt that they were building up in the previous two songs.

“One, two, at ease, three, four, then hoo

Shake your head to the rhythm

Nothing stands in our way, try to stop us

Unlock everything, now it's time for the party

We're still hungry because we're young (Hey)

Move aside 'cause we need some air

Untie everything that's been tangled up

Can't live life standing still (Yeah),”

Verse one hits us hard with the revolutionary symbolism and the taunting of authority figures. Right in the first line, “one, two, at ease, three, four, then hoo,” is a direct reworking of a common chant among militaries. They’re going into this guns blazing and ready for a fight. They show that by way of saying, “we’re still hungry because we’re young.” They’re saying, “I have willpower. You will not take my youth from me.” They’re showing that they’re unafraid to defend themselves and people like them.

“Bring back the microphone, raise thе volume

Sit back and relax evеrybody

Feel it, this is our sound

Come on everybody,”

This is a recruitment and a call to action. They’re speaking directly to all of those that have felt the way they have. They’re telling them to fight. To “feel the sound” of the revolution that is already inside of them. They’re calling for those people to join them and not continue to fall for the tricks of the authorities’ control.

“Slow it down, make it bouncy, starting now, fly

A different kind of spicy, cheongyang chilli pepper vibe

If you wanna know how, I can show you right now

We're making it bouncy, set it on fire, fly,” (x2)

Sexual innuendos aside, the chorus and post chorus are also a form of… propaganda! Yes, you read that right, propaganda. They’re telling you, “join us, we can make everything better, it’s different over here, etc.” which are all common propaganda tactics. They’re romanticizing their revolution to make it more appealing for onlookers. To recruit more revolutionaries. The repetition of it only adds to making it seem more appealing. It’s catchy, it’s repetitive, so it will stick with you. It’s by design.

“Raise your head up to the sky

Front, back, side to side, listen to my words

S-O-N-G M-I-N-G-I

Gonna know it's over (Ayy)

Where you're from, where you are, your age, religion, and even country

No boundaries, all of it, it doesn't matter (Matter)

To the point of madness with crazy people

Shake it until you're about to overheat

Yeah, want it, want it and burn it, burn it

Again, let's play more, it's hot in here

Bounce up higher and higher

It's exploding, fly as far as you can

(Slow)

Gimme, it's a vibe snatch (Vibe snatch)

Follow my dance or wave the white flag

Can't do that? It's a self-drag,”

Verse two and we’re back with more propaganda and… threats? Yes, threats. No revolution truly works without a bit of violence and they know this. They use it to their advantage. They’re saying, “look how much better it is over here, if you don’t join us you’re as good as dead on the other side.” Specifically the line, “follow my dance or wave the white flag,” shows this “you’re as good as dead” attitude that they have toward those people who are refusing to join them. Throughout all of this, they’re also hyping up their supporters in a way. Playing into their biases and calling the authorities “crazy people.” They’re using confirmation bias to their advantage whilst also threatening those who don’t see “the truth” that was mentioned way back in This World at the beginning of the album. (Starting to sound like a cult yet?)

“Jump on top of the world

Fly up to the sky

Gather in the rhythm

Become one and shout it out,”

In the bridge, they’re once again speaking to their supporters. They’re cultivating this feeling of unity within their revolution. A sort of oneness that they weren’t offered under the control of the authorities. They directly tell their supporters to, “become one and shout it out,” or in other words, come together and fight back against the oppression.

“Oh, oh-oh (Woah, woah, woah, woah)

Oh-oh, oh-oh (Woah, woah, fly, fly)

If you wanna know-how, I can show you right now

Shake your head, bounce, bounce, up in the sky, fly, fly.”

The outro brings us back to that more “fun” feeling that we had in the beginning, but it feels much more aggressive now, no? Knowing the context of the previous lyrics, even without much of a tonal change, you can feel the aggression behind these final lyrics. This is a declaration. This is no longer a plead but a call to revolution.

Stay tuned for the next song in the album! And remember: all art is political. Yes, it is that deep. And have a good one, folks!

The Leftist Breakdown!

The series where I, your friendly neighborhood anarchist dive into media, messages, propaganda, and more from a leftist’s perspective to bring you out of the trenches of right-wing media.

Last time we talked about the song This World from the lovely k-pop group ATEEZ in their album:

THIS WORLD EP.2: OUTLAW

This time, we are diving into the second song on the album: Dune. Without further ado, let’s jump into it.

We open with a sort of desert-esque feel in the instrumentals and a sort of chant. The chant brings me back to the previous song, This World, where they repeated a phrase in a sort of chanting manner: “I’m ready for the dark, I’m ready for this world.” Though the chant is different, it connects the two songs and gives us the notion that they will be similar in content. Which we see confirmation of this in the opening verse:

“The light in my deserted heart (Hala, hala)

Reflected in a broken mirror

The desire in my eyes is disappearing

Further down, down

The pouring rain falls and presses on my head (Presses)

I try my best to climb up somehow (use my strength)

I'm suffocating, I can't even count the sacrifices

I'm falling endlessly (I'm still falling down),”

They lead us in immediately with the same overwhelmed and desperate feelings we saw in the previous song. They bring back this concept of the ‘self’ via references to a broken mirror. We can see this as the same ‘self’ they grew a spark to fight for in the previous song. They even bring back the recurring theme of sacrifice directly, “I can’t even count the sacrifices.” It’s clear this song is meant to build upon the emotion behind the previous one. A sort of prequel to the desire to fight and a deeper introspect into their reality collapsing around them.

“Heaven's door

Is getting farther and farther away

Mm-day, mm-day, oh,”

The pre-chorus gives us this sense of a desire to escape to a paradise out of reach (Heaven). It’s that first glimpse into the desire to fight we saw in the previous song. This is their motivation. Freedom. It also once again features the chanting, furthering the notion that this was their first spark at resistance.

“What do I have to be sick for?

Am I one out of countless people why?

Who am I to blame?

I can still hear it, keep your head down

Oh-oh

I'm out of breath here every day

Oh-oh

I can't escape it,”

The first chorus is a heavy one. They’re questioning themselves. Questioning their reality. Questioning the control of this unknown entity (perhaps the listener or some other outside force). This isn’t so much a cry for help as it is a recognition of the illness festering inside of them. This shows their internal turmoil amidst this control and the deeming that it does to them.

“Yeah, yeah

Broken lights, panic (Panic)

Tied up in chains

You could be my doll

Defeated in the day of desire

Pop, pop

Forced knock, back, defeat

Shake into the waves down, down

The wind's pressure wraps around (Hoo)

Hey, save me here, help me (Woah)

Hold my hand, hold me (Woah)

Water, water keeps drying up, I'm thirsty

My body won't even make a bad sound (Ayy)

Into the depths

I'm in danger of disappearing

Can you remember

Even if it is this scream of death,”

Hongjoong and Mingi back at it again with the heavy verses. There’s a lot to look at here, so let’s break it down:

Mingi’s half: The first few lines, “Broken lights, panic. Tied up in chains. You could be my doll. Defeated in the day of desire.” This is an in depth look at how this control works. It “ties you up in chains” or breaks your spirit, then it controls you or puppeteers you like a “doll” for their own selfish desires. These lines being broken up by: “pop, pop. Forced knock, back, defeat. Shake into the waves down, down. The wind’s pressure wraps around me,” to me, shows a fruitless effort to fight off the control. Each time he struggles, he is met with a “wave” and “wind pressure” or a sort of hurricane. It breaks him back down and back into the chains he mentioned before.

Hongjoong’s half: The lyricism in this one is heartbreaking from the very beginning, “hey, save me here, help me.” It’s a deliberate and direct cry for help. His spirit has been broken and he’s begging for someone to save him. It’s almost hopeless. “Hold my hand, hold me.” He is completely hopeless. He’s pleading for even just comfort at this point because he knows he’s been broken down. He wants so badly to have himself back that he’s pleading for comfort and help. “Water, water keeps drying up, I’m thirsty.” Another call back to the desert theme within the instrumentals and the hopeless feeling. He feels himself dying in the worst way possible. Dehydration in the desert is a painful way to go and he doesn’t use this allegory lightly. He’s playing into the hopelessness of it all deliberately. “My body won’t even make a bad sound.” He’s suffering on his own. He’s dying inside and all alone, begging and pleading for someone to help him. His humanity and vulnerability is on full display in just these few lines alone. And how quickly he says them, he almost sounds panicked and out of breath. Like this is his last effort to save himself. “Into the depths. I’m in danger of disappearing. Can you remember, even if it is this scream of death?” Right there. He feels like these are his final moments, his last ditch effort for survival. His “scream of death.” He’s lost himself completely and he knows it.

“The gesture of despair tempts me

As if I could run away

Run away, run away, far away

I can't take it anymore

Mayday, mayday, mayday

Fade out, fade out, fade out

Why are you doing this to me

I want to live (Hey),”

Jumping to the bridge, we see this continued panic and desperation. Especially with Hongjoong cutting in at the end with, “Mayday, mayday, mayday. Fade out, fade out, fade out. Why are you doing this to me? I want to live,” after his previous verse with Mingi. At the beginning, they even directly call out the feeling of despair and once again reference a method of escape, “running away.” They’ve been broken down into shells of their former selves and are desperate for survival.

“Oh-oh (Everyday)

Out of breath here every day (Out of breath, now)

Oh-oh (Hey)

Can't escape.”

The outro is their final attempt at a cry for help. They’re breathless by this point, broken down, hopeless, and utterly desperate. This is their final plea as their reality breaks all around them. As the walls of what they’ve known crumble to their feet.

Stay tuned for the next song in the album! And remember: all art is political. Yes, it is that deep. And have a good one, folks!

The Leftist Breakdown!

Where I, your friendly neighborhood anarchist, breakdown media, messaging, propaganda, and more from a leftist point of view to pull you out of the trenches of the right-wing media.

Fittingly, this first post we are talking k-pop. And diving into the world of… ATEEZ! In this mini deep dive, we are covering:

THE WORLD EP.2: OUTLAW

(My personal favorite album of their’s)

So, without further ado, let’s get into the album.

The first song is called: This World. And the messaging in this song is absolutely beautiful for an opening track into… this world of rebellion, questioning authority, and taking back control of yourself.

The starkness of the synths as compared to the rest of the backing instrumentals is where I want to begin this dive. They’re almost hypnotic in nature and create this atmosphere of distress and anger even before the lyrics begin. They get a moment to shine at the very beginning, leading you into the song with these predisposed feelings toward what is to come. But, just as it feels like this sound is going to almost control the song, it’s cut off by a heartbeat-esque drumbeat and our boys San and Wooyoung.

There isn’t much auditory lead into their voices. It’s almost like they’re breaking a spell of some kind. Stopping the control before it can get too close with the lyrics:

“Close your eyes

Come on, oh boy

Now, can't you see the truth?

You need the darkness to step out of the darkness”

It’s a call to action. A beckoning for the listener (or someone meant to receive this message) to really hear them, see them… see the truth. It’s almost taunting in a way. Like they’re telling the listener/receiver something they’ve said a thousand times before, but for one reason or another felt unheard. It’s not quite aggressive but it’s not quite kind either. This is a “LISTEN TO ME” moment.

“Sometimes it's cruel

The bare face of the truth

Shake me and test me,”

Seonghwa comes in for the pre-chorus to almost worsen the blow of verse one. Further taunting the listener/receiver and subsequently challenging them. Challenging them to witness the truth. The atrocities they’ve caused, the lives they’ve stolen, all of it. He challenges them to “test him” or in other words, provoke him. Perhaps into defending himself.

“What are you trying to protect?

What are you trying to change?

I'm ready for the dark

I'm ready for this world

What can you sacrifice?

Can I throw away everything?

I'm ready for the dark

I'm ready for this world,”

Chorus one with Jongho, San, and Yunho shows us a deeper introspect into their anger. They’re questioning the listener/receiver and simultaneously showing their resistance via the repeated, “I’m ready for the dark, I’m ready for this world,” lyric. It becomes increasingly more clear with these lyrics that the boys are trying to send a message. And not a peaceful one.

“Lies, controls, rules

Numb, hatred, emptiness,”

The refrain is a direct call out to the atrocities mentioned in the pre-chorus. It’s accusatory, saying, “you did these things to me/us and we both know you did.” The tonality in which it is said, how quiet they are as compared to previous lyrics, it’s aggressive. It’s powerful.

“Now, close your eyes

I'm confusеd if this is right

This is the only way, right?

Black shadow has no fear, death

Whеn you're willing to face the dark

Blurred lines and demons

Actually, I don't know, hell or heaven

Maybe a place where light and darkness meet

The choice between truth and lies is mine

Nature revealed in ugliness

The distinction between good and evil is no more

Stepping further into the darkness

Deeper into the depths

Oh, my, I think I'm falling down

Slowly, I'm going down (Woah-oh),”

Wooyoung, San, Hongjoong, and Mingi with verse two. And wow is it heavy. The aggression has morphed into desperation. Their reality is crashing all around them and they’re bearing witness to each crack. What they once knew (control) is collapsing before their eyes and they’re desperate for someone to see them. To see the truth.

“Yeah

We're still in the dark, do you feel alive?

Cloudy mind, I don't feel myself

Now it's time to fight, take back my life

The day I become myself, I will face myself in this world

Sacrifice, despair, desire, inferiority complex

Anger, regret, obedience, degradation, and anxiety

Burning in resentment and hatred

Can freedom fly amid all this hate and respect?

I can't take it no more,”

Jumping to verse three with Hongjoong, Mingi, and Jongho. We once again find that fighting spirit that was present at the beginning of the song. Though they’re still desperate, they’re channeling that desperation to fight for themselves, to “take back my life.” This screams beginning of a resistance.

“I have to protect (Oh)

Everything has to change (Oh, yeah)

I'm ready for the dark

I'm ready for this world (Yeah)

I swallow all sacrifices

Abandon me more, more, more (Swallow all the sacrifices)

I'm ready for the dark

I'm ready for this world.”

The final chorus is much different from all of the previous in this song. It’s a show of their strength in resistance. This is their spark, their reason to fight, and their call to action all in one. The final repetition of, “I’m ready for the dark, I’m ready for this world” being the chant of their newfound revolt. A declaration and a threat all the same.

Throughout the different choruses, we hear the synths start up again after being cut off in the beginning. They’re much softer and more glitched. Strategically changed to blend in with the other instrumentals and almost disappear in certain sections. Only occasionally being cut off entirely toward the end. It’s an ever present sign of the spell of control looming over them. That occasional cut offs paired with more aggressive sounding synths shows a battle between will and control. A war already starting long before the revolution truly begins.

Stay tuned for the second song on the album! And remember, all art is political. Yes, it is that deep. And have a good one, folks!