#mood setter

[elevenharbor]

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November DDN playlist

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OST for tonight’s DDN session. Both playlist and [official] DDN banner made by cakeit0n.

Even though I’m tagging this under #eleven’s playlist, I cannot take credit for this because I didn’t make it...but I love it so much, I need to keep tabs on it so I can come back to it later.

[makemusiceveryday]

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can you hear me doing all the looping yeah me too

Download file | Play in new window | Duration: 6:24

REVERIES 18 #70 “tomorroway” was originally published on Luke Janela

[juhnkit]

Motivational Things I've Done for the Past 18 Years ... Spice 1, Doncha Runaway (Audio) ... from the Album: AmeriKKKa's Nightmare (1994)

#MMitM1 #Rituals #MoodSetter

The Album — AmeriKKKa’s Nightmare: Released in 1994, this was Spice 1’s third full-length album and one of his most aggressive. The title alone signals the project’s disposition — a riff on Ice Cube’s AmeriKKKa’s Most Wanted, declaring Spice not just as a criminal figure but as the nightmare the American system has produced and now fears. The album features Method Man on “Hard to Kill” — one of the more notable East Coast/West Coast collaborations of the era, predating the East-West war that would consume the following years.

What the Song is About: The first verse opens immediately: “Now don’t you run away from my Glock / you can’t dodge 17 muthafuckin’ shots / could somebody pass me a clip and a trigger / walk across the party pistol whip a nigga.” The song is a direct threat — pure and unambiguous. Spice is announcing his crew (the 187 FAC — his affiliated collective), establishing his reputation, and warning anyone who would challenge him that running is not a viable option. The chorus says it plainly: “Doncha runaway from my Nine / there’s no place to hide / I’m gonna get you by and by.” The first verse also contains one of Spice’s more darkly comic pop culture insertions — “they’ll never breathe again like Toni Braxton” — lifting the title of the 1994 R&B smash and repurposing it as a death threat. This kind of unexpected reference was a Spice 1 signature — jarring pop culture collisions that reveal the absurdist intelligence underneath the aggression. The second verse doubles down: “Spiggedy one kickin’ dat ass with some lay back shit / the trigger-happy nigga, I figure niggas won’t wanna step to me / if they know I’ll be bustin’ caps / I roll straps, niggas take naps / ‘cause I don’t be fuckin’ around when it comes to bustin’ that steel.” The third verse shifts briefly into tactical advice: “And I advise you to stay on the lurk / ‘cause if you funkin’ with my niggas / you gon put in some work.” And it closes with the outro — Spice shouting out his crew in the studio, relaxed, almost jovial — #AntBanks, Omar, Jamar, all strapped.

The 187 FAC: The 187 FAC (Fremont Area Crips, named after the California penal code for murder) was Spice 1’s crew — his real-world affiliation and the community that appears throughout his music. References to the FAC appear constantly across his albums, grounding the music in a specific place and community rather than in abstract gangsterism. This is not performance — it is geography, loyalty, and identity.

Emotional Ties: The emotional texture of “Doncha Runaway” is more complex than its surface aggression suggests. The loyalty that runs through every Spice 1 crew shout — “if you fukkin’ with my niggas” — is the same covenant loyalty that makes the violence feel like protection rather than mere aggression. The threat is not directed at random people. It is directed at those who would threaten the specific community he is part of. The menace is, at its root, protective love expressed through the only language the street makes available to men in his position. The outro — drunk in the studio, laughing, strapped, shouting out the homies — is one of the most humanizing moments on the track. These are not soldiers at attention. They are friends, hanging out, alive in this specific moment, making something together. The violence of the verses and the warmth of the outro occupy the same four minutes and fifty-six seconds. Both are true.

————— Theological Viewpoints —————

— “There’s No Place to Hide / I’m Gonna Get You By and By” — The Inescapability of Consequence: The chorus contains a phrase — by and by — that carries deep resonance in the African American religious tradition. “By and by” is the language of the spirituals — “In the Sweet By and By,” the promise that justice and reunion will come, that what was denied in the present will be restored in the future. Spice repurposes this sacred phrase as a threat — the reckoning is coming, not in heaven but in the streets. This is the inversion of the spiritual: the same inescapability that the spirituals described as divine justice, Spice describes as street retribution. Both traditions agree that consequences cannot be permanently escaped. They disagree only on the source of the accounting.

— The Trigger-Happy Identity as Survival Armor: Spice 1’s “trigger happy nigga” identity — which he announces explicitly and repeatedly — is not, at its foundation, psychopathy. It is the construction of a reputation so formidable that no one tests it. The theological tradition understands this as a corrupted form of the legitimate human need for safety and respect. The desired outcome — not being harmed, being left alone, having one’s community protected — is entirely legitimate. The method — constructing an identity around the capacity and willingness to kill — produces its own cycles of retribution, escalation, and eventually the destruction of the very thing being protected.

— The FAC as Covenant Community Under Siege: The constant invocation of the FAC — the crew, the affiliation, the people Spice will fight for and die for — is the covenant language of a community that has organized around mutual protection in the absence of institutional protection. Police do not protect these communities. Courts do not deliver justice for them. The state has declared them surplus. In the absence of legitimate protective institutions, communities form their own — and the 187 FAC is one such formation. The theology here is not endorsement of gang affiliation but recognition that human beings will always create covenant communities, and that when legitimate institutions fail them, they create illegitimate ones out of the same fundamental need for belonging and protection.

— “Don’t Be Too Proud to Beg for Your Life” — The Humiliation of the Proud:** This line — “nigga don’t be 2 proud to beg for your muthafuckin’ life” — inverts the Proverbs tradition in a specific way. Proverbs consistently warns against pride as the precursor to destruction: “Pride goes before destruction, a haughty spirit before a fall” (Proverbs 16:18). Spice’s warning is the street version of this: the person too proud to acknowledge vulnerability, too committed to the image of toughness to recognize the reality of danger, will die for that pride. In both traditions, the counsel is the same — humility in the face of superior force is wisdom, not weakness.

— The Studio Outro as Sacrament of the Present Moment: The closing moments of “Doncha Runaway” — drunk in the studio, laughing, strapped, alive in this specific moment with these specific people — carry an unintentional theological weight that the verses do not reach. The mystics call it the sacrament of the present moment — the recognition that the sacred is present not in some future or past but in this breath, this room, these people, right now. Spice 1 and his crew in that studio did not know what was coming — the arrests, the violence, the deaths that would thin their ranks in the years ahead. They were simply alive together in one room, making music, laughing. The outro preserves that moment. It is its own form of grace.

Knowledge Shared:

1. Your reputation is your first line of defense — if people know what you are capable of, they are less likely to test you. The trigger-happy reputation is partly performance, partly reality, but entirely strategic. The goal is deterrence, not destruction.

2. Running doesn’t end the problem — it extends it — the entire premise of the song is that flight is not a solution. The reckoning will come. Better to address conflict directly than to carry it forward unresolved.

3. Stay strapped if your environment demands it — the repeated emphasis on being armed is tactical advice specific to an environment where institutional protection is absent. It is not universally applicable but it is honest about the conditions it addresses.

4. Know who your people are and be ready to put in work for them — “if you funkin’ with my niggas you gon put in some work” establishes the covenant obligation. Your crew’s enemies are your enemies. This cuts both ways — their conflicts become yours, and yours theirs.

5. Don’t be too proud to acknowledge danger — the person who will not admit they are in a dangerous position cannot take the steps to survive it. Pride that prevents honest assessment of your situation is deadly.

6. “By and by” — consequences are patient — what goes around comes around. The street version and the spiritual version agree: deeds have consequences that do not expire. What you put out returns, eventually, in some form.

7. The homies in the studio are the real thing — underneath all the menace, the outro reveals what actually matters: the people in the room, the laughter, the shared moment. The violence is the armor. The crew is the treasure.

#Spice1 #DonchaRunaway #AmeriKKKasNightmare #1994

[dareartofsoul]

Good music and convo with Davarja about photography and everything else! LISTEN HERE MOODSETTER.RADIO

[imendofcontract-blog]

Panic! At The Disco: Girls/Girls/Boys

P!atd never fail to give me some kind of electricity that sets my mood real good.

[imendofcontract-blog]

but i love her anyway!

[distractionphotography]

Christmas Day

[omophagist]

We scaled the orchard wall together, tumbling over the side into rich grass. Climbed the ladders to the deep dream garden of our longing, where in the dark, ripe tangerines left their ghosts on our tongues. Where moths, grey as dust or fog, grazed the night with powdered wings. Where no thorns guarded us, no flint-eyed dog patrolled some portion of the soul. Reavers, plunderers, pilferers, thieves: our sacks, heavy with wanting, spilling over and over breathless beneath the trees. Split fruit. By the light of one torch we saw the clear sweet juice of a mangosteen staining to black plum on our cheeks and shirts, love staining to blood on our thighs.

Grace Chua, “The Fruit Thieves”