Since The Weeknd is performing at the Super Bowl Halftime show, I thought it’d be nice to post a little guide to his discography for anyone interested in looking to do a deep dive into his work. I would’ve posted this the day of the event, but I assume that some people would probably like to go through it over the weekend. This shares a direct overview of his released material, talking about his career and the background of the music, the videos, the meanings and all. I’ve written this from a pop perspective, keeping in mind that his history might be fairly new for general pop fans. I also go into the storyline of the red suit character, if your interested in catching up on that narrative before the Halftime show (which will continue the story), I’ve listed the chronological order below followed by an explanation of that narrative. I wanna be clear that the interpretations/theories are not conclusive. Abel rarely shares the metaphors or meanings behind his music. This is based on widely based on fan discussion/mutual interpretation. Fans can feel free to expand on anything in the comments. It is important to know about Abel's backstory to get a certain perspective of where he’s coming from, especially when discussing the songs that deal with substance abuse. These recent articles cover his early years really well and share an up-to-date point of view of his success. Variety 2020 Billboard 2021 - Also a good source for getting to know his team. So, an essential TL;DR is this: Abel Tesfaye came from a broken home, he was born to Ethiopian immigrant parents who split up when Tesfaye was less than seven. He then lived with his mother and grandmother, only rarely seeing his father but having a nice impression of him. His drug addiction started as soon as he was a high schooler, he turned to shoplifting to pay for this need of various substances. Soon he dropped out of high school, leaving his home the same weekend, which would later inspire his stage name, The Weeknd. The name is reference/homage to the weekend his life changed. Quick side note, I didn’t think this post would nearly reach the character limit. So I’ve cut out excess detail and lists of producers (with the exception of After Hours since we’re in that era). Table of contents
XO.
House of Balloons.
Thursday.
Echoes of Silence.
Trilogy.
Kiss Land.
King of the Fall.
Beauty Behind The Madness.
Starboy.
My Dear Melancholy.
After Hours.
XO.
XO is the record label that The Weeknd and co. created in order to publish the first mixtape (House of Balloons) and the ones that would follow afterwards. XO has a lot of meanings that have to do with what went into the music and what still goes into it. XO is what the fans call themselves, popularly with the phrase XO Till We OD (shortened to XOTWOD); another way of saying “we’re ride or die for The Weeknd and his team.” While some argue that it could mean anything since there isn’t clear meaning to it, fans continue to associate the abbreviation with ecstasy (X) and oxycontin (O). That definition stems from XOTWOD, fans assume it’s true because of the team’s history of drug usage. While others take it as it’s classical definition “hugs and kisses” because of the consistent lyrical nature of The Weeknd’s songs. Overtime the definition of XO is simply known as: the fans, the crew, and the label. The Weeknd is more than just one person, he comes with XO. For the sake of clarity in this writeup, I’m going to refer to his crew as XO and the fans as “the fans.” XO still serves as a record label, the current roster is The Weeknd, Belly, Nav, and Black Atlass. It remains The Weeknd’s record label and was his first label before becoming a subsidiary of Republic Records. Throughout his career, The Weeknd has worked with Illangelo, a Canadian producer who’s work the fans adore. Carlo “Illangelo” Montagnese was one of main the producers on The Weeknd’s Trilogy, he’s credited on each track. The fan base claims his work to be some of the most notable artistry in The Weeknd’s discography. Their work together continued with Beauty Behind The Madness, Illangelo worked on seven tracks for that album. He then returned for After Hours working on another seven tracks. DaHeala, another Canadian producer, is another significant factor in The Weeknd’s music. Jason “DaHeala” Quenneville worked as lead producer on Kiss Land. He returned to work on six tracks for The Weeknd’s Beauty Behind The Madness, including the hit Earned It. DaHeala returned as a writer for six of the songs on Starboy. Then DaHeala worked on nine After Hours tracks, and worked as the only producewriter alongside The Weeknd for bonus tracks Missed You and Final Lullaby.
This is a happy house. We’re happy here. (House of Balloons/Glass Table Girls)
One of the most iconic title tracks of all time. House of Balloons is about a lifestyle of drugs, sex, and partying; all in effort to drown out self-doubt. It comes from a place of wanting to make it big while doing what you can to survive, all while pretending everything’s alright. The mixtape describes various sorts of women, how they’ve had impacted the life of someone who’s already down on his luck. Fans often refer to House of Balloons as The Weeknd’s best work. The mixtape was the first introduction the world got of XO, and it was one hell of a way to make an impression. It’s personal for the fans and Abel because it’s the only piece of work known to be based on his life. At the end of the day he’s a songwriter, with many of his albums he creates scenarios and world that he likes to explore through the music. But House of Balloons is known to be based entirely on his life. It remains The Weeknd’s most critically acclaimed work. House of Balloons was crafted through the influences of Hip-Hip/Indie-Rock with the main focus on R&B. Through the genius of Ilangelo, the record was—and is—mesmerizing capturing the essence of a lifestyle that The Weeknd described as “anti-everything.” House of Balloons assisted The Weeknd in gaining the attention of Republic Records, which would then host The Weeknd’s own label XO. Though hesitant at first, XO decided to partner with Republic after the co-founding brothers Monte and Avery Lipman kept coming back to Toronto solely for The Weeknd. House of Balloons received three videos, The Knowing, Wicked Games and Twenty Eight. The Knowing was the very first video The Weeknd made, so of course it’d be something other-worldly; it essentially reflects the song itself but in a sci-fi setting. Twenty Eight represents Abel’s life after fame but also his remorse of letting captivating women into his life. Fun fact— House of Balloons is an actual place in Toronto, it was where him and his crew lived after he dropped out of high school. They’d host parties, call girls, do drugs, and to make it less depressing they’d fill it with balloons.
Thursday consists of the same themes as HoB; sex and drugs. But there’s a twist, he’s in a semi-relationship with this girl Valerie. She’s the only one on his mind, even though they meet only one day of the week, any guesses on what day that could be? Through The Weeknd’s phenomenal voice and the insane production, we’re also presented with this story of a toxic relationship where Valerie used to have the upper hand but she no longer does when she falls for The Weeknd. While Thursday isn’t entirely about the relationship of The Weeknd and Valerie, it consists of reflections to Abel’s life after the release of House of Balloons. The song Rolling Stone notably has a double meaning, in which Abel asks his fans if they’ll stick with him when he gets mainstream appeal and decides to change his sound. The track Valerie wasn’t on the original release of Thursday, it added when Trilogy was released. Ending the mixtape with Heaven or Las Vegas meant that The Weeknd’s actions with and without Valerie were a result of his fatherless childhood, making him push anyone away. That meaning behind Thursday doesn’t change when Valerie is added to the track list, it just means that both want the toxic relationship back. The Zone (feat. Drake) was the first feature The Weeknd had on any of his work, the video for it was released in November of 2012. Rolling Stone had also received a video in October of 2012. Both were directed by The Weeknd and reflect the two different aspects of Thursday. The Zone has Valerie living it up in the House of Balloons. And Rolling Stone has The Weeknd doing a photoshoot for Trilogy, reflective of the song itself. Fun Fact— the female voice heard in Lonely Star is The Weeknd’s, he pitched his voice to make it sound like a woman’s.
Laisse tomber les filles. Un jour c'est toi qu'on laissera. [Leave the girls alone. One day it’ll be you they will leave.] (Montreal)
Out of a dark introductory into the early life of The Weeknd, Echoes of Silence is the darkest work of his Trilogy. Let’s be honest the story here isn’t entirely ethical at times but makes for one hell of a mixtape. Similar to Thursday, Echoes of Silence follows a storyline. After accumulating success, The Weeknd gains the attention of various women. There was this one woman (D.D.) who he liked but she initially rejected him (Montreal). The woman came back to him for his fame status and evidently fell in love with him (Outside), but now that he’s got the upper hand he treats him like a groupie (XO/The Host) and lets... bad things happen to her; she’s gotta pass a test before she can get with him. This test is either drugs or his crew (Initiation). He ultimately tells this woman that he’s not exactly longterm-relationship material, perhaps because her love is temporary (Same Old Song), because he’s Next. With the end of Echoes of Silence (originally ending on the title track) the listener is left to wonder why The Weeknd left her if he’d simply want her to stay. As a side note— Initiation should not be condoned. It remains true that The Weeknd is a songwriter and the progression of time has changed perspectives. But a song that makes such suggestions as Initiation should not be ethically/morally claimed or celebrated. The mixtape follows The Weeknd’s lifestyle after he’s gained all this success, he’s still the same person but now he’s gotten everything he wanted. Some tracks such as The Fall continue to emphasize his journey into stardom and his acceptance of fame being temporary. With the added Till Dawn (Here Comes The Sun), The Weeknd acknowledges the changes in his life, realizing that the old lifestyle is no longer there for him or his past lovers. Echoes of Silence is known as an underrated gem of The Weeknd’s discography, it’s well received by fans and critically acclaimed but often brushed under the rug in discussion of his work. A lot of fans and casual listeners play the mixtapes through Trilogy rather than their respective albums. This often leads to people not playing EoS either at all or only the first few tracks, this is predominantly due to the nature of the compilation being nearly three hours long. Fun fact— D.D. is a cover of Michael Jackson’s iconic Dirty Diana. Fans have named the woman in Echoes of Silence Diana because of this track. Various theories argue that the mixtape itself is based on the Dirty Diana itself with exaggerations of the truth, or whether or not it’s a story The Weeknd crafted based on the song.
Trilogy is a compilation of The Weeknd’s mixtapes, House of Balloons, Thursday, and Echoes of Silence. These three mixtapes were released 3-4 months apart from one another for free digital download in 2011, they gained quite a lot of attention from various industry executives. Prior to the release of Trilogy, The Weeknd featured on Drake’s Take Care with Crew Love. The song was Abel’s first exposure to a Rap crowd/Rap fans, more people began listening to his music after the release of Take Care. The Weeknd then featured on Wiz Khalifa’s Remember You, which served as the second single off Wiz Khalifa’s O.N.I.F.C. Following those two releases, The Weeknd released Wicked Games as the first single off Trilogy. Trilogy was formed after The Weeknd came under Republic Records’ management. The compilation album reached a debut/peak position of 4 on the Billboard 200 while reaching number one on the US Top R&B/Hip-Hop Albums chart. It’s a well received album with the highlight said to be House of Balloons, which arguably went on to influence various sorts of R&B music of the 2010s. Videos for Trilogy
I went from starin' at the same four walls for 21 years. To seein' the whole world in just 12 months. (Kiss Land)
Kiss Land is based on The Weeknd’s tour life. Visiting unfamiliar places gave Abel horror movie vibes. A guy who used to own the city (Toronto) he lived in is now a small fish in the ocean of the entire world. The Weeknd’s first studio album was a great introduction into the sound he would soon get well acquainted with. While continuing the R&B sound with the essence of Dark Wave, the album explores emptiness and regret throughout the lyrics—or what pop fans could categorize as dark pop—. The Japanese aesthetic used for various videos and the single covers/booklet reflects the themes of feeling overwhelmed by such a loud world that there’s no point in being if you don’t belong. The album explores the real-world and the women in it as well as regrets regarding past actions, namely letting go of women who could’ve been the one in Adaptation. The Weeknd attempts to find that satisfaction in other women and past lovers, but accidentally falls for a sex worker in Belong To The World. With Wanderlust he accepts and expresses that love in the modern world isn’t entirely possible. While continuing to tour the world he enjoys these new experiences with XO (Live For feat. Drake), as well as the new women in his life (Kiss Land). And when he’s back home, he accepts the loss of the relationship he cherished. Kiss Land debuted and peaked at number two on the Billboard 200. It was fairly acclaimed but gained a massive cult following. There were four videos for made for the album, the title track, Belong To the World, Live For (feat. Drake), and Pretty. Those four songs received interesting visuals that kept up with their respective themes while Belong To the World/Kiss Land got visuals that matched the aesthetic of the album. To this day fans ask Abel for a part two to the horror-movie-inspired album after he said it’s the only album he would have a sequel for. Videos for Kiss Land Fun Fact— The video for Kiss Land on YouTube is an extremely edited version of the actual video shot for the song. The directors cut further explores the erotic-horror themes if the album.
Driving by the streets we used to walk through like a triumph. (King of the Fall)
These next few song were released between the Kiss Land and Beauty Behind the Madness era. Some fans would classify them as part of the Beauty Behind the Madness era—I’d say the same tbh—but they stand apart on the basis of success and acclaim. It’s a transition between The Weeknd being an underrated R&B musician to being a mainstream artist with massive recognition and appreciation. The first of these four songs is King of the Fall. A fan favourite and a standout in The Weeknd’s discography. This is one of The Weeknd’s few Rap tracks, it gained a lot of attention within the Rap sphere. It was the way in which XO would announce that they’ve made it, little did they know that this was just the start. Prior to the release of Beauty Behind the Madness (BBTM), The Weeknd gained mainstream attention. The Weeknd’s exposure to mainstream music was uphill, it wasn’t overnight. The first taste of BBTM came from Often, a song that reflected the themes of sex that Abel was known for. The track was released more than a year before BBTM’s release and had made it onto the trackless unlike King of the Fall. Slowly but surely The Weeknd gained exposure, his main sources of exposure were through a collaboration and a soundtrack. Most pop fans heard about The Weeknd through his hit collaboration with Ariana Grande, Love Me Harder. The collab was made through Republic when The Weeknd said he wanted more than what he had gotten through Kiss Land. Ariana and Abel had formed a real bond cough The Hills cough, their bond assisted the song in becoming a memorable hit for both artists. Love Me Harder was a top ten hit on the Billboard Hot 100. Later that year, The Weeknd was featured on the Fifty Shades of Grey soundtrack with Earned It, as well as Where You Belong. Earned It became a massive hit peaking at 3 on the Billboard Hot 100 and receiving an Oscar nomination for The Weeknd; a massive milestone for XO. Earned It kept up with Abel’s signature lyrics but the production differed heavily from the sort of R&B he was known for. Videos from that era
I'm that ***** with the hair singin' 'bout poppin' pills, fuckin' bitches, livin' life so trill. (Tell Your Friends)
Following the success of Love Me Harder and Earned It, the Beauty Behind the Madness era began with The Hills. This was The Weeknd’s first number one on the Billboard Hot 100. Along with the video, The Hills became an addictive classic. The production and lyrics mirror a mature version of the sound that was originally found on Trilogy. It was truly in keeping with The Weeknd’s character, the only difference was his haircut. Next came Can’t Feel My Face, a Max Martin production that differed greatly from anything The Weeknd put out in the past. In past songs, Abel had expressed his fear of losing his following if he went mainstream simultaneously asking his fans if they’d stay. He repeats that sentiment in the Can’t Feel My Face video. The sound has changed, the lyrics stay the same but now he’s a pop-star. The song became a hit as it reached number one on the Billboard Hot 100. With this massive bop previous fans still stayed, The Weeknd becoming a pop singer didn’t at all alter his image or sound; he mastered it. In The Night and Acquainted were released as singles on the same day, the were the only singles to come after the release of Beauty Behind The Madness. The former received a music video treatment that followed the theme of the song itself while also starring Abel’s girlfriend at the time, Bella Hadid. Acquainted was robbed of a video even though Abel had shown off the fact that a video was in development; the song kept in the tone of The Weeknd’s work prior to BBTM. Beauty Behind the Madness captures a Hollywood-based reality that The Weeknd came to understand: the dark aspects of your life will continue to follow you wherever you are. Real Life, Losers (feat. Labrinth), Tell Your Friends, Dark Times (feat. Ed Sheeran), and Prisoner (feat. Lana Del Rey) all capture a nihilistic view of a dream achieved. Most of the videos of Beauty Behind The Madness have a mysterious white man. He’s featured in The Hills, Can’t Feel My Face, and Tell Your Friends. That man represents the devil. Throughout his journey in those videos, (The Hills) Abel runs into the devil after his car crash, (Can’t Feel My Face) he’s at the club then lights him on fire. The significance behind the fire could be selling his soul to the devil, BBTM is about Hollywood and a popular Hollywood myth is that celebrities sell their souls to the devil in exchange for fame. So in the Can’t Feel My Face video, Abel changes his sound to Pop (from R&B) thus leaving his signature sound in order to become famous, everyone starts enjoying his music once he’s sold his soul. Then we see The Weeknd burying himself in Tell Your Friends, perhaps leaving the old Abel behind after the deal with the devil. However, instead of thanking the devil, Abel takes his revenge and shoots him. But wait, there’s more! The album trailer for BBTM features the devil burning a billboard with The Weeknd’s face on it, revealing Beauty Behind The Madness. HOWEVER, the final cut for the video features the devil being arrested while The Weeknd watches. This is a more realistic form of karma that the devil gets. Videos for BBTM
If I could, I'd trade it all, trade it for a halo. And she said that she'll pray for me, I said, "It's too late for me.” (Ordinary Life)
After the massive success of Beauty Behind the Madness, there was a lot of hype around what The Weeknd would do next; evidently he decided to explore Pop. The fandom he had gained wasn’t entirely based in the Pop sphere, his fans consisted of general Rap fans, but Starboy attracted the Pop audience. Initially, most of his older fans couldn’t get behind Starboy, it differed greatly from the previous sound. It was crazy to think that the guy who made Trilogy managed to make such a Pop-centric album. But this was Abel expressing his versatility. Since this is where most pop fans found out about Abel’s work and became fans I won’t talk too much about the singles, rather more about the album itself. His work with Daft Punk cemented this album in an efficient mix between Pop and R&B, where Beauty Behind the Madness was more R&B with Pop, Starboy was considered Pop with R&B. Beyond the genres, Starboy explores two evident themes. One being his life with fame and recognition. The next being his love life in Hollywood, this aspect of the album came from his relationship with Bella Hadid which ended after the release of the album. The cross became the symbol for that era and appeared in the album’s photoshoot as well as the videos. There was never any conclusive word on the use of the cross but there are various theories about it, something to note is that Abel was raised Christian, it could perhaps be a reflection of his past. The cross he uses to destroy his accolades (Starboy video) is assisting him rather than something that’s holding him back. Abel’s upbringing was rough but now he’s celebrating it rather than feeling bad for himself. The cross continues to come up in the Party Monster video, this time it’s in the party house he’s making his way through. Then it shows up in the video for Reminder, this time in the form of his merch, the people wearing it are perhaps representative of his fans. Then we see it in the False Alarm video, both Abel and the girl are wearing it; the notable thing being that Abel holds his cross up before dying. Then in the brilliant video for Secrets, after giving up on the girl he’s with he leaves the building to find a giant cross. And finally in the I Feel It Coming video, The Weeknd sports a shiny cross necklace, and Daft Punk find it years and years after Abel froze. The videos tell us that the cross is an evident piece of his story. This could mean that his past will always be with him, no matter what sort of fame he’s experiencing he’ll always be who he once was. Also, I’m gonna take this moment to once again the genius that is the Secrets (both the song and the video). Yes it’s my favourite song/video off of Starboy but it’s so underrated. Videos for Starboy, Secrets video bottom right Fun Fact— Most demos of the tracks on Starboy weren’t as pop as they became, they started off R&B but became pop after production.
They said our love is just a game, I don't care what they say. But I'ma drink the pain away, I'll be back to my old ways. (Privilege)
Oof (but in a good way, this whole thing is a bop). For this one I’m gonna talk extensively about The Weeknd’s relationships, which personally feels really invasive but it’s but it’s essential when talking about these sad boy anthems. Beyond that I’d just like to state that though they are part of the narrative both Bella Hadid and Selena Gomez deserve respect/privacy. So when it comes to Pop music fans I think it’s safe to say that we all know a lot about this one. My Dear Melancholy (MDM) came after the very public relationship of The Weeknd and Selena Gomez. However it’s not just about Selena, some songs reflect his relationship with Bella Hadid (whom he got back with a month after MDM’s release). My Dear Melancholy consists with The Weeknd’s exploration/mastery of merging Pop and R&B together. The EP was praised by fans for its lyrics and production, many went on to theorize that it was his most personal project since House of Balloons. The EP was the shortest album to reach number one on the Billboard 200. My Dear Melancholy and fan conspiracies; name a better duo. The first theory being that the EP is entirely about Selena Gomez which wasn’t too much of a mystery since the lyric “I almost cut a piece of myself for your life” exists. Not only did MDM come after Abel’s relationship with Selena Gomez but also after his relationship with Bella Hadid. As far as fans were aware those two relationships were the most important relationships Abel had ever been in. In theory, the songs about Bella and Selena can be categorized. Call Out My Name, Try Me, and Privilege are likely about Selena. Wasted Times, and Hurt You are likely about Bella. Leaving I Was Never There to act as an introspective look into The Weeknd’s life, basically making him hop back on his vices for comfort. Another popular theory was that My Dear Melancholy was the first of another trilogy. This rumour was widely believed due to the comma at the end of the title on the album cover. But the fans soon gained a real reason to believe this theory, since the CEO of XO (the record label), Sal had liked an Instagram post that featured the cover and alleged date. Since Trilogy is a fan favourite this conspiracy spread like wild fire, so much so that fake titles and covers were made. The name of this trilogy would be: (1)My Dear Melancholy, (2)We’re Alone Together, (3)Abel. Only one song served as a single for the EP. Call Out My Name was released nearly two months prior to the actual release of the album, it debuted/peaked at number four on the Billboard Hot 100. The mysterious video captures The Weeknd in various atmospheric places that reflect the tone of the EP, a haunting yet unexplained reality that the listener is to reflect on. From the cover, to the music, to the video, to lyrics, My Dear Melancholy is an introspective reflection of heartbreak. Call out my name video
After Hours comes after success but references two lows in The Weeknd’s life. The album welcomes darkness and leads the listener towards a dead-end. The Weeknd’s past two albums (Beauty Behind The Madness and Starboy) ended on hopeful notes, they left the listener with a sense of hope but all hope his lost with After Hours. Fans compare After Hours to House of Balloons—a rare occurrence considering House of Balloons’ acclaim—arguing that both albums are on the same level. Debate continues on whether or not both albums are on the same caliber. The belief that After Hours stems from reality does a lot to help its side of the argument. The era began with Mercedes-Benz commercial that featured Blinding Lights, that was our first taste of the everlasting bop. Heartless was premiered on an episode of Memento Mori hours before its release on the 27 of November (2019), Blinding Lights was released two days later. Both videos were as brain melting as promised and the served as the tip of the iceberg. After Hours was released nine days after COVID-19 was declared a pandemic, there was a massive risk in releasing an album that would not have a lot of promotion after it’s release (other than magazine coverage). There was no telling whether or not people would pay attention to the album during the height of the fear surrounding the pandemic, but it was a massive success. After Hours debuted at number one on the Billboard 200, with singles Heartless and Blinding Lights topping the Billboard Hot 100. The album is layered with haunting productions that remains predominantly R&B but dives deep into Pop with some of the tracks. Max Martin produced the massive hit Blinding Lights as well as In Your Eyes, Save Your Tears, Hardest to Love, and Scared to Live which samples Elton John’s Your Song. Other notable producers include Metro Boomin who worked on the hit Heartless as well as Escape from LA, Faith, and Until I Bleed Out. With Kevin Parker on the interlude Repeat After Me. Beyond the production are the narrative driven lyrics. In theory the album references two significant events in Abel’s life, his second breakup with Bella Hadid and his arrest in Las Vegas. The latter was due to his misbehaviour; in January 2015 he punched a cop in Vegas, lmao. Which means that After Hours is a recollection of The Weeknd’s first few years in LA. He merges the concept of his breakup with the idea of being an upcoming star, feeling free in the city of lights all while diving deep into the meaninglessness of those lights. While After Hours starts with loneliness and a second chance it leads up to Abel returning to his vices of lust. In Alone Again his loneliness caught up to him and he’s asking for a second chance. He acknowledges his mistakes and situation in Too Late/Hardest to Love, in Scared to Live his ex then returns to him for a second time. He remembers his past ways in Snowchild and the way in which it lead to better days, but where do you go after such highs? In Escape From LA he faces the superficial reality of Hollywood, glad that he got that he got back with his ex, while continuing to question if it’s worth it. But he fucks up the second chance when she pulls up to the studio. Who is she? Much like the other mysteries surrounding The Weeknd’s music, we may never know. Is it all more of The Weeknd’s songwriting ability or is it driven by reality? Fans found a merge between the two to be more accurate, After Hours is about heartbreak and a return to the vices that held The Weeknd back. Heartless is when The Weeknd is once again back to his ways, he may have been in a serious relationship but after throwing that away he spirals back to the way he once was. It’s sad but it’s one hell of a song. Speaking of brilliant songs, Faith is when Abel admits that he’s back on his vices, he states that he needs his ex back with him till the end; he’s back to self-loathing. So when he says he’s blinded by the lights, there’s two meanings to it. The Faith outro tells us that he’s in a car with flashing lights, a cop car (as confirmed by Abel) to be exact. Then Blinding Lights tells us that while he’s watching the bright lights of Vegas pass him by he calls out for the girl that he regrets losing. That is the peak of the After Hours narrative. He’s behaving badly over the loss of the girl he loved and is now at the worst position trying to find her and gain her trust for a third time. Following Blinding Lights is In Your Eyes, this is where The Weeknd vows not to judge her; he can see right through her but will never do anything to make her upset. Does this mean their back together? Not exactly. Save Your Tears details a sort of moving-on that The Weeknd isn’t ready for but tries to help her move on, blind to his own inability to move on. Does it work? Not really. Repeat After Me (Interlude) shows that he’s still trying to convince himself that he’s unfazed by the loss of a meaningful relationship. Then you hear a true masterpiece. The title track is a spiral into true regret and an apology for his actions, he admits that his ex girlfriend is the only reason he lives. In a dark lonely city she’s the only one keeping him sane. But his pleas fail, Until I Bleed Out is when The Weeknd no longer wants her in his life so much so that he wants to erase his memory of anything related to her. The bonus tracks then echo the final sentiment. It’s one sad ass album, ain’t it. But here’s where the Red Suit Character comes in. Shoutout to the makeup department The album isn’t the only narrative to follow with After Hours. The videos for the album follow their own sort of narrative. The story follows an unnamed guy that goes by “red suit character” according to The Weeknd. There’s a lot of confusion and endless theories surrounding this character’s story, after The Weeknd confirmed that it’s about a decent into Hollywood culture it makes more sense… kind of. I’m gonna discuss the storyline without talking about the movies that have influenced it, this way the focus remains on the character. The order of these videos is Heartless / Blinding Lights / Blinding Lights (Live on Kimmel)* / After Hours short film / In Your Eyes / Until I Bleed Out / Snowchild / Too Late / Live at AMAs* / Save Your Tears *Though all live performances could count as part of the narrative, these one relate directly with the videos that follow. He’s is first seen in Vegas with Metro Boomin (Heartless), intoxicated on various substances. He dives deeper into his high until he licks a frog, after that he faces the true effects of this high. He’s frightened by the result and runs far away from Vegas. (Blinding Lights) He’s then found in LA, where he’s dancing in the street, hypnotized by the singer, beat up by guards, and races past all those bright lights in his Benz. Ultimately realizing the shallowness of the Los Angeles fantasy. (Blinding Lights Live on Kimmel) We then find him performing Blinding Lights live, while he attempts to find more reason in within the madness city; he couldn’t find it on the streets so he goes to the stage. (After Hours short film) Even then there’s no meaning to anything in the city, he mindlessly wanders into the depth of the subway where he’s dragged by the reality of it all and ends up possessed. (In Your Eyes) After being possessed he chases the woman whose boyfriend he just murdered, she runs into a club falls deeper into the After Hours fantasy, in a successful attempt to defend herself she beheads the red suit character and dances all over LA with his head, iconic behaviour. (Until I Bleed Out) Then in an ethereal dreamscape, red suit character finds himself in a House of Balloons. He’s trying to escape, but the people there keep pulling him in; he’s getting higher while observing Glass Table Girls. He spirals into the antarctic, the other side of the world. From Heatless to this point in his story, his vices lead him back to the lowest point in Abel’s life. Is it Hell, Heaven or Las Vegas? (Snowchild) He relives his career up until the point where his story began. Considering he’s dead, his life basically flashed before his eyes. (Too Late) LA girls find the red suit character’s head and live their best life. They wanna have sex with him so they find the best boy parts by calling up a stripper who could be the body. The stitch the head up with the body and do what they want. But now he’s brought back to life. (Live at AMAs) He’s had work done… He went in to get his nose fixed and the doctor said “you sure that’s all you want?” The red suit character’s face is healing while he tries to celebrate his life on top of a bridge. (Save Your Tears) Surrounded by a masked cult he debut’s his new face. Do they like it? Are they impressed? Not instantly, their masks translate no expression so how’s he to know? Is any of this worth it? Nope red suit character continues to die inside. He finds a maskless girl in the crowd, she’s lively unlike the rest; but even then, nothing on the inside nothing on the outside. He wants death again, somehow a second chance with this city is still pointless. He tries to kill himself via the girl and himself but it’s all a facade; theatrics. His story continues but that’s all we know so far. The videos make a lot of film references. This post by explain these references very well, as well as past album references here (part one) and here (part two). After Hours is inspired by a lot of movies, since Abel is in fact a cinephile. The main movies that inspired the aesthetic and storytelling are believed to be Fear and Loathing in Las Vegas (1998), Casino (1995), Joker (2019), Uncut Gems (2020), and After Hours (1985). The album tells two sad narratives but remains one of The Weeknd’s best works yet. He’s expanded his videography and enhanced the interest of people who casually enjoy his music and of course his fans. But the era isn’t over, by the time this is posted his Super Bowl Halftime show is yet to happen. And it’ll continue the red suit character’s story. Videos for After Hours (so far) Fun Fact—The Heartless video features a reference to Thursday. When he’s trying to run from Vegas, a sign behind him flashes “Heartless / Heaven or Las Vegas.” This could be a reference to Abel running from his past, after all Heartless is about him returning to his vices.
END.
Thank you for reading this, again, I didn’t realize it would end up being this long. But I hope this this served as a nice refresher for any fans who wanted to revisit Abel’s work before the Super Bowl. And I really hope that anyone interested in getting into his music finds this helpful. Once again, the theories/interpretations mentioned aren’t conclusive, they’re widely based on fan discussion/mutual interpretation. Due to the character limit I couldn’t add too links to the albums, so here are some artist links. Apple Music | Spotify | YouTube | The Weeknd’s Shop | Tidal | Genius
[WP] The Devil, now going by Eugene S. Atan, opens a casino in Vegas. No one bets with money, but the prizes are said to be from your wildest dreams. Countless people fall victim to loss, but one gambler thinks he/she has what it takes.
Hey guys, it’s Coolin ! I’m back! Hope everyone has had an amazing week , and Friday!! It’s almost the weekend! Valentine’s Day Weekend .. and long weekend!! .. any big plans for it?! Let me know, down below!! Before I carry on into my posts, I’ll say this - You’re not obligated to read all of my post(s). Read til your heart desires, find what you need, and be happy! Thank you for all the feedback, comments, support you’ve given me. Here’s the new cards and event for today!! Thanks EA! — Syn Abbreviation Guide —
Silver Master Icons
Jari Kurri - 91 OVR - EDM / RW - BAR2 , HOW2 Peter Statsny - 91 OVR - NOR / C - H and S2 , PP2 Steve Yzerman - 92 OVR - DET / C - SWA2 , GLA2 Uses 9 Icon Collectables —-
BLOCKBUSTERS
Available for 1 week. MSPs are Pullable throughout Event Time of 2 weeks. Chris Didomenico - 94 OVR - RW - SPE2 , BAR1 , SWA1or SPA2 , HOW1 , MAG1 Mike Fisher - 94 OVR - C - SWA2 , PP1 , SPE1or HOW2 , DIS1 , H and S1 Marc Andre Fleury - 94 OVR - G - SWA2 , BAR1 , BAL1 **or H and S2 , SPA1 , DIS1 Jack Johnson - 94 OVR - LD - SPA2 , MAG1 , SH1or WM2 , DIS1 , SWA1 Phil Kessel - 94 OVR - LW - BAL2 , SH1 , GLA1or LTL2 , H and S1 , SPA1 Eric Lindros - 94 OVR - C - DIS2 , WM1 , T1or WH2 , BAR1 , SWA1 Shea Weber - 94 OVR - RD - SH2 , SWA1 , BAL1 ——- Chris Didomenico - 93 OVR - SPA1 , HOW1 , MAG1 Mike Fisher - 93 OVR - SWA1 , PP1 , SPE1 Marc Andre Fleury - 93 OVR - H and S1 , SPA1 , DIS1 Jack Johnson - 93 OVR - SPA1 , MAG1 , SH1 Phil Kessel - 93 OVR - BAL1 , SH1 , GLA1 Eric Lindros - 93 OVR - DIS1 , WM1 , T1 Shea Weber - 93 OVR - DIS1 , PP1 , LTL1 —— Taylor Hall - 92 OVR - NJD / LW - BAR1 , PP2 Jay Bouwmeester - 91 OVR - CGY / LD - SPA1 , WH2 Chris Didomenico - 91 OVR - FRI / RW - HOW1 , MAG1 Mike Fisher - 91 OVR - NAS / C - PP1 , SPE1 Marc Andre Fleury - 91 OVR - LVK / G - SPA1 , DIS1 Jack Johnson - 91 OVR - NYR / LD - MAG1 , SH1 Phil Kessel - 91 OVR - BOS / RW - SH1 , GLA1 Eric Lindros - 91 OVR - PHI / C - WM1 , T1 Shea Weber - 91 OVR - MTL / RD - PP1 , LTL1 Pierre-Luc Dubois - 90 OVR - WPJ / C - SPA1 , WM2 Seth Jones - 90 OVR - CBJ / RD - DIS1 , GLA2 Chris Didomenico - 90 OVR - SCL / RW - HOW1 , MAG1 Mike Fisher - 89 OVR - OTT / C - PP1 , SPE1 ... happy he got a card!!! Marc Andre Fleury - 89 OVR - PEN / G - SPA1 , DIS1 Jean Sebastian Gigure - 89 OVR - COL / G - BAR1 , SPA2 Jack Johnson - 89 OVR - PEN / LD - MAG1 , SH1 Phil Kessel - 89 OVR - TOR / RW - SH1 , GLA1 Eric Lindros - 89 OVR - NYR / C - WM1 , T1 Petr Mrazek - 89 OVR - PHI / G - SWA1 , SPE1 Shea Weber - 89 OVR - NAS / RD - PP1 , LTL1 Keith Yandle - 89 OVR - NYR / LD - BAR1 , SH2 Bryan Berard - 88 OVR - TOR / LD - SPA1 , HOW2 Todd Bertuzzi - 88 OVR - FLA / RW - DIS1 , WM2 Milan Lucic - 88 OVR - EDM / LW - BAL1 , WH2 Jimmy Carson - 87 OVR - DET / C - H and S1 , SPE2 Chris Didomenico - 87 OVR - OTT / RW - MAG1 , HOW1 Mike Fisher - 87 OVR - EVZ / C - PP1 , SPE1 Marc ANdre Fleury - 87 OVR - (A)PEN / G - SPA1 , DIS1 Jack Johnson - 87 OVR - CBJ / LD - MAG1 , SH1 Phil Kessel - 87 OVR - PEN / RW - SH1 , GLA1 Eric Lindros - 87 OVR - TOR / C - WM1 , T1 Gustav Nyquist - 87 OVR - SJS / RW - DIS1 , LTL2 Gary Roberts - 87 OVR - CAR / LW - DIS1 , GLA2 Alexander Steen - 87 OVR - STL / LW - H and S1 , WH2 Shea Weber - 87 OVR - ADM / RD - PP1 , LTL1 Matthew Barnaby - 87 OVR - PEN / RW - SWA1 , GLA2 Joel Otto - 86 OVR - PHI / C - DIS1 , WM2 Jean Gabriel Pageau - 86 OVR - NYI / C - SPA1 , MAG1 Chris Didomenico - 85 OVR - ICE / RW - MAG1 Mike Fisher - 85 OVR - WOL / C - SPE1 Marc Andre Fleury - 85 OVR - EAG / G - DIS1 Jack Johnson - 85 OVR - LAK / LD - SH1 Phil Kessel - 85 OVR - PHI / RW - GLA1 Eric Lindros - 85 OVR - (A)DAL - C - T1 Luke Schenn - 85 OVR - LAK / RD - BAR1 , SPE2 Shea Weber - 85 OVR - ROC / RD - LTL1 Nikita Zadorov - 85 OVR - CHI / LD - SWA1 , SH2 Devan Dubnyk - 83 OVR - MIN / G - DIS1 , H and S2
Primetimes
Available for 24 HR Cards / Til Monday at 5PM (on weekends)
NHL
Mark Giordano - 90 OVR - CGY / LD - LTL1 , SH1 John Gibson - 89 OVR - ANA / G - H and S1 Drew Doughty - 88 OVR - LAK / RD - WM1 , WH1 Sebastian Aho - 88 OVR - CAR / C - PP1 , LTL1 Connor Hellebuyck - 87 OVR - WPJ / G - DIS1 , SWA1 Brian Rust - 86 OVR - PEN / RD - SPE1 , MAG1 Cam Atkinson - 85 OVR - CBJ / RW - GLA1 , WM1 Aaron Ekblad - 85 OVR - FLA / RD - HOW1 , SH1 Jacob Markstrom - 85 OVR - CGY / G - BAL1 , BAR1 Alexander Wenneberg - 84 OVR - FLA / C - T1 , WM1 Michael Del Zotto - 83 OVR - CBJ / LD - HOW1 , PP1 Jujhar Khaira - 81 OVR - EDM / C - SPE1 , MAG1 ——-
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Event Packs • Just Found Out On TV (UT) - 85k C / 1.7 P 15 items, including GC, a guaranteed 84+ OVR Player Item • First Game With a New Team Daily Pack - 42.5k C - 850 P 30 items, at least 20 players with one 82+ OVR Player Item • The Blockbuster Blowout Pack - 17.5k C / 350 P 25 items, at least 8 players with 2 or better players Availlable until Monday at 5pm EST • New Flame Pack (UT) - 110k C / 2.2k P 15 items , at least 8 Gold Players including a guaranteed Gold Collectable and Icon Collectable • Heart of Gold - 42.5k C / 850 P 30 item, at least 10 gold player, including a guaranteed 83+ OVR Player • Love ❤️ you forever pack - 25k C / 500 P 18 items, at least 5 NHL Players including a guaranteed 80+ OVR Player Item
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• Love 💕 You Hockey Sets
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FURTHER READING — IF YOU WISH TO CONTINUE !
ITS NOT OBLIGATED!! DO WHATEVER YOU WISH! Bye !!! if you wish to stop reading :) ——
• LONG WEEKEND !!! • Valentine’s Day - February 14 • Family Day - February 15 ————— ———— —— ———
IMPORTANT NOTICE
Sometimes you just need to get off the grid to let your soul right. Social Media chews up a lot of our time.. — the average person stares at their phone for 3 and half hours per day. You might think “oh , thats not so bad” .... but to put that into perspective, that is 24.5 hours in a singular week. Now times that by 4, to get how much you would spend in a month. 98 hours. — 4 days essentially. If we times those 4 days, by 12 we get a shocking 48 days. Quick Maths 48 days out of 365 days doesn’t seem like a lot, no? It turns out to 13% of the entire year. The reasoning on why I mention this is to show you that all that “little” time adds up... Life is too short to stare at a screen - try and put a timer on your Social Medias / Phone in general if you’re worried that your phone usage is being or becoming an addiction! ——
Interested in Stocks?
EA’s Stock Price, after hours - Feb 12 $ 147.76 (usd) —- Currency Converter we looked at the stock at $137.54 usd —— That is a difference of ( $10.22 / 7.43% ) — Disclaimer - I am not a financial advisor. It is your money, please do your own due diligence. I am not responsible for your money. This is *not** advice. I added this section for an added educational purposes only. Thanks* —— —— —— —-
NEED A SOUNDTRACK TO LISTEN TO?
I made this for everyone. I’ll update it whenever I feel like it, but its been often!
WE’RE AT 1400+ SONGS! WOW! How are you not listening to this playlist already!? Comment songs to add, and please give feedback! It’s much appreciated!! I currently have “Glad You Exist” by “Dan + Shay” stuck in my head.... which you can play, recently added to the playlist! ———-
Don’t feel scared to click here. Winning is SO much louder than losing. Know that you are NEVER alone. We are all here for eachother, and it is never too late to get help. I am here for you. This is a VERY important thread, especially if you are new to HUT. Here! ——- 43 / 365 —— —— —— —- —- ——- —- —— —— Thanks for reading. I’m always welcome to feedback, please let me know what I can improve on. If there’s anything missing, please let me know! Take care, happy gaming! HAPPY NATIONAL NO ONE EATS ALONE DAY • Coolin Killin It (Life is like a puzzle, you just have to find the right piece.)
Last night was the second time I dreamt of getting lost while driving in Vegas. In real life I know my way around Vegas pretty well. It’s also my safe place, my happy place ect. What could this mean?
Who killed notorious 1940s gangster Benjamin ‘Bugsy’ Siegel, the father of modern Las Vegas? Was it another mob boss? The lover of his best friend's wife? One of the men he was embezzling money from? His Mafia spy girlfriend? His own bosses? The possibilities are endless—and puzzling.
(Note: be warned, kind of long background info here, but I think it’s needed) As far as interesting lives, few can beat Benjamin ‘Bugsy’ Siegel. Born February 28, 1906 in Brooklyn, New York, Siegel came from a poor Jewish family. Before he was even twenty, he’d established a profitable protection racket and a lengthy rap sheet, including armed robbery, rape, and murder. Siegel had connections—he was childhood friends with Al Capone and familiar with many of the well known New York City mobsters of the day—and he also had a taste for violence. Soon, he’d established a small mob specializing in hits for the numerous bootleg gangs of the time with Meyer Lansky, a fellow mobster. His violence and short temper led some to say he was “crazy as a bedbug,” giving him his famous nickname ‘Bugsy,’ which he even more famously despised. Siegel was making money, which he was happy to flaunt, but he wanted more. He carried out several hits for Charles “Lucky” Luciano, and eventually formed Murder Inc. with his associates, establishing himself as a skilled hitman for the National Crime Syndicate, an organization of mob families. But Siegel was already making enemies, and several assassination attempts were made on his life, some of which came very close to being successful. So, it was time to move out west. In California, Siegel helped establish gambling rackets, drug trade routes, and prostitution rings. His star was rising outside of the Underworld too, and in addition to the numerous politicians and police on his payroll, he befriended stars like Cary Grant and Clark Gable. Incredibly, while in Italy with a socialite in 1938, he met Hermann Goering and Joseph Goebbels, whom he immediately disliked and offered to kill. The offer was declined by his lady friend. Yet Siegel was not always looked upon fondly by the upper echelons of Hollywood; he borrowed exorbitantly from celebrities, knowing he would never be asked to pay it back, and began to develop extensive plans to extort movie studios. After several trials and acquittals for failed and successful hits, it was time to leave California. Siegel’s next stop was Las Vegas where, in 1945, he purchased and developed the Flamingo Hotel & Casino, the first luxury hotel on the Vegas strip. As you might imagine, that was expensive, and over the course of its construction, costs were equivalent to over $61 million in today’s money each year. Siegel’s checks were bouncing, and many of the locals felt threatened by him. Mob bosses were beginning to lose patience with Siegel too, and he was refusing to report on business, claiming he was running the California Syndicate himself. For now, they left him alone—he'd been valuable in the past, after all. The Flamingo Hotel was a dismal failure, and people—very powerful people—were starting to get tired of waiting for the promised money to materialize. By 1947, it was gradually turning around—with the help of Meyer Lansky, now in Vegas—but for most, it was too little too late. Death: On June 20, 1947, Siegel was gunned down in the Beverly Hills home of his sometimes-girlfriend Virginia Hill. He was 41. Somewhat suspiciously, Hill had taken an unscheduled flight to Paris the day (or by some sources, week) before. As Siegel sat reading the newspaper with associate Allen Smiley, an unknown assailant fired with a .30 caliber military M1 carbine through the window, striking Siegel many times (NSFW). Two shots hit his head, with one passing through his right cheek and the other his nose. Though he was not hit directly through the eye (NSFW), a bullet-in-the-eye death became a popular trope in Mafia media, including in the Godfather, where a character based on Siegel is murdered in the same manner. The death was covered extensively in the media, which portrayed Vegas as a bastion of sin and mafia activity. As early as the day after Siegel’s death (or, as some sources have it, during Siegel’s death), however, more personal things were changing: Lansky walked into the Flamingo and took over operations. Theories: The mob is famously tight-lipped, and Siegel’s death was no exception. Despite the extensive speculation, no precise motive has ever been confirmed. There was a massive police investigation, but in a case like this, that doesn’t mean much, nor does the media coverage. The media in particular salivated over the potential for splashy crime stories, and the circumstances of this case have been complicated by contemporary coverage. Several days after Siegel’s death, for example, one newspaper ran the headline “BUGSY'S BLONDE EX-WIFE GIVES CLUES TO HIS KILLERS,” while another read “BUGSY'S EX NO AID IN HUNT.” As far as the most popular theories: A Mob hit: A mob hit seems like the most obvious cause, and it's a theory that’s been popularized by several novels and the 1991 movie Bugsy. It would certainly make sense; it was the mob’s money Siegel had been spending wildly on his unsuccessful hotel after all, and he’d been growing uncooperative. Of the proposed hitmen, the most often mentioned are Frankie Carbo (Ralph Natale, former Philadelphia boss and Mob squealer, claimed Carbo as the true killer) and Eddie Cannizarro, both Syndicate hitmen. But even here, there are several proposed reasons for the hit. As some have it, mob money from the Flamingo’s funding was going missing and Siegel was skimming off the already meager profits. Skimming could have been forgiven, if the Flamingo was a success. It was not. After a meeting of the Syndicate’s “Board of Directors,” it was allegedly decided that Siegel would die, with Lansky reluctantly agreeing. Others believe that a hit might have been ordered whether Siegel was skimming or not; the Flamingo was simply too expensive. As one historian put it, “Bugsy was a dreamer. And he was dreaming with other people’s money.” Yet many have also argued against this theory. According to one of Siegel’s emissaries in Vegas, for example, no one would have dared to order a hit on Siegel. He and Lansky were close until the end of their lives, and Lansky would never have agreed to it. And if Lansky would not agree, then Charles “Lucky” Luciano, who was “the head of everything,” would never have agreed either. And as others have argued, the method of execution (NSFW) didn’t match with typical mob methods; firing a weapon from outside a house increased the risk of missing as well as the risk of being seen. The preferred method was a clean shot to the back of the head. According to some, the oft-referenced money problems of the Flamingo also wasn’t an issue. At the time, Lansky was paying back any investor who wanted out, and the gradual uptick in its profits was quickening by the day. Personally, I don’t think the financial uptick invalidates the theory. If the hotel was starting to make more money, then that might be all the more reason to get rid of the difficult-to-manage Siegel and take over. Wire Business: At the time of his death, Siegel was embroiled in a dispute with Jack Dragna, dubbed the Capone of Los Angeles. Siegel and Dragna had had an uneasy partnership in previous years, but Dragna, far less powerful than Siegel and the New York gangs, resented the income and respect Siegel commanded. This came to a head when a racing wire service (a way of cheating on bets) between the two of them soured. Siegel wanted control for himself, and ordered Dragna to turn it over or be killed, to which Dragna agreed. After Siegel’s death, control was returned to Dragna. He had a motive, but his story would only have been one among many for a man as ruthless as Siegel, which, in a way, complicates things further—there’s a real possibility that the culprit in Siegel’s murder was someone never even considered. His list of enemies was long, varied, and probably mostly unknown. Yet another man who had reason to want Siegel dead, for example, was his bodyguard and muscle Mickey Cohen. A Cleveland gangster, Cohen was given control of the Syndicate’s West Coast gambling operations. If Siegel still lived, he would never have gotten it. Interestingly, he, like Al Capone before him, was eventually felled by tax evasion. Virginia and/or brother: The same emissary of Siegel who shot down the mob hit theory believed that Virginia Hill’s brother had carried out the murder. The brother, a marine stationed at Camp Pendleton named Bob or Bill, had seen Siegel and Virginia fighting outside the Flamingo as well as the bruises Siegel had left on her and threatened to kill him. Another of Virginia’s brothers, Chuck, was also at the Beverly Hills house when Siegel was murdered. Virginia herself has also been the subject of suspicion. Nicknamed the “Queen of the Mob,” Hill worked, among other powerful jobs, as a cash courier, laundering money and stolen goods as well as blackmailing high-ranking men through sexual liaisons. Her relationship with Siegel was tempestuous at best, and she may have been embezzling from the Flamingo. She’s also been accused of two-timing with rival mob operations, though this is unconfirmed. Eventually fleeing to Europe permanently, Hill died of an overdose in 1966, though some have alleged that she was actually murdered after she, completely broke, attempted to leverage her intimate knowledge of the Mob. Rival Mobs: Unfortunately, I can’t find much concrete information about this theory (note: story of my life researching these posts haha), but some believe that rival mob operatives wanted Siegel gone. He was a powerful—and very public—figure, which made him something of an obvious target in the cut-throat world of Mafia politics. Moe Sedway: This is a relatively new theory, emerging after Robbie Sedway was interviewed for LA Magazine after his mother’s death. Here, he alleged that Siegel’s murder was ordered by his mother Bee, the wife of powerful mobster—and childhood friend of Siegel’s—Moe Sedway. According to Bee, who wrote and scrapped a book proposal called Bugsy's Little Lunatic (Siegel’s nickname for her), Siegel had threatened her husband, who was the Flamingo’s numbers man, and therefore watching Siegel—who, remember, had been accused of skimming—closely. So Bee contacted Mathew “Moose” Pandza, a truck driver whom Bee married after Moe’s death. Moose, the perfect killer, since he had no connection to the Mob, then shot Siegel to death. The problem with this theory, however, is that Bee is the only source; as she herself said, anyone who could contradict her was dead. She also squandered most of the fortune left to her by Moe over the course of her life, and died almost penniless. All of the above: Some believe that almost all the suspects were involved. Usually, it goes something like this: “Virginia supplied the location and received some reward. Cohen knew Bugsy's schedule for the evening, but happened to not be watching him that night…Dragna ordered the hit, with the approval of Lansky and Luciano.” It’s unlikely, but it certainly has its believers, if only for the convenience of it. Final Thoughts & Questions: This case is interesting to me because of the sheer number of suspects. In the end, a mob hit seems the simplest and most likely explanation. But there were so many people with means, motive, and opportunity. So:
Why was Siegel killed and who killed him? The Syndicate, rival mobs, Virginia Hall, her brother, Mickey Cohen, Jack Dragna, Mathew Pandza (as ordered by Moe and/or Bee Sedway), several of the suspects, or someone else entirely?
In the past, Chris Hedges has forecast the fall of America by 2030. Perhaps, perhaps not. Almost undoubtedly there will be a United States of America come January 1st, 2030 -- barring some nuclear holocaust. But what it is has been so hollowed out by decades of grift and corporate self-interest, it will be about as recognizable as Imperial Rome was to the Roman Republic. Institutional forms merely carried forward as but a facade. But it has become clear to me 2020 has been America's last great Hurrah. By Hurrah, I mean the artificial propping up of the stock market and the upper middle class crowded around it like an enclave of apes around a monolith they worship but fundamentally don't understand, entranced to madness while the elites pull the levers of the enigmatic machine. What started as an actual economic tool, had been transformed into a retirement fund like houses for a privileged generation or two, and now is merely a casino where the house always wins -- although the ones playing seem wholly oblivious to the fact unlike in Las Vegas. Others are cheering on Joe Biden as the next savior, much as Obama should have been. His cabinet picks show a man trying to reconstruct 2016 BAU. The man himself seems primed to be the next Jimmy Carter. For those too young to remember, that nice guy was as useful as using cat's whiskers to push a car. Mr President-Elect is a gerontocrat from another era well past his prime, the boomer's last gasp and grasp at maintaining power. It's already quite evident his administration will likely be run by teams of underlings in a multi-sided tug of war with each other, no one at the helm. This is not unique, Reagan was somewhat the same way and before him Woodrow Wilson after a stroke. But the illusion of the President being someone with his hand on the wheel was maintained, who knows what will occur when that public perception is shattered? Weekend at Bernies was fun and games when it was a random rich guy that had no fundamental power over a nation. Today I was at possibly the last institution of American greatness, one thing most citizen's loved and could agree on. The Post Office. Established by Ben Franklin. Semi-privatized by Reagan. Stifled by Congress. Stopped neither by snow, rain, heat nor gloom of night -- it has finally been brought to its knees these last six months. Not Corona. But by a Trump desperate to win an election and decades long Republican yearning to privatize yet another public service, one that is largely self-funded but to a small fraction of what it costs to keep the military. Avowed corporatists dreaming of bringing the "free market" to streamline and inevitably force private monopolized pricing, especially on rural America. Elderly with drugs. Those running small businesses. Communities out in boondocks that will never get UPS/Fedex service, the PO being their single lifeline out into the greater world. America's last great institution has fallen. Sorting machines scrapped. Its upper tier fired or shuffled. Immense delays never seen in the past so systematically. Corona conveniently blamed. The regionalism of the Hunger Games was an inspired bit of foreshadowing from fiction to where we're headed in the near future. In all likelihood, an increasingly autocratic North-East Corridor tail wagging the rest of the dog just as Goldman Sachs & Friends dictated $9T bailout the NYSE casino. No ideology is at play, nor any greater political theory other than The Rich Make the Rules, So Let the Rich Get Richer. Merely through disparate wealth and power and connections. In a sense, America has always centered this way regionally dating from the original Colonies and cemented in the 19th Century. It's just merely never been explicitly formalized. Decades from now, when people ask when the peak of the US came and some may expect to hear 2020 or 2030ish perhaps. Corona or some other clear delineation like the fall of the Berlin Wall may exist. But those are just visual symptoms. The actual answer by most metrics will be 1945 and the immediate postwar. A result of a culmination of moves from early 19th Century towards hemispherical hegemony and empire. The rest of the industrialized world devastated, it served as uncontested factory and Superpower to the world. Exports were at max. Unemployment was low, wages were high. Its Universities had been bolstered by Europe's top talent since the early 1930s. It had exclusive access to the Atom Bomb. And was at the very cusp of computing which would pay major dividends later. By most metrics, America dominated everyone else. "Hard times create strong men, strong men create good times, good times create weak men, and weak men create hard times.” What we have left is just an afterimage placed over a husk that hasn't been dispelled quite yet. Like a major corporate stock too many bet on long after the company has slumped in reality because they remember the good times which feeds their hopium. YHOO. Sears. USA. Company or nation, the story of once-dominant interests mostly repeat as human nature stays the same. Enjoy your 2021. A delirious "Return to the Mean" will be the main theme in most people's minds. Use that tidbit as you wish.
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The USA PATRIOT Act: The Story of an Impulsive Bill that Eviscerated America's Civil Liberties
The USA PATRIOT Act provides a textbook example of how the United States federal government expands its power. An emergency happens, legitimate or otherwise. The media, playing its dutiful role as goad for greater government oversight, demands "something must be done." Government power is massively expanded, with little regard for whether or not what is being done is efficacious, to say nothing of the overall impact on our nation's civil liberties. No goals are posted, because if targets are hit, this would necessitate the ending or scaling back of the program. Instead, the program becomes normalized. There are no questions asked about whether the program is accomplishing what it set out to do. It is now simply a part of American life and there is no going back. The American public largely accepts the USA PATRIOT Act as a part of civic life as immutable, perhaps even more so than the Bill of Rights. However, this act – passed in the dead of night, with little to no oversight, in a panic after the biggest attack on American soil since Pearl Harbor – is not only novel, it is also fundamentally opposed to virtually every principle on which the United States of America was founded. It might not be going anywhere anytime soon, but patriots, liberty lovers and defenders of Constitutional government should nonetheless familiarize themselves with the onerous provisions of this law, which is nothing short of a full-throttle attack on the American republic.
What’s Even in the USA PATRIOT Act?
What is in the USA PATRIOT Act? In the Michael Moore film Fahrenheit 9/11, then Rep. John Conyers cracked wise about how no one had actually read the Act and how this was in fact par for the course with America's laws. Thus, before delving into the deeper issues surrounding the PATRIOT Act, it is worth discussing what the Act actually says. Here’s a brief look at the 10 Titles in the PATRIOT Act:
Title I: Enhancing Domestic Security Against Terrorism: This provision dramatically expands the powers of the President, the military and the intelligence community whenever the specter of "terrorism" is invoked. Bizarrely, it contains a provision condemining discrimination against Arabs, Muslims and South Asians, which seems to have very little to do with protecting Americans from terrorism.
Title II: Enhanced Surveillance Procedures: Title II contains the meat of the Act with regard to massive, industrial-scale surveillance on the American public. Beyond the simple spying on Americans and their communications, Title II increases the ability of federal intelligence agencies to share your private communications with one another.
Title III: International Money Laundering Abatement and Financial Anti-Terrorism Act: Not simply a section of the USA PATRIOT Act, Title III is an Act of Congress in its own right. You might have noticed how much more difficult it is to open a bank account or send a wire transfer after 9/11. You can blame this provision, which shredded banking privacy rights in the United States.
Title IV: Protecting the Border: Other than expanding the number of federal employees (of course), the provision of the USA PATRIOT Act charged with protecting America's borders does little other than point toward paths for future action and study. It is worth noting that the weakest provision of the Act is the only one explicitly authorized by the Constitution -- protecting the border.
Title V: Removing Obstacles to Investigating Terrorism: Title V authorizes bounties for the apprehension of alleged terrorists, broadens government power to conduct DNA analysis, allows for greater data sharing between law enforcement agencies and, perhaps most disturbingly, requires private telecommunication carriers to comply with government requests for electronic communication records whenever requested by the FBI. It also expands the power of the Secret Service to investigate computer fraud.
Title VI: Providing for Victims of Terrorism, Public Safety Officers and Their Families: Perhaps the most innocuous portion of the USA PATRIOT Act, Title VI provides for a victims' fund for victims of terrorism and their families.
Title VII: Increased Information Sharing for Critical Infrastructure Protection: The subtitle of this section of the Act is a rather wordy way of saying that the United States federal government is allowing for law enforcement agencies to share information across jurisdictional boundaries in an easier fashion than was previously legal. To that end, the Bureau of Justice Assistance was given a $50,000,000 budget for 2002 and a whopping $100,000,000 budget for fiscal year 2003.
Title VIII:Strengthening the Criminal Laws Against Terrorism: Title VIII is where the rubber meets the road: What exactly is terrorism, according to the federal government? Unfortunately, this Title does little to clarify what terrorism is, instead focusing on declaring a number of actions (such as attacks on transit) as “terrorism,” regardless of intent.
Title IX: Improved Intelligence: The section subtitled “improved intelligence” largely expands the powers and responsibilities of the Director of Central Intelligence.
Title X: Miscellaneous: When the federal government titles a segment of a law “miscellaneous,” you know it’s going to include everything and the kitchen sink. And so it does: The definition of electronic surveillance, additional funds for the DEA in South and Central Asia, research on biometric scanning systems, a limitation on hazmat licensure and infrastructure protections are all addressed in Title X, which is a catchall for everything the federal government forgot to address in the first nine sections of the law.
Most of the provisions of the USA PATRIOT Act were set to sunset four years after the bill was passed into law. However, the law was extended first by President George W. Bush and then by President Barack H. Obama. The latter is particularly scandalous given that, at least in part, a rejection of the surveillance culture that permeated the Bush Administration was responsible for the election of Obama in 2008.
Passing the USA PATRIOT Act
Next, it’s important to remember the environment in which the USA PATRIOT Act was passed: Post-9/11. It is not the slightest bit of exaggeration to label the environment in which the PATRIOT Act was passed as “hysterical,” nor is “compliant” a misnomer for the Congress of the time. Opposition to the Act was slim and intensive review of one of the most sweeping Acts of Congress in American history was nonexistent. All told, Congress took a whopping six weeks drafting, revising, reviewing and passing the PATRIOT Act. That’s less time than Congress typically spends on totally uncontroversial and routine bills that don’t gut the Fourth Amendment. The final vote found only 66 opponents in the House and one (Wisconsin Democrat Russ Feingold) in the Senate. The entire passage of the PATRIOT Act, from start to finish, took place behind closed doors. There were no committee reports or hearings for opponents to testify, nor did anyone bother to read the bill. “Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism” is the bloated and overwrought full name of the bill, crafted by a 23-year-old Congressional staffer named Chris Cylke. This ridiculous name puts the focus not on the surveillance aspects or the erosion of basic civil liberties enshrined in Western society since the Magna Carta, but on patriotism. At the time of its creation, the messaging was very clear: Real patriots support massive intrusions on civil rights. As President George W. Bush said at the time, “Either you are with us, or you are with the terrorists.” This sentiment very much seemed to apply to American citizens. While the argument that if you have nothing to hide you shouldn’t fear investigation is anathema in a Constitutional republic with regard to citizens, it should be standard operating procedure when it comes to our organs of government. If we cannot expect transparency from the United States Congress – elected officials charged with representing the will of the people and protecting the Constitution – then we certainly can’t expect it anywhere else.
The Unfortunate Growth of the USA PATRIOT Act
It’s no surprise to those in the liberty movement that given an inch, the government (in particular the military-intelligence community) took a mile. Even the nebulous definition of “terrorism,” largely centered around a long litany of acts rather than the motivation behind them, has expanded to include receiving military training from a proscribed organization (without actually committing any terrorist acts or even acts of violence of any stripe) as well as “narcoterrorism” – the latter particularly convenient, as the United States government continues its losing “War on Drugs.” Indeed, in many ways, the War on (Some) Drugs was the template for the War on Terror. Both wars have no defined enemy, no defined terms of victory. Instead, they are waged against a nebulous concept, while enjoying bipartisan support for their ever-expanding budgets. What’s more, it didn’t take long for the Feds to start using the USA PATRIOT Act for things it was never intended for, including prosecuting the War on Drugs. Perhaps the silliest application of the USA PATRIOT Act is the prosecution of Adam McGaughey. McGaughey maintained a fansite for the television seriesStargate SG-1. The Feds charged him with copyright infringement and computer fraud. In the course of their investigation, the FBI leveraged the PATRIOT Act to get financial records from his website’s ISP. This was made possible by the USA PATRIOT Act amending the Computer Fraud and Abuse Act, allowing for search and seizure of ISP records. The New York Timesdiscovered in September 2003, that the USA PATRIOT Act was being used to investigate alleged drug traffickers without what would otherwise be sufficient probable cause. These were investigations into non-terrorist acts using a law ostensibly designed to investigate terrorism. There was some suspicion that the Act was being used to investigate crimes occurring before the Act was passed, violating the ex post facto clause of the United States Constitution. In one of the biggest power grabs (excluding virtually everything we know from Edward Snowden – more on that below), the FBI sent tens of thousands of “national security letters” and procured over one million financial records from targeted businesses in Las Vegas. These businesses were primarily casinos, car rental bureaus and storage spaces. The data obtained included financial records, credit histories, employment records and even people’s personal health records. The FBI maintains and databases this – and, indeed, all information collected through the USA PATRIOT Act – indefinitely. In the good old days before the PATRIOT Act, the Feds were compelled to destroy any evidence they collected on someone later found not guilty of a crime. Note that the aforementioned data collection brought to public attention by Edward Snowden (which, again – we’re getting to that) falls under this provision. Not only is the government collecting obscene amounts of private and personal information about you, they’re also storing it indefinitely with no plans to stop. What’s more, the FBI has approached public libraries to turn over the records for specific terminals, collecting information not about specific users who might be under investigation, but about anyone who has ever used the computer at the public library. Libraries, to their credit, have been very much at the forefront of resistance against the PATRIOT Act, with some litigating compliance despite operating on small budgets and others posting “canary letters,” which effectively say “The FBI Hasn’t Been Here Yet.” The removal of such a letter would warn patrons that the FBI has been sniffing around in their records. Indeed, the greatest criticism of the PATRIOT Act is the simplest and perhaps most obvious: Why does an Act ostensibly passed to fight terrorism so drastically expand the government’s power to investigate virtually everyone else? The PATRIOT Act is not merely unconstitutional, it is an unprecedented expansion of state power in the Anglosphere, a culture based on restricted government and the primacy of individual rights. An excellent example of this is the Foreign Intelligence Surveillance Act (FISA) expansion. Most people are familiar with the term “FISA court,” but very few people actually know what it is – a special federal court created under the Carter Administration that grants approval of electronic surveillance of both citizens and resident aliens in the event that they are accused of acting in the service of a foreign power. The last part of this sentence is very important: The FISA courts are not simply for allowing surveillance of anyone that it might be expedient to collect information about. The scope of their powers is very, very limited. Or was. The PATRIOT Act lowered the burden of evidence required to obtain a FISA warrant for electronic surveillance and expanded the overall scope of the FISA courts. Any savvy federal agent can now drape his charges in the garb of (what else?) “national security” and obtain electronic surveillance privileges hitherto only dreamed of by investigators. FISA courts have become pliant tools in the hands of the Feds, gladly approving their requests to monitor phone and internet surveillance, as well as access to medical, financial and educational records.
The Future of the USA PATRIOT Act
Do we still need the PATRIOT Act? Did we ever? All laws are certainly a product of their times. But this seems much more acutely true of the USA PATRIOT Act, which was passed in a rush and under duress without due consideration. Particularly in light of the revelations from Edward Snowden – that the government is spying on everything they possibly can – it’s worth asking if there’s any walking back. He points out that the police state apparatus was originally for drug dealers, then for terrorists, but ultimately ended up being applied to anyone and everyone. What’s more, Bob Bullard notes another frightful aspect of the USA PATRIOT Act: Terrorism-related cases are not subject to the Freedom of Information Act. This means that there is little or no oversight. There is no surer hallmark of a police state than an all-powerful domestic surveillance agency with no transparency or oversight. While the USA PATRIOT Act might not create an American Stasi as such, it certainly paves the way for one. Continue readingThe USA PATRIOT Act: The Story of an Impulsive Bill that Eviscerated America's Civil LibertiesatAmmo.com.
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