Since The Weeknd is performing at the Super Bowl Halftime show, I thought it’d be nice to post a little guide to his discography for anyone interested in looking to do a deep dive into his work. I would’ve posted this the day of the event, but I assume that some people would probably like to go through it over the weekend.
This shares a direct overview of his released material, talking about his career and the background of the music, the videos, the meanings and all. I’ve written this from a pop perspective, keeping in mind that his history might be fairly new for general pop fans.
I also go into the storyline of the red suit character, if your interested in catching up on that narrative before the Halftime show (which will continue the story), I’ve listed the chronological order below followed by an explanation of that narrative.
I wanna be clear that the interpretations/theories are not conclusive. Abel rarely shares the metaphors or meanings behind his music. This is based on widely based on fan discussion/mutual interpretation. Fans can feel free to expand on anything in the comments.
It is important to know about Abel's backstory to get a certain perspective of where he’s coming from, especially when discussing the songs that deal with substance abuse. These recent articles cover his early years really well and share an up-to-date point of view of his success.
Variety 2020
Billboard 2021 - Also a good source for getting to know his team.
So, an essential TL;DR is this: Abel Tesfaye came from a broken home, he was born to Ethiopian immigrant parents who split up when Tesfaye was less than seven. He then lived with his mother and grandmother, only rarely seeing his father but having a nice impression of him. His drug addiction started as soon as he was a high schooler, he turned to shoplifting to pay for this need of various substances. Soon he dropped out of high school, leaving his home the same weekend, which would later inspire his stage name, The Weeknd. The name is reference/homage to the weekend his life changed.
Quick side note, I didn’t think this post would nearly reach the character limit. So I’ve cut out excess detail and lists of producers (with the exception of After Hours since we’re in that era).
Table of contents

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

XO.

XO is the record label that The Weeknd and co. created in order to publish the first mixtape (House of Balloons) and the ones that would follow afterwards. XO has a lot of meanings that have to do with what went into the music and what still goes into it. XO is what the fans call themselves, popularly with the phrase XO Till We OD (shortened to XOTWOD); another way of saying “we’re ride or die for The Weeknd and his team.”
While some argue that it could mean anything since there isn’t clear meaning to it, fans continue to associate the abbreviation with ecstasy (X) and oxycontin (O). That definition stems from XOTWOD, fans assume it’s true because of the team’s history of drug usage. While others take it as it’s classical definition “hugs and kisses” because of the consistent lyrical nature of The Weeknd’s songs.
Overtime the definition of XO is simply known as: the fans, the crew, and the label. The Weeknd is more than just one person, he comes with XO. For the sake of clarity in this writeup, I’m going to refer to his crew as XO and the fans as “the fans.”
XO still serves as a record label, the current roster is The Weeknd, Belly, Nav, and Black Atlass. It remains The Weeknd’s record label and was his first label before becoming a subsidiary of Republic Records.
Throughout his career, The Weeknd has worked with Illangelo, a Canadian producer who’s work the fans adore. Carlo “Illangelo” Montagnese was one of main the producers on The Weeknd’s Trilogy, he’s credited on each track. The fan base claims his work to be some of the most notable artistry in The Weeknd’s discography. Their work together continued with Beauty Behind The Madness, Illangelo worked on seven tracks for that album. He then returned for After Hours working on another seven tracks.
DaHeala, another Canadian producer, is another significant factor in The Weeknd’s music. Jason “DaHeala” Quenneville worked as lead producer on Kiss Land. He returned to work on six tracks for The Weeknd’s Beauty Behind The Madness, including the hit Earned It. DaHeala returned as a writer for six of the songs on Starboy. Then DaHeala worked on nine After Hours tracks, and worked as the only producewriter alongside The Weeknd for bonus tracks Missed You and Final Lullaby.

House of Balloons.

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

This is a happy house. We’re happy here. (House of Balloons/Glass Table Girls)

One of the most iconic title tracks of all time. House of Balloons is about a lifestyle of drugs, sex, and partying; all in effort to drown out self-doubt. It comes from a place of wanting to make it big while doing what you can to survive, all while pretending everything’s alright. The mixtape describes various sorts of women, how they’ve had impacted the life of someone who’s already down on his luck.
Fans often refer to House of Balloons as The Weeknd’s best work. The mixtape was the first introduction the world got of XO, and it was one hell of a way to make an impression. It’s personal for the fans and Abel because it’s the only piece of work known to be based on his life. At the end of the day he’s a songwriter, with many of his albums he creates scenarios and world that he likes to explore through the music. But House of Balloons is known to be based entirely on his life. It remains The Weeknd’s most critically acclaimed work.
House of Balloons was crafted through the influences of Hip-Hip/Indie-Rock with the main focus on R&B. Through the genius of Ilangelo, the record was—and is—mesmerizing capturing the essence of a lifestyle that The Weeknd described as “anti-everything.”
House of Balloons assisted The Weeknd in gaining the attention of Republic Records, which would then host The Weeknd’s own label XO. Though hesitant at first, XO decided to partner with Republic after the co-founding brothers Monte and Avery Lipman kept coming back to Toronto solely for The Weeknd.
House of Balloons received three videos, The Knowing, Wicked Games and Twenty Eight. The Knowing was the very first video The Weeknd made, so of course it’d be something other-worldly; it essentially reflects the song itself but in a sci-fi setting. Twenty Eight represents Abel’s life after fame but also his remorse of letting captivating women into his life.
Fun fact— House of Balloons is an actual place in Toronto, it was where him and his crew lived after he dropped out of high school. They’d host parties, call girls, do drugs, and to make it less depressing they’d fill it with balloons.

Thursday.

Valerie on the cover

Welcome to the other side. (Life of the Party)

Thursday consists of the same themes as HoB; sex and drugs. But there’s a twist, he’s in a semi-relationship with this girl Valerie. She’s the only one on his mind, even though they meet only one day of the week, any guesses on what day that could be? Through The Weeknd’s phenomenal voice and the insane production, we’re also presented with this story of a toxic relationship where Valerie used to have the upper hand but she no longer does when she falls for The Weeknd.
While Thursday isn’t entirely about the relationship of The Weeknd and Valerie, it consists of reflections to Abel’s life after the release of House of Balloons. The song Rolling Stone notably has a double meaning, in which Abel asks his fans if they’ll stick with him when he gets mainstream appeal and decides to change his sound.
The track Valerie wasn’t on the original release of Thursday, it added when Trilogy was released. Ending the mixtape with Heaven or Las Vegas meant that The Weeknd’s actions with and without Valerie were a result of his fatherless childhood, making him push anyone away. That meaning behind Thursday doesn’t change when Valerie is added to the track list, it just means that both want the toxic relationship back.
The Zone (feat. Drake) was the first feature The Weeknd had on any of his work, the video for it was released in November of 2012. Rolling Stone had also received a video in October of 2012. Both were directed by The Weeknd and reflect the two different aspects of Thursday. The Zone has Valerie living it up in the House of Balloons. And Rolling Stone has The Weeknd doing a photoshoot for Trilogy, reflective of the song itself.
Fun Fact— the female voice heard in Lonely Star is The Weeknd’s, he pitched his voice to make it sound like a woman’s.

Echoes of Silence.

Diana on the cover

Laisse tomber les filles. Un jour c'est toi qu'on laissera. [Leave the girls alone. One day it’ll be you they will leave.] (Montreal)

Out of a dark introductory into the early life of The Weeknd, Echoes of Silence is the darkest work of his Trilogy. Let’s be honest the story here isn’t entirely ethical at times but makes for one hell of a mixtape.
Similar to Thursday, Echoes of Silence follows a storyline. After accumulating success, The Weeknd gains the attention of various women. There was this one woman (D.D.) who he liked but she initially rejected him (Montreal). The woman came back to him for his fame status and evidently fell in love with him (Outside), but now that he’s got the upper hand he treats him like a groupie (XO/The Host) and lets... bad things happen to her; she’s gotta pass a test before she can get with him. This test is either drugs or his crew (Initiation). He ultimately tells this woman that he’s not exactly longterm-relationship material, perhaps because her love is temporary (Same Old Song), because he’s Next. With the end of Echoes of Silence (originally ending on the title track) the listener is left to wonder why The Weeknd left her if he’d simply want her to stay.
As a side note— Initiation should not be condoned. It remains true that The Weeknd is a songwriter and the progression of time has changed perspectives. But a song that makes such suggestions as Initiation should not be ethically/morally claimed or celebrated.
The mixtape follows The Weeknd’s lifestyle after he’s gained all this success, he’s still the same person but now he’s gotten everything he wanted. Some tracks such as The Fall continue to emphasize his journey into stardom and his acceptance of fame being temporary. With the added Till Dawn (Here Comes The Sun), The Weeknd acknowledges the changes in his life, realizing that the old lifestyle is no longer there for him or his past lovers.
Echoes of Silence is known as an underrated gem of The Weeknd’s discography, it’s well received by fans and critically acclaimed but often brushed under the rug in discussion of his work. A lot of fans and casual listeners play the mixtapes through Trilogy rather than their respective albums. This often leads to people not playing EoS either at all or only the first few tracks, this is predominantly due to the nature of the compilation being nearly three hours long.
Fun fact— D.D. is a cover of Michael Jackson’s iconic Dirty Diana. Fans have named the woman in Echoes of Silence Diana because of this track. Various theories argue that the mixtape itself is based on the Dirty Diana itself with exaggerations of the truth, or whether or not it’s a story The Weeknd crafted based on the song.

Trilogy.

Rolling Stone video doubled as a shoot

You don’t know what’s in store. (High For This.)

Trilogy is a compilation of The Weeknd’s mixtapes, House of Balloons, Thursday, and Echoes of Silence. These three mixtapes were released 3-4 months apart from one another for free digital download in 2011, they gained quite a lot of attention from various industry executives.
Prior to the release of Trilogy, The Weeknd featured on Drake’s Take Care with Crew Love. The song was Abel’s first exposure to a Rap crowd/Rap fans, more people began listening to his music after the release of Take Care. The Weeknd then featured on Wiz Khalifa’s Remember You, which served as the second single off Wiz Khalifa’s O.N.I.F.C. Following those two releases, The Weeknd released Wicked Games as the first single off Trilogy.
Trilogy was formed after The Weeknd came under Republic Records’ management. The compilation album reached a debut/peak position of 4 on the Billboard 200 while reaching number one on the US Top R&B/Hip-Hop Albums chart. It’s a well received album with the highlight said to be House of Balloons, which arguably went on to influence various sorts of R&B music of the 2010s.
Videos for Trilogy

Kiss Land.

Iconic

I went from starin' at the same four walls for 21 years. To seein' the whole world in just 12 months. (Kiss Land)

Kiss Land is based on The Weeknd’s tour life. Visiting unfamiliar places gave Abel horror movie vibes. A guy who used to own the city (Toronto) he lived in is now a small fish in the ocean of the entire world. The Weeknd’s first studio album was a great introduction into the sound he would soon get well acquainted with.
While continuing the R&B sound with the essence of Dark Wave, the album explores emptiness and regret throughout the lyrics—or what pop fans could categorize as dark pop—. The Japanese aesthetic used for various videos and the single covers/booklet reflects the themes of feeling overwhelmed by such a loud world that there’s no point in being if you don’t belong.
The album explores the real-world and the women in it as well as regrets regarding past actions, namely letting go of women who could’ve been the one in Adaptation. The Weeknd attempts to find that satisfaction in other women and past lovers, but accidentally falls for a sex worker in Belong To The World. With Wanderlust he accepts and expresses that love in the modern world isn’t entirely possible. While continuing to tour the world he enjoys these new experiences with XO (Live For feat. Drake), as well as the new women in his life (Kiss Land). And when he’s back home, he accepts the loss of the relationship he cherished.
Kiss Land debuted and peaked at number two on the Billboard 200. It was fairly acclaimed but gained a massive cult following. There were four videos for made for the album, the title track, Belong To the World, Live For (feat. Drake), and Pretty. Those four songs received interesting visuals that kept up with their respective themes while Belong To the World/Kiss Land got visuals that matched the aesthetic of the album. To this day fans ask Abel for a part two to the horror-movie-inspired album after he said it’s the only album he would have a sequel for.
Videos for Kiss Land
Fun Fact— The video for Kiss Land on YouTube is an extremely edited version of the actual video shot for the song. The directors cut further explores the erotic-horror themes if the album.

King of the Fall.

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

Driving by the streets we used to walk through like a triumph. (King of the Fall)

These next few song were released between the Kiss Land and Beauty Behind the Madness era. Some fans would classify them as part of the Beauty Behind the Madness era—I’d say the same tbh—but they stand apart on the basis of success and acclaim. It’s a transition between The Weeknd being an underrated R&B musician to being a mainstream artist with massive recognition and appreciation.
The first of these four songs is King of the Fall. A fan favourite and a standout in The Weeknd’s discography. This is one of The Weeknd’s few Rap tracks, it gained a lot of attention within the Rap sphere. It was the way in which XO would announce that they’ve made it, little did they know that this was just the start.
Prior to the release of Beauty Behind the Madness (BBTM), The Weeknd gained mainstream attention. The Weeknd’s exposure to mainstream music was uphill, it wasn’t overnight. The first taste of BBTM came from Often, a song that reflected the themes of sex that Abel was known for. The track was released more than a year before BBTM’s release and had made it onto the trackless unlike King of the Fall. Slowly but surely The Weeknd gained exposure, his main sources of exposure were through a collaboration and a soundtrack.
Most pop fans heard about The Weeknd through his hit collaboration with Ariana Grande, Love Me Harder. The collab was made through Republic when The Weeknd said he wanted more than what he had gotten through Kiss Land. Ariana and Abel had formed a real bond cough The Hills cough, their bond assisted the song in becoming a memorable hit for both artists. Love Me Harder was a top ten hit on the Billboard Hot 100.
Later that year, The Weeknd was featured on the Fifty Shades of Grey soundtrack with Earned It, as well as Where You Belong. Earned It became a massive hit peaking at 3 on the Billboard Hot 100 and receiving an Oscar nomination for The Weeknd; a massive milestone for XO. Earned It kept up with Abel’s signature lyrics but the production differed heavily from the sort of R&B he was known for.
Videos from that era

Beauty Behind the Madness.

I can hear this image

I'm that ***** with the hair singin' 'bout poppin' pills, fuckin' bitches, livin' life so trill. (Tell Your Friends)

Following the success of Love Me Harder and Earned It, the Beauty Behind the Madness era began with The Hills. This was The Weeknd’s first number one on the Billboard Hot 100. Along with the video, The Hills became an addictive classic. The production and lyrics mirror a mature version of the sound that was originally found on Trilogy. It was truly in keeping with The Weeknd’s character, the only difference was his haircut.
Next came Can’t Feel My Face, a Max Martin production that differed greatly from anything The Weeknd put out in the past. In past songs, Abel had expressed his fear of losing his following if he went mainstream simultaneously asking his fans if they’d stay. He repeats that sentiment in the Can’t Feel My Face video. The sound has changed, the lyrics stay the same but now he’s a pop-star. The song became a hit as it reached number one on the Billboard Hot 100. With this massive bop previous fans still stayed, The Weeknd becoming a pop singer didn’t at all alter his image or sound; he mastered it.
In The Night and Acquainted were released as singles on the same day, the were the only singles to come after the release of Beauty Behind The Madness. The former received a music video treatment that followed the theme of the song itself while also starring Abel’s girlfriend at the time, Bella Hadid. Acquainted was robbed of a video even though Abel had shown off the fact that a video was in development; the song kept in the tone of The Weeknd’s work prior to BBTM.
Beauty Behind the Madness captures a Hollywood-based reality that The Weeknd came to understand: the dark aspects of your life will continue to follow you wherever you are. Real Life, Losers (feat. Labrinth), Tell Your Friends, Dark Times (feat. Ed Sheeran), and Prisoner (feat. Lana Del Rey) all capture a nihilistic view of a dream achieved.
Most of the videos of Beauty Behind The Madness have a mysterious white man. He’s featured in The Hills, Can’t Feel My Face, and Tell Your Friends. That man represents the devil. Throughout his journey in those videos, (The Hills) Abel runs into the devil after his car crash, (Can’t Feel My Face) he’s at the club then lights him on fire. The significance behind the fire could be selling his soul to the devil, BBTM is about Hollywood and a popular Hollywood myth is that celebrities sell their souls to the devil in exchange for fame. So in the Can’t Feel My Face video, Abel changes his sound to Pop (from R&B) thus leaving his signature sound in order to become famous, everyone starts enjoying his music once he’s sold his soul.
Then we see The Weeknd burying himself in Tell Your Friends, perhaps leaving the old Abel behind after the deal with the devil. However, instead of thanking the devil, Abel takes his revenge and shoots him. But wait, there’s more! The album trailer for BBTM features the devil burning a billboard with The Weeknd’s face on it, revealing Beauty Behind The Madness. HOWEVER, the final cut for the video features the devil being arrested while The Weeknd watches. This is a more realistic form of karma that the devil gets.
Videos for BBTM

Starboy.

Filled with bops

If I could, I'd trade it all, trade it for a halo. And she said that she'll pray for me, I said, "It's too late for me.” (Ordinary Life)

After the massive success of Beauty Behind the Madness, there was a lot of hype around what The Weeknd would do next; evidently he decided to explore Pop. The fandom he had gained wasn’t entirely based in the Pop sphere, his fans consisted of general Rap fans, but Starboy attracted the Pop audience.
Initially, most of his older fans couldn’t get behind Starboy, it differed greatly from the previous sound. It was crazy to think that the guy who made Trilogy managed to make such a Pop-centric album. But this was Abel expressing his versatility.
Since this is where most pop fans found out about Abel’s work and became fans I won’t talk too much about the singles, rather more about the album itself. His work with Daft Punk cemented this album in an efficient mix between Pop and R&B, where Beauty Behind the Madness was more R&B with Pop, Starboy was considered Pop with R&B.
Beyond the genres, Starboy explores two evident themes. One being his life with fame and recognition. The next being his love life in Hollywood, this aspect of the album came from his relationship with Bella Hadid which ended after the release of the album.
The cross became the symbol for that era and appeared in the album’s photoshoot as well as the videos. There was never any conclusive word on the use of the cross but there are various theories about it, something to note is that Abel was raised Christian, it could perhaps be a reflection of his past.
The cross he uses to destroy his accolades (Starboy video) is assisting him rather than something that’s holding him back. Abel’s upbringing was rough but now he’s celebrating it rather than feeling bad for himself. The cross continues to come up in the Party Monster video, this time it’s in the party house he’s making his way through. Then it shows up in the video for Reminder, this time in the form of his merch, the people wearing it are perhaps representative of his fans. Then we see it in the False Alarm video, both Abel and the girl are wearing it; the notable thing being that Abel holds his cross up before dying. Then in the brilliant video for Secrets, after giving up on the girl he’s with he leaves the building to find a giant cross. And finally in the I Feel It Coming video, The Weeknd sports a shiny cross necklace, and Daft Punk find it years and years after Abel froze.
The videos tell us that the cross is an evident piece of his story. This could mean that his past will always be with him, no matter what sort of fame he’s experiencing he’ll always be who he once was.
Also, I’m gonna take this moment to once again the genius that is the Secrets (both the song and the video). Yes it’s my favourite song/video off of Starboy but it’s so underrated.
Videos for Starboy, Secrets video bottom right
Fun Fact— Most demos of the tracks on Starboy weren’t as pop as they became, they started off R&B but became pop after production.

My Dear Melancholy.

Note the comma

They said our love is just a game, I don't care what they say. But I'ma drink the pain away, I'll be back to my old ways. (Privilege)

Oof (but in a good way, this whole thing is a bop). For this one I’m gonna talk extensively about The Weeknd’s relationships, which personally feels really invasive but it’s but it’s essential when talking about these sad boy anthems. Beyond that I’d just like to state that though they are part of the narrative both Bella Hadid and Selena Gomez deserve respect/privacy.
So when it comes to Pop music fans I think it’s safe to say that we all know a lot about this one. My Dear Melancholy (MDM) came after the very public relationship of The Weeknd and Selena Gomez. However it’s not just about Selena, some songs reflect his relationship with Bella Hadid (whom he got back with a month after MDM’s release).
My Dear Melancholy consists with The Weeknd’s exploration/mastery of merging Pop and R&B together. The EP was praised by fans for its lyrics and production, many went on to theorize that it was his most personal project since House of Balloons. The EP was the shortest album to reach number one on the Billboard 200.
My Dear Melancholy and fan conspiracies; name a better duo. The first theory being that the EP is entirely about Selena Gomez which wasn’t too much of a mystery since the lyric “I almost cut a piece of myself for your life” exists. Not only did MDM come after Abel’s relationship with Selena Gomez but also after his relationship with Bella Hadid. As far as fans were aware those two relationships were the most important relationships Abel had ever been in.
In theory, the songs about Bella and Selena can be categorized. Call Out My Name, Try Me, and Privilege are likely about Selena. Wasted Times, and Hurt You are likely about Bella. Leaving I Was Never There to act as an introspective look into The Weeknd’s life, basically making him hop back on his vices for comfort.
Another popular theory was that My Dear Melancholy was the first of another trilogy. This rumour was widely believed due to the comma at the end of the title on the album cover. But the fans soon gained a real reason to believe this theory, since the CEO of XO (the record label), Sal had liked an Instagram post that featured the cover and alleged date. Since Trilogy is a fan favourite this conspiracy spread like wild fire, so much so that fake titles and covers were made. The name of this trilogy would be: (1)My Dear Melancholy, (2)We’re Alone Together, (3)Abel.
Only one song served as a single for the EP. Call Out My Name was released nearly two months prior to the actual release of the album, it debuted/peaked at number four on the Billboard Hot 100. The mysterious video captures The Weeknd in various atmospheric places that reflect the tone of the EP, a haunting yet unexplained reality that the listener is to reflect on.
From the cover, to the music, to the video, to lyrics, My Dear Melancholy is an introspective reflection of heartbreak.
Call out my name video

After Hours.

Talented, Brilliant, Incredible, etc.

My darkest hours. (After Hours)

After Hours comes after success but references two lows in The Weeknd’s life. The album welcomes darkness and leads the listener towards a dead-end. The Weeknd’s past two albums (Beauty Behind The Madness and Starboy) ended on hopeful notes, they left the listener with a sense of hope but all hope his lost with After Hours.
Fans compare After Hours to House of Balloons—a rare occurrence considering House of Balloons’ acclaim—arguing that both albums are on the same level. Debate continues on whether or not both albums are on the same caliber. The belief that After Hours stems from reality does a lot to help its side of the argument.
The era began with Mercedes-Benz commercial that featured Blinding Lights, that was our first taste of the everlasting bop. Heartless was premiered on an episode of Memento Mori hours before its release on the 27 of November (2019), Blinding Lights was released two days later. Both videos were as brain melting as promised and the served as the tip of the iceberg.
After Hours was released nine days after COVID-19 was declared a pandemic, there was a massive risk in releasing an album that would not have a lot of promotion after it’s release (other than magazine coverage). There was no telling whether or not people would pay attention to the album during the height of the fear surrounding the pandemic, but it was a massive success. After Hours debuted at number one on the Billboard 200, with singles Heartless and Blinding Lights topping the Billboard Hot 100.
The album is layered with haunting productions that remains predominantly R&B but dives deep into Pop with some of the tracks. Max Martin produced the massive hit Blinding Lights as well as In Your Eyes, Save Your Tears, Hardest to Love, and Scared to Live which samples Elton John’s Your Song. Other notable producers include Metro Boomin who worked on the hit Heartless as well as Escape from LA, Faith, and Until I Bleed Out. With Kevin Parker on the interlude Repeat After Me.
Beyond the production are the narrative driven lyrics. In theory the album references two significant events in Abel’s life, his second breakup with Bella Hadid and his arrest in Las Vegas. The latter was due to his misbehaviour; in January 2015 he punched a cop in Vegas, lmao. Which means that After Hours is a recollection of The Weeknd’s first few years in LA. He merges the concept of his breakup with the idea of being an upcoming star, feeling free in the city of lights all while diving deep into the meaninglessness of those lights.
While After Hours starts with loneliness and a second chance it leads up to Abel returning to his vices of lust. In Alone Again his loneliness caught up to him and he’s asking for a second chance. He acknowledges his mistakes and situation in Too Late/Hardest to Love, in Scared to Live his ex then returns to him for a second time. He remembers his past ways in Snowchild and the way in which it lead to better days, but where do you go after such highs? In Escape From LA he faces the superficial reality of Hollywood, glad that he got that he got back with his ex, while continuing to question if it’s worth it. But he fucks up the second chance when she pulls up to the studio.
Who is she? Much like the other mysteries surrounding The Weeknd’s music, we may never know. Is it all more of The Weeknd’s songwriting ability or is it driven by reality? Fans found a merge between the two to be more accurate, After Hours is about heartbreak and a return to the vices that held The Weeknd back.
Heartless is when The Weeknd is once again back to his ways, he may have been in a serious relationship but after throwing that away he spirals back to the way he once was. It’s sad but it’s one hell of a song. Speaking of brilliant songs, Faith is when Abel admits that he’s back on his vices, he states that he needs his ex back with him till the end; he’s back to self-loathing.
So when he says he’s blinded by the lights, there’s two meanings to it. The Faith outro tells us that he’s in a car with flashing lights, a cop car (as confirmed by Abel) to be exact. Then Blinding Lights tells us that while he’s watching the bright lights of Vegas pass him by he calls out for the girl that he regrets losing. That is the peak of the After Hours narrative. He’s behaving badly over the loss of the girl he loved and is now at the worst position trying to find her and gain her trust for a third time.
Following Blinding Lights is In Your Eyes, this is where The Weeknd vows not to judge her; he can see right through her but will never do anything to make her upset. Does this mean their back together? Not exactly. Save Your Tears details a sort of moving-on that The Weeknd isn’t ready for but tries to help her move on, blind to his own inability to move on. Does it work? Not really. Repeat After Me (Interlude) shows that he’s still trying to convince himself that he’s unfazed by the loss of a meaningful relationship.
Then you hear a true masterpiece. The title track is a spiral into true regret and an apology for his actions, he admits that his ex girlfriend is the only reason he lives. In a dark lonely city she’s the only one keeping him sane. But his pleas fail, Until I Bleed Out is when The Weeknd no longer wants her in his life so much so that he wants to erase his memory of anything related to her. The bonus tracks then echo the final sentiment.
It’s one sad ass album, ain’t it. But here’s where the Red Suit Character comes in.
Shoutout to the makeup department
The album isn’t the only narrative to follow with After Hours. The videos for the album follow their own sort of narrative. The story follows an unnamed guy that goes by “red suit character” according to The Weeknd.
There’s a lot of confusion and endless theories surrounding this character’s story, after The Weeknd confirmed that it’s about a decent into Hollywood culture it makes more sense… kind of. I’m gonna discuss the storyline without talking about the movies that have influenced it, this way the focus remains on the character.
The order of these videos is Heartless / Blinding Lights / Blinding Lights (Live on Kimmel)* / After Hours short film / In Your Eyes / Until I Bleed Out / Snowchild / Too Late / Live at AMAs* / Save Your Tears
*Though all live performances could count as part of the narrative, these one relate directly with the videos that follow.
He’s is first seen in Vegas with Metro Boomin (Heartless), intoxicated on various substances. He dives deeper into his high until he licks a frog, after that he faces the true effects of this high. He’s frightened by the result and runs far away from Vegas. (Blinding Lights) He’s then found in LA, where he’s dancing in the street, hypnotized by the singer, beat up by guards, and races past all those bright lights in his Benz. Ultimately realizing the shallowness of the Los Angeles fantasy.
(Blinding Lights Live on Kimmel) We then find him performing Blinding Lights live, while he attempts to find more reason in within the madness city; he couldn’t find it on the streets so he goes to the stage. (After Hours short film) Even then there’s no meaning to anything in the city, he mindlessly wanders into the depth of the subway where he’s dragged by the reality of it all and ends up possessed. (In Your Eyes) After being possessed he chases the woman whose boyfriend he just murdered, she runs into a club falls deeper into the After Hours fantasy, in a successful attempt to defend herself she beheads the red suit character and dances all over LA with his head, iconic behaviour.
(Until I Bleed Out) Then in an ethereal dreamscape, red suit character finds himself in a House of Balloons. He’s trying to escape, but the people there keep pulling him in; he’s getting higher while observing Glass Table Girls. He spirals into the antarctic, the other side of the world. From Heatless to this point in his story, his vices lead him back to the lowest point in Abel’s life. Is it Hell, Heaven or Las Vegas? (Snowchild) He relives his career up until the point where his story began. Considering he’s dead, his life basically flashed before his eyes.
(Too Late) LA girls find the red suit character’s head and live their best life. They wanna have sex with him so they find the best boy parts by calling up a stripper who could be the body. The stitch the head up with the body and do what they want. But now he’s brought back to life. (Live at AMAs) He’s had work done… He went in to get his nose fixed and the doctor said “you sure that’s all you want?” The red suit character’s face is healing while he tries to celebrate his life on top of a bridge.
(Save Your Tears) Surrounded by a masked cult he debut’s his new face. Do they like it? Are they impressed? Not instantly, their masks translate no expression so how’s he to know? Is any of this worth it? Nope red suit character continues to die inside. He finds a maskless girl in the crowd, she’s lively unlike the rest; but even then, nothing on the inside nothing on the outside. He wants death again, somehow a second chance with this city is still pointless. He tries to kill himself via the girl and himself but it’s all a facade; theatrics.
His story continues but that’s all we know so far.
The videos make a lot of film references. This post by explain these references very well, as well as past album references here (part one) and here (part two).
After Hours is inspired by a lot of movies, since Abel is in fact a cinephile. The main movies that inspired the aesthetic and storytelling are believed to be Fear and Loathing in Las Vegas (1998), Casino (1995), Joker (2019), Uncut Gems (2020), and After Hours (1985). The album tells two sad narratives but remains one of The Weeknd’s best works yet. He’s expanded his videography and enhanced the interest of people who casually enjoy his music and of course his fans.
But the era isn’t over, by the time this is posted his Super Bowl Halftime show is yet to happen. And it’ll continue the red suit character’s story.
Videos for After Hours (so far)
Fun Fact—The Heartless video features a reference to Thursday. When he’s trying to run from Vegas, a sign behind him flashes “Heartless / Heaven or Las Vegas.” This could be a reference to Abel running from his past, after all Heartless is about him returning to his vices.

END.

Thank you for reading this, again, I didn’t realize it would end up being this long. But I hope this this served as a nice refresher for any fans who wanted to revisit Abel’s work before the Super Bowl.
And I really hope that anyone interested in getting into his music finds this helpful. Once again, the theories/interpretations mentioned aren’t conclusive, they’re widely based on fan discussion/mutual interpretation.
Due to the character limit I couldn’t add too links to the albums, so here are some artist links.
Apple Music | Spotify | YouTube | The Weeknd’s Shop | Tidal | Genius

Continuing… (It's Part 6 in the saga, I fucked up. Sorry.)
So, after a few re-fueling and impromptu cigar-purchasing stops in South and Central America, we wheel up to the deserted jetway at LAX.
“Thought we were going to Elmendorf?” I asked.
“This isn’t it?” the pilot replied, feigning worry.
“No.”, I replied, “Looks like California. Fruits and nuts. All around. What’s going on? One minute we’re off to Texas, then Cali, then Texas again, now we end up here at the California airport of the iconic tower.”
“Yeah, it’s confusing enough haulin’ civilians around. But when we get a call from Virginia, we tend to comply without any questions,” the pilot explains.
“Aw, shit!”, I sort of exclaim, “Rack and Ruin called?”
“Yeah”, the pilot replies, “Figures you’d know these guys. They said they were closer to LAX rather than Texas and had us divert here. In fact, you look over there, see that dark blue Chevy? That’s them; and evidently, your ride.”
I tipped the airman from earlier a couple of cigars as he helped me with my gear off the plane and into the trunk of Rack and Ruin’s plain-Jane blue late modeled Chevy. Had to move the Sidewinder Missiles off to one side, though.
“Most honorable Agents Lack and Luin!” I quipped in my faux-racist greeting. “What the hell, guys? I’ve got to get to Japan and get some newly rigidified digits.”
“Let’s see your hand”, Agent Rack asks. “Nasty.”
“Yeah”, I sigh “And with the medicos in South America and their penchant for plaster, I don’t so much have a left hand as more of an ankylosaur tail.”
“Or Thagomizer”, Agent Ruin tittered. “Anyone gives you grief, and one upside the head should set them right. Or dead.”
“You’re a riot, Ruin.” I replied, “But not entirely incorrect.”
We all agreed that I really didn’t need any extra accouterments to make myself look more dangerous. I mean with my severe haircut, stern beard clip, and perpetual ‘Go fuck yourself’ scowl.
“Yeah”, I replied, stroking the aforementioned beard, “I just can’t get that. I’m such a people person.”
After Agents Rack and Ruin finished drying their eyes from laughing what I thought was en extremis, we finally got down to business.
“So, what’s the skinny, guys”, I asked. “New marching orders?”
“No. Not as such”, Agent Ruin said, still sniggering over my ‘people person’ comment.
I see we’re moving. Agent Rack is just driving casually, like Chewbacca when they were waiting to see if the Empire went for that expensive Bothan code.
“Then, what?” I asked, getting a slight bit piqued.
“Well”, Agent Ruin noted, “When you went to South America, you took some of your artillery collection with, correct?”
“You know I did. You even made some snide comments about my personal choice of sidearms and their ‘excessive’ calibers, if memory serves”, I reiterated.
“And if you are proceeding normally, as you always do, they’re all nestled in the trunk of this very car. All cleaned, quiet, unloaded, and smelling sweetly of Hoppe’s Number 9 and WD 40, correct?” Rack inquired.
“Yes?” I cautiously venture.
“Well, ya’ big dummy, do you think they’re going to let you saunter into Tokyo armed like the Third Fleet?” Agent Ruin chuckled.
“Um…well…I do have a Diplomatic Passport.” I ventured.
“That’s not going to work this time.”, Agent Ruin said, shaking his head. “They’re tighter than Dick’s Hatband about sidearms. Want to bring in your Rigby SXS .500 Nitro Express double rifle? Not a problem. Sidearms, especially in your alien hunting calibers, nope.”
Well, that’s just….*dandy!”, I reply, semi-put out. “Now what the hell am I going to do?”
“Ever think that’s why Ruin and I are here, now?”, Rack asks.
“And here I thought it was just so you could bask in the warm glow of my fucking wonderful personality. Or that you actually cared about me as a real goddamn human”, I joshed.
“Ummm…yeah”, Rack replies, “There’s no way we can answer that without going on some Deadpool list. “
I agreed.
“OK, here’s the deal: you get your sidearms, ammunition, speed loaders, brass knuckles, Asp, laser range finders, Sap, Zeiss scopes, Kukri, Wisconsin Cheese Whittler, Buck folding skinner, Marine K-Bar, those two ultra-illegal Cheburkov Cobra titanium switchblades...”
“Three. Olga the KGB lady sent me one for Geologist’s Day.”
“Ahem. Those three ultra-illegal Cheburkov switchblades, that Wyoming Speedholer, your MASER Time-Distance Computer, garrote, pocket rail gun and whatever else lethal you carry and deposit it in the iron box in the trunk. We’ll ensure that it’s delivered to Esme post-haste. And by post-haste I mean one of our guys will deliver it personally.”
“Well…I suppose”, I conceded, “But best send someone who’s been to the house recently. I don’t know how much bigger Khan has grown since I left on this little fantasy trip. Wouldn’t want a star on the wall in Langley for someone eaten by a mastiff. Want to see a picture….Oh, bother. That’s right. My phone’s at the bottom of fucking Lake Maracaibo.”
“Good point”, Ruin interjects, “Guess we’ll do a little road trip and deliver it ourselves. Best call Esme and let her know what’s going on.”
“I have no objections to your proposals. Please give Esme this when you see her. I had some luck in the Calaveras Casino and if I don’t send her some mad money. Ouch. She’ll never forgive me for not taking her along to Japan.” I asked.
“But I thought Esme hated Japan? Too crowded and too ‘fussy’, I believe was her estimation.” Ruin asked.
“Yes, but once she saw the Ginza, all bets were off. Shopping the likes of which even Allah himself hasn’t seen.” I replied, slowly shaking my head.
“I see”, Ruin said, “Well, since you’re off to Sapporo, perhaps you can do a recon for Esme on the shopping there.”
“Not bad. Not bad at all.”, I smiled, “Now I know why I let you guys hang around with me.”
So, as advertised, I am now standing on the tarmac at LAX, basically feeling naked.
“Can’t I keep just one switchblade?” I moaned to Agent Rack.
“Go ahead, if you’re really keen on donating it to Japanese customs”, he replied.
“Fuckbuckets.” I groused.
“There, there now. That’s the usual Dr. Rocknocker of which we’re all so fond.” Agent Ruin chuckled.
“Remember, you do have that wallet-sized credit card gizmo from the Company. So you’re not entirely ‘naked’. Think of it as an emergency breechcloth.” He smiled.
“I’d like a larger model if you don’t mind. It’s chilly out here.” I joshed.
After Agents Rack and Ruin stripped me metaphorically naked as they de-weaponized me, they handed me a Business Class ticket to Tokyo, and a pass to the Japan Airlines Hospitality Suite and Lounge.
“So sorry you guys can’t hang around and have a few farewell snorts”, I chided, “But you’ve got a bit of a drive, so best be off before the weather turns to shit.”
“Who says we’re driving?” Agent Rack asked as he hooked a thumb over his shoulder at the ready and waiting C-130 cargo plane currently taxiing slowly in our direction.
“Well, in that case”, I smiled even more broadly, “Let’s invite the flight crew to join us. That’ll make the flight home all that much more interesting.”
After near tear-jerking farewell sentimentalities, i.e., “Piss on you”, “Get stuffed” and “Take a fuckin’ hike”; Agents Rack and Ruin, my weapons and the Agency’s plain-Jane Blue Chevy were all nestled snugger than buggers in ruggers in the belly of the thundering C-130.
Now truly on my own, I trudge the hundred thousand or so centisteps to my departure terminal, make a quick recon that my flight’s still slated to go in a generally westward direction, and hightail it to the nearest courtesy desk to ask for a motorized cart to take me and my remaining luggage to the JAL Hospitality Suite.
Hey. I’m old, infirm, and currently among the walking wounded.
Anyone that disagrees risks an Ankylosaur tail club swat or Thagomizer to the skull.
Finally ensconced in the JAL Hospitality Suite, Polo Lounge of course; I was drinking Tokyo Teas (3 oz. vodka, 2 oz. gin, 2 oz. rum, 1 oz. triple sec, 1 oz. Midori, good splash of lime juice, a slight splash of 7-Up (diet, of course), over ice with a lime wheel) with Pabst Blue Ribbon Extra 1844 chasers and Hangar One’s “Fog Point” vodka on the side, hiding from the brutish realities of this foul year of two thousand and twenty-something, Common Era…
I’ve already called Esme and we’ve had a good, long chat. She still managed to give me her shopping list for whenever I find myself bored on the Ginza.
She’ll be shocked when she learns that I’m not going to be in Tokyo long, but have 1st class tickets on the Bullet Train to Sapporo. Still, I’ll probably find myself in Pole Town or the Stellar Place there, trading piles of US greenbacks for locally produced Japanese curios and clothing.
I can hardly wait.
I order another round of drinks, as the wonderful attendants in the Hospitality Suite were bored out of their skulls because of the COVID-induced drop-in customers flying anywhere that requires a hospitality room stay, and I was virtually the only one around. They tried their level best to outdo each other when it comes to Japanese efficiency and friendliness.
After a couple of hours, they ask if I would like something from the grill, as the day chef had “the COVID” and the night chef just arrived. A quick perusal of the menu and I chose a 28-ounce dry-aged Porterhouse and another round of drinks.
I usually don’t like to eat too much before I fly, but JAL tells me the flight is going to be virtually empty, something like <121 pax, all told, so restroom availability shouldn’t be too much of a concern.
Plus, who am I to say no to a free, blue 28-ounce dry-aged Porterhouse?
There was a bit of difficulty conveying to the chef through the intermediaries of the hospitality just how I wanted my steak.
“Blue,” I said.
“Brue?” was the reply.
“Rare. Very, very rare.” I continued.
Look of total bewilderment.
I drag out my Personal Language Pro, speak “Steak, very, very rate” into the infernal gizmo, and hand the contraption to the attendant.
“珍しい、非常に珍しいステーキ?”[ Mezurashī, hijō ni mezurashī sutēki?]
“Raw! Nama!” I say, louder than need be.
They toddle off to find the chef.
“How is it sir, that you would like your steak cooked?” he asks.
“Very rare. Just a minute or two per side. Inside still cold.” I instructed.
All I got for the trouble was a puzzled smile.
“Give me the language gizmo…” I type in a few words…
“お尻を洗い、角をノックオフして、ここから出してください”
[O shiri o arai,-kaku o nokkuofu shite, koko kara dashite kudasai.]
“Wash its ass, knock its horns off, and walk it out here.”
“OH!” as the lightbulb pops. “Rare. Got it! Excellent!” the chef laughs and zips back to the kitchen.
Like I always say, I’m nothing if not the international ambassador of amity and goodwill.
“Crack tubes!”
Dinner was fantastic. I do wish I could have somehow mailed the Porterhouse bone back home for Khan. After that hambone incident, he might even taste it.
Finally on the plane, in an almost empty Business Class, the flight captain informs us that we’re headed to Haneda Airport Tokyo and anyone not headed in that direction better ‘haul ass off’ the flight or forever hold their peace.
Late-night international flights tend to be a bit more wooly than your average Chicago to Omaha gig.
Especially when the flight’s damn near empty and we have the next 12 hours or so to be best friends.
We taxi, turn and head into the wind. I’m doctoring up a couple of dossiers and keeping my personal cabin attendant, Luna since there were two of us in Business and two business flight attendants, busy with her trying to play ‘Stump the Geologist’.
“I’ll bet you never had this before.” She beamed and handed me a tumbler of very dangerous-looking brown liquor.
I cautiously sniff, take a modest gulp, swirl and glug the rest down.
“Ohishi Single Sherry Cask”, I say with a muffled belch. “Light. Fruity. An Englishman’s drink.”
“Oh. You knew. Let me try again.” She smiles beatifically.
“I have no objections to your proposal.” I smile as nicely as this crotchety old Komodo Dragon could.
She returns with another flagon of spirits; it smells of obsidian, leather, and earth.
I just had some of this back in LAX. I take a snort, smile, and shotgun the rest.
“Hibiki Japanese Harmony…lovely stuff.” I smile. “A little light for my jaded palate, but I’d never turn it down if it were free.”
“Oh, you win again. Wait. One more.” She smiles and skitters off to the galley.
She returns with another soupçon of some more dangerous brown liquor.
“Here, try this. It will make you very popular at social gatherings”. She smiles.
Sniff. “Splendid.” Snort. Swirl. Smile. Shotgun.
“Kanosuke New Born, if I’m not mistaken.” I smile back. “Very nice. I really do like this one.”
“You too good at this. One more!” she stands and stomps off defiantly. She returns in a trice and hands me the glass.
“Hmm…brown. Light notes of earth, leather, dating your daughter, and Kentucky…
“Beam Suntory, right?”
“You know them all!” she says, feigning irritation.
“And I thank you. Those were all excellent. Now, anything in the dangerous clear liquor category? I asked.
Luna smiled as I palmed off a 20k yen tip.
“Oh, no sir. Wait until we land.” She demurred, referring to the gratuity; which is know is not de rigueur in the Orient, but she didn’t seem to mind.
“Just in case we never make it to Tokyo”, I laughed, unknowingly presciently.
We both chuckled about that last line as she tried out various sakes and shōchūs and an actual Japanese ‘White Liquor’ (ホワイトリカー), which were all excellent as was the company.
I tell her that I need to get some work done and could she bring me a tall Rocknocker. After explain the origins and construction of the eponymous drink, she brings me one that must tip the scales at 1 or so liters.
She settles down to an empty seat and I get after the work that I need to finish before we land. I’m about ½ way through my drink when it felt as if the plane hit a brick wall. She quivered and quaked and clutched at herself while I made some comments about the pilot’s mental health.
We dropped like a paralyzed falcon, then just as suddenly, felt like it was an express elevator to Angel’s 11. The plane bucked and shimmied, wickedly. Then we slam-danced right and fell a few more stories. It was like we were in a Mixmaster and the owner was trying out every speed.
The emergency lights in the 777-300ER popped on, and the fasten seat belt sign barked loudly so even sleeping travelers could enjoy the show.
Rinse. Spin. Shudder. Repeat.
Finally, the ride smooths out and we hear the captain on the blower.
“This is your captain speaking…ah, we seem to have hit some uncharted turbulence back there.”
“Thanks, Captain Obvious”, I muttered.
“Everything’s A-OK. “ he reports.
“That’s good”, I note.
“But…”
“There’s always the but…” I groan.
“…we have a couple of warning lights for which we can’t quite account. So to just be safe and certain, we’re going to divert to Hawaii, get a clean bill of health and resume this flight once we make sure everything here is hunky-dory.”
There were scattered groans and applause. Add them together and divide by two and the average response on the flight was “Meh. Whatever.”
Except for the other guy in Business, with whom I hadn’t shared two words. He began to absolutely lose his shit.
“Oh, man! We’re so screwed! Mechanical malfunction? What does that mean?” he positively fizzed with fear.
The flight attendants tried to calm him down, to no avail. They basically gave up and said they’d report his misgivings to the Captain.
I motioned over to my personal flight attendant, Luna, and asked if I could be of service.
“Oh, Doctor Rock”, she smiled at me, “If you could speak with him. You are so calm, and he is…”
“Losing his bloody mind”, I chuckled as I finished her sentence for her. “Of course, I’ll take a stab at it.”
So, I grab my drink and ease over to my Business Class partner and introduce myself.
“Hey, pal. How’s it going? I’m Dr. Rock, gentleman, scholar, and connoisseur of cigars and things alcoholic. You doing OK?”
He looks at me with an ashen face and his eyes the size of bloodshot dinner plates.
“Yeah. I’m Todd Schotts. I’m flying to Japan for business.” He mumbles
“No surprise there,” I reply calmly and take a slug of my drink.
“But now we’re all going to die. The plane is busted and we’ll crash…” he started off again.
“So, Todd is it? Good. You drink?” I asked.
“Yeah?”, he stammered back.
I asked Luna to make us a fresh batch of my eponymous cocktails.
“OK, Todd, listen up”, I began after the drinks were served, “I have flown literally millions of miles over the last 4 decades. On Aeroflot when it was still the USSR. On TACA (Take A Chance Airways), on Chalk’s in the Caribbean, on Bob’s Verrifast Plane Company in Rhodesia, on regional carriers that don’t even exist anymore. All over the world. Had some bad experiences flying, and me ol’ mugger, this ain’t one of them. This is nothing more than the glitch for this mission.”
I chuckled lightly and complimented Luna on a fantastic drink.
“Yeah…yeah…yeah…but we have to land and check out some lights…” Todd squealed.
“Well now, Todd. It would be rather difficult to do any external assessment while in flight, don’t you agree?” I asked.
“But we’re diverting. We have to land and that adds more risk. We’re going to crash and die!” he was coming more and more unglued.
“I will bet you every cent you have on your person and home bank accounts that that will not happen”, I chuckled.
That took him by surprise. At least it shut him up for a while.
“Look, Todd. This is Boeing’s latest model. They have the most incredible safety record. And if a little clear air turbulence were to be knocking planes out of the sky, don’t you think we’d hear about it as the press went berserk?” I asked.
“But they don’t know what the lights mean! What if one of the engines’s out? How far can we fly on one engine?” Todd stuttered.
Having my fill of a supposedly grown man with inane childlike fears, I calmly replied,
“All the way to the crash site.”
He went white.
“...hope we hit something hard. I don’t want to limp away from this.”
He went limp.
Then I went to my seat and motioned for Luna to prepare a reload.
Of course, 45 minutes later, we land without incident at Daniel K. Inouye International Airport, Honolulu Hawaii.
We were told to just wait around until they figure out what the problem if any, was.
They had officials waiting at the end of the jetway to check our COVID status and passports before they let us loose in the terminal.
I asked Luna if she knew this airport. She noted that she did.
“Is there a JAL hospitality room here at this airport? I asked.
“Yes, Doctor. It’s the Sakura Lounge. It is located on the third level above The Local, Terminal 2.” She replied.
“Please notify whoever needs to know that that’s where I’ll be for the duration”, I smiled and handed her my business card. “See you soon, I hope.”
“Oh, Dr. Rock”, she replied, “I am sure it is nothing much. We’ll be back in the air within mere hours.”
“Well then”, I smiled, “Guess I’d better get ready to hoof it to the lounge.”
“Oh, Doctor Rock”, she smiled, “No rush. I will call for you a courtesy cart. You are injured, you are Business, you are priority.”
“I love that Asian efficiency.” I smiled back and toddled down the jetway.
At the terminus of the jetway, I show my COVID-clear papers, dates and times of my Anti-Virus vaccine administrations, the letter from Virginia clearing me of all detention, and my red Russian diplomatic passport.
While in the cart, whizzing our way to the JAL lounge, the driver said “Man! You must be some kind of VIP. You were through that welcoming committee in less than two minutes!”
“Me? Nah!”, I chuckled, “Just an old phart of a geologist that they didn’t want to mess with. Not on such a bright, sunny day as this.”
“I see you’re not wearing a mask.” The driver quipped.
“Very observant. There are reasons for that.” I replied.
He careens around a corner and if this were a normal pre-Covid day, I’m certain we’d have killed hundreds. However, the airport, as I’ve come to grow accustomed to, was virtually deserted.
“Yeah? Like what?” he asks.
“Well, Scooter, 1. I have an active and hardworking immune system that I let off the chain every once in a while for exercise. Got to let it know what it’s up against, right? 2. I’ve had all my shots and some that were experimental. They seem to have worked. And 3. I find it difficult to drink and smoke cigars while wearing a mask. However, if you’d prefer, I will mask up. No problem, though it still is optional.”
“Nah, man”, he said, “I was just wondering if you were one of those religious idiots or conspiracy nuts.”
Nope”, I smiled back, “Just another geologist out in the world plying his trade for cash. Y’know, whorin’ around for money.”
He laughs aloud as we skid to a stop right in front of Lounge.
I slip the guy a $20 and ask if he’d listen for the JAL flight I was just on. If we’re going on ahead today, I’d need him to scoot by and putt-putt me back to the plane.
He laughs and pockets the $20 as quick as a mink ruts.
“No worries. I’ll just hang around this area. I hear anything about the flight, I’ll come and let you know.” He grins.
“Good man”, I say, as I hand him my card. “I’m Dr. Rocknocker. Call me Rock”.
“And I’m Kapula Mano, call me Kap” he replies.
“Good man”, I say again, “Hope to see you in a while.”
He grins, floors his electric cart, and peels out at speeds approaching 4.5 MPH.
I wander into the lounge, show my credentials, and am escorted to a post up on Mahogany Ridge.
The bar is very quiet. Besides the bartender, I can’t see anyone else in the darkened and Smooth Jazz-infused drinking emporium.
I order a local drink, a Mai Tai, just for the experience and something a bit different.
It’s served in a goldfish bowl on a stem, bedecked with a slice of lime, a sprig of mint, a stick of sugar cane, a polychromatic orchid, and the obligate paper umbrella.
“Ah. Mai Tai. I will enjoy it.” I said to no one in particular.
One was enough, and I decided to go back to the old standard. Once I explained to the bartender what that was, he made them heroic and enthusiastically.
I’m reading up on a random dossier, making notes in a new file, and puffing away on a Fuentes Onyx double Maduro Churchill cigar.
I hear a slight cough coming from my right, and this here lovely lady, she sat to my immediate starboard and looked at me semi-quizzically.
Not in the mood for shenanigans of any stripe, I give her the obligate Baja Canada nod and tilt of the drink. I return to my dossiers and continue to read and take notes.
“Excuse me!” I hear.
Fearing the worst, either the woman is Karen-oid anti-smoking or a religious fruit-and-nutburger, I slowly turn to face her and reply, somewhat glacially, I have to admit.
“What?”
“That cigar…”
“Here we go…” I mutter, eyes rolling northward.
“Smells exquisite. Could you tell me the brand? My husband would enjoy some like that.” She notes.
Instantly my demeanor switches 180^0.
“Yes, ma’am. It’s an Arturo Fuentes Onyx. Churchill size, or 60 ring x 7” length, double Maduro. Here, take one for your husband. I have an ample supply.” I smile.
“Oh, no. I couldn’t. Could I?” she asks.
“Please. I insist.” I smile the best I could given the circumstances.
“Thank you. You’re too kind…umm…Mr….?”
“Doctor. Doctor Rocknocker. World traveler, oilman, and international ambassador of amity, good drinks, and fine cigars. Call me Rock” I said.
“Oh! A Doctor?” she brightens.
“Yes, of Petroleum Geology and Engineering. Not medicine.” I chuckle.
She chuckles back.
“And I am Hella Aaberg”, as she offers her hand for a quick shake.
“Interesting name, Hella. Scandinavian or Old German heritage?” I ask.
“On my father’s side. He’s Finnish.” She replies.
“But I’ll wager your mother is not Scandinavian, correct?” I ask.
“She was from Truk, an island…”
“In the South Pacific, Micronesia. Was she from Weno city?” I asked.
“Why yes. How could you possibly know that?” she asked.
“Oh, I’ve been there. Great diving amongst the WWII wrecks. I think it’s actually called ‘Chuuk Lagoon’ or something like that now.” I said.
“That’s right! Amazing. Where else have you been?” she asked.
“Anywhere there’s oil, strife, booze, cigars, heavy explosives and typically long distances from whatever most normal people call civilization,” I replied with a chuckle.
Suddenly, I hear a voice booming out behind me.
“Why don’t you save that rapier-like wit for those musky-fuckers back home, Rocko?”
My expression changes. My eyes pop fully wide open.
“Hella?” I asked.
“Yes?”
“May I ask you a favor?”
“You can ask…”
“Thank you. Now, looking over my shoulder, is there a hulking goon of a person, thin up top, paunchy halfway down with the most ridiculously tiny sized shoes you’ve ever seen for a so-called grown man?” I ask.
“Yes. Yes, there is.” She replies.
“I thought so. Many thanks.”
I spin and launch off my barstool and grab Toivo by the hand. He hadn’t seen my left-hand Thagomizer yet.
“Toivo! You old sumbitch. What the flying fennec fox fuck are you, of all people, doing in Hawaii?” I laughed.
“Just keeping an eye on you, Rock!” he laughed equally as loud.
“No, fucking-A, seriously. What the actual fuck? What are you doing in this actual nice place?” I asked.
“Just headed to Tokyo to conduct a bit of service company business. I walked into the lounge and smelled a foul cigar. I figured it can’t be the venerable Dr. Rocknocker. He’s back at some school up north terrorizing geology and engineering grads and undergrads.” Toivo laughed.
“But there I was. Surprise!”, I laughed and pumped his hand.
“What the fuck, Rock. Now what did you do?” he asks, referring to my Ankylosaur tail club left hand.
“Ah, fuck. Long story. Oh, pardon me. Toivo, this is Hella. We were just talking about the South Seas Islands.” I said.
“Planning on running off together?” Toivo laughs, to the amusement of neither party.
“Oh, and this idiot is Toivo, a man with a congenital foot-in-mouth disorder. He’s mostly harmless.” I noted to Hella.
Greetings were shared all around. Hella made some small excuses and said she needed to depart. I gave her another cigar for her husband, shook her hand, and wished her well.
“Here’s my business card. If your husband has any questions, have him drop me a line.” I noted.
Hella smiled beautifully. She said she would. Then she thanked me shook our hands, and like that, there she was, gone.
“Well Toivo, you old bastard. Don't just stand there in the doorway like some lonesome goddamn mouse shit sheepherder, get your ass over here and have a drink.” I motioned over to my perch on Mahogany Ridge.
“Don’t mind if I do”, he says as he deftly winds his way to a seat to my left, snagging a cigar out of my pocket on the way over.
“You might want these”, I say in an exasperated tone, and hand him my gold Dunhill Hobnail lighter and V-cutter gizmo.
He cuts and fires up his heater.
“What you drinkin’, Rock”, he asks.
“Anything with alcohol, as usual. You know that Toiv.” I reply.
“No. I mean right now.” He clarifies.
“Well, I had a Mai Tai. Very nice if you like fruity, flowery drinks. It’s the locals’ favorite.” I reply.
“Sounds good. I’ll have several. And you?” Toivo asks.
“My usual. The bartender is already apprised of the situation.” I reply.
Toivo smiles the smile of one knowing his sobriety is going to be taken out for a swim. Hell, taken out and tossed into the deep end.
Toivo and I sit there, swapping lies, smoking cigars and sipping at our toddies.
Hell, Toivo was slurping them like a sump-pump during an extra-wet summer.
We chattered about family, work, whether or not Tokyo was going to host the Olympics or if the COVID-boogie man scared everyone off.
Toivo, always one afflicted with TB (“Tiny Bladder”) got up to go to the loo for the third time that hour. He left his pocket organizer on the bar and I swear on a stack of Origins of Species, I didn’t touch it.
I reached over to his vacated seat to retrieve my cigar lighter when I looked down and saw in his organizer a tab that reads “Rack & Ruin”.
“Oh. No. Fucking. Way.” I recoiled as I’d just reached out and petted a 6-foot hungover scorpion.
“One of my best friends? Secretly allied with the Agency? No. Not possible.” I drained my drink and called for another.
“No. No. No. It can’t be. No. No fucking way…” as doubt began to dissolve when I thought back to all those times I had just ‘run into’ Toivo.
“But he’s oil patch as well. That could be chalked up to coincidence.” I ruminated quizzically in my brain.
I quickly reflected back on J.M. Darhower: “Yes, you see, there’s no such thing as coincidence. There are no accidents in life. Everything that happens is the result of a calculated move that leads us to where we are.”
She may be the author of the execrable New Adult Sempre series, which Esme likes and I loathe, but she might just be right on this occasion.
Toivo return, lighter in the bladder and good sense. He never even noticed he’d left his organizer out in broad bar light for all to see.
“So, Toivo, when’s your flight?” I ask.
“Oh, man. Was I lucky. The JAL flight to Tokyo from Los Angeles had mechanical trouble and had to divert here. I got a ticket on the plane for that flight, when it continues.
“You mean ‘if it continues’,” I replied.
“Yeah. Yeah. That’s what I meant. Hey! Was that your flight?” he asks innocently. He’s really innocent of fieldcraft.
I decide to have some fun at my old friend’s expense.
“Yep. Hit some CAT (Clear Air Turbulence) and the JAL pilots reported some lighting problem. No apparent ruin to any of the systems. They relay racked their brains to figure it out, but they couldn’t that’s why I here.” I said, waiting for the words to swim upstream in Toivo’s coconut and make some sort of connection.
“Yeah. Double lucky. No problem with the plane and I get to go to Japan early.” Toivo crookedly grins.
“So, no trouble with the plane? Then why haven’t I heard that the flight’s going to resume?” I asked as I pushed a fresh, seriously strong drink to Toivo.
“Oh, must have heard it in the john.” Toivo countered and tried to cover his tracks by taking a huge gulp of his drink and damn near dying coughing.
I pound on Toivo’s back.
“Heimlich time?” I ask.
Toivo signals ‘no’.
“Jesus Christ, Rock. What was that?” he asks.
“Just my usual”, I innocently replied.
“Holy fuck. No wonder you have the reputation of…” Toivo realizes too late that he’s said too much.
“Yeah. They can rack you out. Really ruin a person if they’re not careful.” I reply icily.
“Why, Rock. Whatever do you mean?” Toivo slurred as he realized he’s been caught out.
“The jig is up, you turncoat. You know Agents Rack and Ruin from the agency. Right? You keeping tabs on me for them? You Quisling! You Benedict Arnold!” I almost was on the verge of losing my cool.
“It was nothing. They approached me years ago as I kept being mentioned in your reports. They asked me for some information. One thing leads to another…” Toivo was ready for an Ankylosaur tail club swat to the bean.
“Oh, put your fucking hands down, you asshole.” I smiled and chuckled.
“You’re not mad?” Toivo slurred badly. I had the bartender make him another special drink.
“No, Toivo. Not mad. Just disappointed.” I said, smiling like a Komodo Dragon just finishing up a fortnight-old wildebeest.
Toivo sat there and puzzled and puzzled until his puzzler was sore.
“You’re not going to kill me or anything rude like that?” Toivo asked, half-assedly trying to inject humor into the proceedings.
“Nah. The paperwork’s too ridiculous for me to do another liberation. But, Jesus Fucking Christwagons, Toivo; you could have mentioned it to me. Fuck, I thought we were friends to the end?” I said, dejectedly.
I was really getting through to Toivo. I could tell he was loaded; feeling like shit and massively deplorable.
Great fieldcraft, indeed.
I told him things “are what they are” and that I won’t blow his cover nor his honorarium.
He began to feel better. I often wonder if he was serious about the sanctioning thing.
Then I delivered the strategic missile strike.
“Just remember, Toivo. I wrote your dossier for the Company…”
He swivels to look at me.
“And one for the KGB. Olga says ‘howdy’.” I grin evilly.
Toivo short-circuited at that. Russia is his company’s bread and butter. Now he has the KGB as well as his best buddy looking over his shoulder at every move.
I bought him a few more drinks and continued to needle him about his ’leading a double life’. He was well and truly fuckered when the electric tap-tap driver from before came looking for me to whisk me back to the plane.
Seems it was simply some knocked-out wires on the plane, or slammed bulbs that were generating a false positive, indicating something other than the system that alerts one to something haywire went haywire.
Toivo was pretty much down for the count. I got him sober enough to hand them his ticket and ensure that he was really supposed to be on this flight. Thing was; h e was in Economy, and I was, as always, in Business.
I spoke to Luna, and the plane was going to be even less crowded than previously because some folks could or wouldn’t wait, or didn’t want to go on with the rest of the trip on a ‘damaged’ aircraft, or were just stupid and superstitious.
“Luna, could I pay for the difference between Business and Economy for my less than 100% conscious friend here? He’s had a rough day.” I asked.
“Dr. Rock. Just put him into Business. No one will be the wiser. Luna says so.” As she gave us a grand smile.
“Luna, I owe you. Thanks so much.” I said.
“Now get on board. Your friend looks like he needs all the downtime he can get.”
“Yes, ma’am!” I said and saluted here be best I could which dragging a schnozzled Toivo down the jetway.
I dumped Toivo in a window seat well away from my seat. I know Toivo. He snores like a semi-load of live hogs rocketing downhill locking up the brakes at 88 MPH.
Surprise! There was no one else in Business. Luna looked at me, at Toivo, and gave me a thumbs up.
Whatever I can write to further her career at JAL, she’ll have it before I deplane.
We finally get everyone settled, and with Captain Kangaroo at the helm, we bounced gracelessly off the tarmac, into the warm, tropical Hawaiian air, finally headed for the Land of the Rising Sun.
Toivo was snoring like a chainsaw hitting rusty nails as I worked on the various letters, communiques, and dossiers which needed updating before we reached touchdown. I gave Luna a thick letter with instructions not to open it until we were on the ground and Toivo and I were well off and away into the terminal.
We left Hawaii at 1300 hours, so we should arrive at Tokyo Nareda around 4:00 pm, the previous day. I was so bereft of time and time zones, I couldn’t figure out what time it really was, as judged by my biometric rhythms, so I asked Luna for a stiff drink as I was kicking off my boots and going to attempt to get some kip.
She brought me another liter or so eponymous drink. I was sawing logs by the time I slurped the last swig of that nifty drink.
Suddenly, or later, I have no idea really, some loudmouth drunk asshole from way-the-fuck-back in economy-land toward the ass end of the plane staggered into Business demanding free drinks.
Luna was nothing but civil, and asked him to both shut up and return to his seat. His air cabin hostess, or whatever the fuck they’re calling them these days, will attend to his needs.
“Naw they won’t! They want me to pay for more drinks! I’m broke but I demand more booze! You fucking owe me.” railed the asshole. “I sat at the bar in Hawaii for four hours. Them fuckers charged me an arm and a leg!”
“No, they don’t owe you shit”, I said in a voice that unmistakably loud and clear.
“Fuck you, old man! You stay the fuck out of this!” he bellowed. “Shut up or I’ll do ya’!”
“’Old man’? ‘Do me’? Excuse me. Luna, may I have a word alone with this individual?” I asked sweetly.
Luna shook her head in the affirmative, and I stood up to confront this flagrant asshole.
“Now look, Scooter. You have gone way, way over the fucking line. You are loud. You are abusive. You are obnoxious. And you stink. Plus you insulted a person who is just barely containing his righteous wrath right now. So, I’m giving you one and one only chance to shut up, sit back down before your body spontaneously develops all sort of bruises, contusions, broken bones, and unconsciousness.” I said calmly, evenly, and threateningly.
“What da’ fuck you think you’re going to do…old man?” he screeched, trying to inflate himself into full mammalian threat posture, all 5’ 9” of it.
He didn’t notice Toivo walking up quietly behind him, as Toivo was returning from the head, quiet as a moose.
“Well, Scooter, I am an Air Marshall. Duly appointed, fully trained, and properly pissed off. Right now, I can arrest you, physically detain you, turn this flight around and take you to the Hawaiian police, at your cost for the inconvenience of the entire flight. Or I could arrest you, physically detain you, and turn you over to the Japanese authorities when we land. It’s really your choice. Choose wisely.”
To be continued…⇝

mods please lmk if this violates the rules. i’m posting here because I write about the mob/casino and many relevant themes that are important elements of the Sopranos, in my opinion. I think they’re of the same medium and genre so wanted to post here. Hope that’s alright. Cheers! (11 min read) ————————————————————————
EDIT 2: TL;DR -
Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.
———————-
Every good filmmaker makes the same movie over and over again—Martin Scorsese is no different
Scorsese's Casino is a phenomenal story of the condoned chaos and "legalized robbery" that happens on a daily basis to gamblers who bett away thousands of dollars and return each day for more “FinDom,” but without any of the sexual sadism. The whole scam only persists because the house always wins: the odds are stacked 3 million to one on the slot machines, but the same shmucks return wide-eyed each day hoping for a different outcome, devoid of any rational re-evaluation required to maintain their grasp on reality, and the liquidity of their bank accounts.
Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.
Robert De Niro plays Sam "Ace" Rothstein, recruited by his childhood friend Nick "Nicky" Santorno to help run the Tangiers casino, which is funded by an investment made with the Teamsters’ pension fund. Ace’s job is to keep the bottom line flowing so that the Mafia's skimming operation can continue seamlessly. De Niro's character felt like half-way between Travis from Taxi Driver (of course, nowhere as mentally disturbed) and half of the addictive excess, greed, and eccentric business-mind of Jordan Belfort in The Wolf of Wall Street.
Ace’s attention to detail gives him a rain-man-esque sensibility; his ability to see every scam, trick, hand signal, and maneuver happening on the casino floor make him the perfect manager of the casino, and take his managerial style to authoritarian heights in his pursuit of order and control over what is an inherently unstable and dynamic scheme; betting, hedging outcomes, and walking the line to keep the money flowing and the gamblers coming back. I’m not claiming Ace is autistic, I'm no clinician, but his managerial sensibilities over the daily operations of the casino, from the dealers to the pit bosses, to the shift managers, are to the point of disturbing precision, he has eyes everywhere, and knows how to remove belligerent customers with class and professionalism, but ultimately is short sighted in “reading” the human beings he is in relationship with. Ace is frustratingly naive and gullible in his partnership with Nicky and the threat he poses to him, and in his marriage with Ginger.
Ace has no personal aspirations to extract millions of dollars for himself out of the casino corruption venture. Ace simply wants the casino to operate as efficiently as possible, and he has no qualms about being a pawn of the bosses. While Sam, “the Golden Jew”—as he is called—is the real CEO of the whole enterprise, directing things at Tangiers for the benefit of the bosses “back home.” Ace’s compliance is juxtaposed with Nicky’s outrage upon feeling used: he gripes about how he is in “the trenches” while the bosses sit back and do nothing. Note that none of the activity Nicky engages in outside of the casino—doing the work of “taking Las Vegas over”—is authorized by the bosses. Ultimately Nicky’s inability to exert control over his crew and the street lead to his demise.
In the end, capitalism, and all that happens in the confines of the casino, is nothing but “organized violence.” Sound familiar? The mob has a capitalist structure in its organization and hierarchy: muscle men collect and send money back to the bosses who do not labor tirelessly “in the trenches.” The labor of the collectors is exploited to create the profits of their bosses. The entire business-model of the Mafia is predicated on usury and debtors defaulting on loans for which the repayment is only guaranteed by the threat of violence. But this dynamic is not without its internal contradictions and tensions, as seen in Casino.
In a comedic turn, the skimmers get skimmed! The bosses begin to notice the thinning of the envelopes and lighter and lighter suitcases being brought from the casino to Kansas City, “back home”. The situation continues to spin out of control, but a mid-tier mafioso articulates the careful balance required for the skimming operation to carry on: to keep the skimming operation functioning, the skimmers need to be kept loyal and happy. It’s a price the bosses have to pay to maintain the operation, “leakage” in their terms. Ace’s efficient management and precision in maintaining order within Tangiers is crucial for the money to keep flowing. But Ace’s control over the casino slips more and more as the movie progresses. We see this as the direct result of Nicky’s ascendance as mob kingpin in Vegas, the chaos he creates cannot be contained and disrupts the profits and delicate dynamics that keep the scam running.
Of course I can’t help myself here! We should view Scorsese’s discography, and the many portrayals of capitalist excess not as celebratory fetishization, but a critique of the greed and violence he so masterfully captures on film. See the Wolf of Wall Street for its tale of money as the most dangerous drug of them all, and the alienation—social and political—showcased in Taxi Driver. Scorsese uses the mob as a foil to the casino to attack the supposed monopoly the casino holds on legitimate, legal economic activity that rests on institutionalized theft. When juxtaposed with the logic of organized crime, we begin to see that the two—Ace and Nick—are not so different after all.
The only dividing line between the casino and organized crime is the law. Vegas is a lawless town yes, “the Wild West” as Nicky puts it, but there are laws in Vegas. The corruption of the political establishment and ruling elites is demonstrated when they pressure Ace to re-hire an incompetent employee who he fired for his complicity in a cheating scam or his stupidity in letting the slot machines get rigged; nepotism breeds mediocrity. In the end, Ace’s fall is the result of the rent-seeking behavior that the Vegas ruling class wields to influence the gaming board to not even permit Ace a fair hearing for his gaming license, which would’ve given him the lawful authority to officially run Tangiers. The elites use the political apparatus of the State to resist the new gang in town, the warring faction of mob-affiliated casino capitalists. While the mob’s only weapon to employ is that of violence. The mafia is still subservient to the powers that be within the political and economic establishment of Vegas, and they’re told “this is not your town.”
I’d like to make the most salient claim of this entire review now. Casino is a western film. The frontier of the Wild West is Vegas in this case, where the disorder of the mob wreaks havoc on, an until then, an “untapped market.” The investment scheme that the Teamsters pension fund is exploited for as seed capital, is an attempt to remain in the confines of the law while extracting as much value as possible through illegal and corrupt means for the capitalist class of the mob (and the ultimately dispensable union president). Tangiers exists in the liminal space of condoned economic activity as a legal and otherwise standard casino. While the violence required to maintain the operation, corrupts the legal legitimacy it never fully enjoyed from the beginning. This mirrors the bounty economy of the West and the out-sourcing of the law and the execution of the law, to bounty hunters. There is no real authority out in the frontier, the killer outlaw on the run is not so different from the bounty hunter who enjoys his livelihood by hunting down the killers. Yet, he himself is not the State. The wide-lens frame of Ace and Nicky meeting in the desert felt like a direct homage to the iconic image of the Western standoff. The conflict between Ace and Nick, the enforcer and the mastermind, is an approximation of the conflicts we might see in John Wayne’s films. The casino venture itself could be seen as an analogy of the frontier-venturism of railroad pioneers going to lay track to develop the West into a more industrial region.
I would have believed that this was a documentary about how the mob took over control of the Vegas casinos in the 1970-80s … if it were not for the viewer being expected to believe that Robert De Niro could play a Jew; it's hard to believe a man with that accent and the roles he’s played his entire career could be a “CRAZY JEW FUCK!!” I kid! But alas, De Niro is a class act and the last of the many greats of a bygone era. At times, it felt like Joe Pesci lacked talent as an actor, but his portrayal of the scummy, backstabbing bastard in Nicky was genuinely remarkable, but I might consider his performance the weak point of the movie. It’s weird to see a man that short, be that much of physical menace. There are a number of Sopranos actors in Casino. I’m sure Vincent Chase watched the movie and said to himself, “bet, i’ll cast half of these guys.”The set design and costumes were gorgeous. The styles and fashion of the time were spectacular. Scorsese’s signature gratuitous violence featured prominently, but tastefully. The camera work, tracking shots through the casino and spatial movement was incredible and I thought the cinematography was outstanding, the Western-esque wide lens in the desert was worthy of being a framed still.
The Nicky//Ace dynamic is excellent and the two play off of each other well. The conflict between the two of them escalates gradually, and then Nicky’s betrayal of Ace by cheating with Ginger marks the final break between the two of them. Nicky’s mob faculties represent a brutal, violent theft that is illegal and requires the enforcement of violence by organized crime. Despite the illegal embezzlement and corruption at play with the “skimming” operation at work at the casino, the general business model of the casino stands in contrast to the obscene violence of the loan sharks. Ace operates an intelligent operation of theft through the casino, and his hands-on management approach is instrumental to the success of the casino. Nicky’s chaos pervades the casino, and the life and activities of “the street” begin to bleed into Ace’s ability to maintain order in the casino. “Connected” types begin frequenting the casino, and Ace unknowingly forces one particularly rude gambler to leave the casino, who happens to have mob ties with Nicky. The “organized violence” of the casino cannot stay intact perfectly, because the very thing holding it together is the presence of the mob. Nicky is in Vegas as the enforcer and tasked with protecting Ace but his independent, entrepreneurial (shall we call them?) aspirations lead him to attempt to overtake what he realizes is a frontier for organized crime to brutalize and exploit the characters of “the street” (pimps, players, addicts, dealers, and prostitutes) and the owners of small private businesses.
Nicky is reckless, “when i plant my flag out here you won’t need your [casino/gaming] license” Nicky thinks he, and Ace, can bypass the regulations and bureaucratic legal measures by sheer force of violence alone. But ultimately Nicky is shortsighted and doesn’t have a real attachment to the success of the casino. After all, he isn’t getting profits from it (or much anyway) and isn’t permitted to play a real, active role in its daily functions because of his belligerent, untamed personality. Nicky has no buy-in that would motivate him to follow the rules or to work within the legal parts of the economy, it’s not the game he knows how to play, and win. All that he is loyal to, or deferent too, is the bosses back home; for whom he maintains absolute, uncompromising loyalty to, but still holds intense spite for.
And now to the more compelling element of the narrative. Sam “Ace” Rothstein is positioned as remarkably intelligent, he makes informed decisions that aid in his skill as a gambler, he can read people to determine whether he’s being conned, he has an attention to detail—aided by the casino’s surveillance apparatus which monitors cheating—that is almost unbelievable. Ace knows when he’s being cheated, he knows how to rig the game so that the house always wins, enacting psychological warfare to break down the confidence of would be proficient gamblers, who could threaten Tangiers’ bottom line. But in the end, the greatest gamble Ace makes is his marriage to Ginger. Ginger is the seductive, charismatic, and flirtatious madame who makes her money with tricks and her sexual power. Ginger works as a prostitute, seducing men, and extracting everything she can, almost as a sort of sexual-financial vampirism.
Ginger is the bad bet Ace can’t stop making even when she destroys his life, her own, and puts their daughter Amy in harm’s way. Ginger is the gamble Ace made wrong, but he keeps going back to her every time, trying to rationalize how she might change and be different the next time. Ace is not a victim to Ginger’s antics. Ginger makes it clear who she is: an addict, alcoholic, manic shopaholic who will use all of her powers to extract everything she can from everyone around her. She uses everyone to her advantage and manipulates men with her sexual power in exchange for their money and protection. Ginger had a price for her hand in marriage: $1 million in cash and $1 million worth of jewelry that are left to her and her alone as a sort of emergency fund.
Ace’s numerous attempts to buy Ginger’s love—and the clear fact that no matter how expensive the fur coat and how grand the mansion, none of it would ever be enough to satisfy her—mirrored Jordan Belfort’s relationship with Naomi in The Wolf of Wall Street. Both relationships carried the same manic volatility and conflict over child custody was found in both films, with the roles reversed in the respective films. Ginger may be irredeemable and a pathological liar, but Ace can’t claim that she wasn’t clear with him; when he asked her to marry him, Ginger said she didn’t love Ace. Ace replied that love could be “developed” but required a foundation of trust to develop. That trust was never there to begin with. The love was doomed from the start to destroy the two of them; two addicts, two gamblers, lying on a daily basis to one another and themselves about reality to justify their respective existences, the marriage, and Ace’s livelihood. And as Ginger pointed out, “I should have never married him. He’s a gemini, a triple gemini … a snake” Maybe astrology has some truth to it after all.
Now I’m not licensed (but hey neither was Ace, and he ran a casino empire!), but Ginger has the inklings of a borderline personality: her manic depression, narcissism, drug and alcohol abuse, and constant begging for forgiveness all seem indications of a larger psychological disorder at play. In the end, Ginger runs away with all the money Ace left her and finds her people in Los Angeles, the pimps, whores, and addicts she fits in with, in turn exploit and kill her for 3 grand in mint coins by giving her a ‘hot’ dose.
Overall, Casino is an incredible cinematic experience. I highly recommend watching this and seeing it as part of Scorsese's anthology of commentary on our economic system and its human victims. I’d argue that Casino, Wolf of Wall Street, and The Irishman all fit together nicely into a trilogy of the Scorsesean history of finance and corruption from the 70s to the 90s.
————-
EDIT 2: TL;DR —
Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.

Over the years I have thoroughly enjoyed throwing together playlists for different occasions (making coffee, working out, weddings, seasons, etc.) and thought I'd share! Please let me know your thoughts, favourite mixes, as well as recommendations for future playlists. All feedback is welcome! Hope you enjoy them:
That Weekend Feeling
Skip to the good bit; weekend grooves to wave away any weekday blues.
Awesome Mix: Ultimate Edition (Mixtape)
A great hero, named Kevin Bacon, once taught an entire city full of people with sticks up their butts that, dancing, well, is the greatest thing there is. The legend of Footloose comes alive with Awesome Mix: Ultimate Edition - Songs from and inspired by the Guardians of the Galaxy series.
Morning Motivation: Steal Some Sunshine
Soak up the sun with energetic jams and breezy classics!
I'd Drink To That: Party Playlist
Mix it up with a party playlist to keep the night buzzing.
I'd Sing To That: Carpool Karaoke
Pack up and take those pipes on a roadtrip! The catchy. The memorable.
Just Jams 🎧
Nothing but jams to fill a pair of headphones or stadium.
Brendan's Listen Local
Funky & Thumpy! Some of my favourite energetic jams, classics, and BBQ party starters from our local Australian & New Zealand artists.
Friday Fire
It's Friday! Friends. Family. Fun.
Groovin' The Brew
Nothing but rockin' party grooves on tap.
Diverse Pop Sounds
It's pop, but not as you know it.
Break Thru
Ear Candy.
Sunday Sesh
Beers & bangers on a weekend!
Run To Paradise
Set up goals, and knock them down with an energetic running playlist.
Summer Daze
The heat is on with a playlist of crisp summer tunes.
Autumn Mix: Volume 1
A breezy & brilliant playlist for the ever-changing Autumn seasons.
Chilled Pop
Soft, chilled winter pop songs.
Warm Tunes
Warm songs of Spring, like a comforting embrace.
A Mid-Summer Night's Drink 🍻
Lord, what fun these mortals be!
Wind Down 🌚
When the night winds down, so does some great music.
90's Baby! 📼
It is the sound of the roller disco, BMX bike track and arcade!
The Hip Hip Hop
Only the hippest of the hip. My modern and classic hip hop favourites.
Indie Bops: It's ALT Good
Get your alternative bounce on.
Not Your Final Form: A Workout Playlist
All the other licks with the pumped up kicks to keep you going during a workout. My favourites and a few other choice tunes for pushing harder, faster, stronger.
Easy On The Ears
Easy, Easy, Easybeats.
Life Is Good ☀️
Today is gonna be a good day.
Dial M For Music
Deep, cathartic music.
JOY
Smile.
Vibe Hard
Get into the zone, and vibe-out to infectious tunes!
Rock & Roll Never Dies
Who says rock & roll is dead? Commercial radio? It's always been around; you've just got to roll with it and look harder. Get your kicks!
Brainfood
Introspective acoustic, calming strings, uplifting anthems, and a touch of nature. Food for the brain, and perfect background noise for studies.
Game Night 🎲
For every occasion... casino, tabletop, videogames; a soundtrack to a brilliant game night!
Sizzlers: BBQ Playlist 🍔
Fire up the burner and the anthems with a barbeque playlist hotter than the bright ball in the sky.
Kickstart My Heart: Classic Rock Radio
Rocking all over the world.
Rush Hour
Grinding Gears.
Riff Raff: Party Rock
Some rowdy rock to turn up the night.
RE : FRESH 🍹
SUPERDOPE. Piña colada's and Caribbean Rum.
The Driver
There's a voice in my head that drives my heel.
Country Road
Might as well cruise. Might as well banjo.
Born to be Wild
Life's an adventure; you can't be tamed.
Night Moves: Dancing In The Moonlight
Unwind with the moonbeams. Night drives & night lives.
Funk Right Off
Get Funk'd.
Rambling Roses 💐
Beauty and Love are as body and soul. Beauty is the mine, Love is the diamond.
Sweat. Reset.
Whatever it takes. 'Cause you love the adrenaline in your veins.
Power Pop: Marathon
Power pop to push and electrify a workout.
Cool Beans: Coffee Playlist
Recharge with some warm tunes.
Kitchen Crooners 🎀
Now we're cooking!
Now We're Cooking!
Tasty tunes for the Kitchen.
Pool Party
Dive in to great poolside swing.
Inspiration 💡 Takes Flight
Reach for the Sky!
Going Places
Always push forward.
First 💍
Songs for special days.
DisNeat - Taking The Mickey
Nothing but Disney favourites.
Road Trip: Spinning Wheels
Hear the call for adventure and hit the road.
Guilty Pleasures 🍨
You like the Grease soundtrack? Word.
Catchy AF POP
Pop that bops. Essentials and the catchiest of the catchy.
Acoustica
Stripped Back.
Playlist + Chill
Cool off with some chilled beats and sweet acoustic.
Making Waves
Unwind with breathy, breezy songs perfect for a walk on the beach.
The Playlist Of The Decade (New Years Eve)
We welcomed 2020 with the ultimate party playlist jam-packed with familiar throwbacks and modern favourites from the 2010's! Good times!
Rhythm Heaven
Step up and dance.
Sax on the Beach 🎷
Gratuitous? Nah! An instrument to elevate a song from good to great!
BedroX 🔥
Sparks.
Pump It Up: The Playlist of Champions 🏆
Winner winner, chicken dinner.
Retro Rewind
Twist & shout to killer Jukebox Classics.
Classic Se7ens
Nothing but 70's favourites.
Great Eight's
Nothing but 80's Favourites.
Noughty & Nice
Nothing but great 00's Throwbacks.
The Best Playlist Never Heard
It's unheard of!
Best Songs You Might Have Missed
Potentially slipped under the radar.
Songs for Soundtracks 🎬
Royale with cheese.
The Grand European Playlist
About to take off!
EPIC 🗡
Fortune & Glory!
SUPERHOT VR : ROCK
The champ is coming.
SUPERHOT VR : HIP-HOP
Kings never die.
SUPERHOT VR : ACTION
John Wick Schtick.
Cowboy Bebop : Spike Spiegel
Spike Spiegel is an ex-Syndicate goon and a bounty hunter aboard the Bebop. He is proficient in martial arts, zipcraft flying, and gunfights, but he also has comical and aloof sides of his personality. If there's three things he can't stand, it's kids, pets, and women with attitudes.
Cowboy Bebop : Faye Valentine
Faye Valentine is a coma survivor of over 50 years and she is trying to regain her memory. She got into a lot of debt upon entering this futuristic world, and she had to resort to a life of crime and hustling to survive... that is, until she decided to live on the Bebop and become a bounty hunter.
Cowboy Bebop : Jet Black
Jet Black is an ex-ISSP Special Forces Officer and the Captain of the Bebop. He is a bounty hunter and is called the "Black Dog" because once he sinks his teeth in he never lets go. Jet enjoys American Jazz music, taking care of Bonsai trees, and has a knack for investigative work.
Cowboy Bebop : Radical Edward
Edward is a net diver from Earth. Edward is a child prodigy for hacking and has an aptitude for anything mechanical, even though Edward has some eccentricities in other parts of her personality. For instance, Edward speaks in third person and sometimes behaves like a wild animal.
At The Movies 🎟
Lights, camera, playlist.
James Bond Classics 🍸
A martini, shaken, not stirred.
The Word Is Bond 🍸
The world is not enough; but this playlist comes pretty close.
Live Love LIVE
Blistering live performances.
Future Nostalgia
Neo-swing, retro swagger; it's future nostalgia.
B-Side Yourself
Hidden Gems, Deep Cuts & Rarities.
Punk'd
You're Gonna Go Far, Kid.
Building Houses: Hit By Hit
Baby let's play house.
Far ALT
A playlist rocking that weird shit.
Stay Home: The Safety Dance
Stay safe out there.
Day Tripper
A playlist for a long drive - a day trip.
In Tents
Music For Camping.
Roots
Bluesy classics to strut to.
All That Jazz
Get jazzy on it.
Focus Features
Take a breather.
Australiana
Paradise.
Drive Time
Coast to coast. Songs for a spin.
Stone Cold Classicals
It's classically classic.
Hall of Fame 💎
Songs for the career climbers and L.A. dreamers. Glitz & glam; all that jazz.
This is Halloween
Everybody Scream!
It's Beginning to Sound A Lot Like Christmas!
Christmas Classics.
Just For Laughs 🎭
What a Joker!
Two Nights In Tao🎙
Karaoke? There's a first time for everything.
GAME
Take control.
Game On : Borderlands Psycho-delic
CHOO CHOO THE PAIN TRAIN'S COMIN'
Red Dead Redemption II
Songs For Bloody Duels, Whiskey-Fueled Gambles, and Rolling Desert Plains.
Energy Shot
Keep animated with an energetic dose of catchy music!
Party Fillers
A background mix for any event.
The Essential AC/DC
AC/DC are an Australian rock band formed in Sydney in 1973 by Scottish-born brothers Malcolm and Angus Young. Although their music has been variously described as hard rock, blues rock, and heavy metal, the band themselves call it simply "rock and roll"
The Essential One Republic
OneRepublic is an American pop rock band formed in Colorado Springs, Colorado, in 2002. It consists of lead vocalist and multi-instrumentalist Ryan Tedder, guitarist Zach Filkins, guitarist Drew Brown, bassist and cellist Brent Kutzle, drummer Eddie Fisher and keyboardist Brian Willett.
The Essential Shinedown
Shinedown is an American rock band from Jacksonville, Florida, formed by singer Brent Smith in 2001. Shinedown has sold more than ten million records worldwide, and has had the most number one singles on the Billboard Mainstream Rock charts out of any band, with 16.
The Essential Dua Lipa
Dua Lipa is an English singer and songwriter. After working as a model, she signed with Warner Music Group in 2015 and released her self-titled debut album in 2017. The success of the singles helped her self-titled album become one of the most-streamed albums on Spotify.
The Essential Preatures
The Preatures are an Australian band from Sydney. The band was formed in 2010 and features Isabella 'Izzi' Manfredi on vocals/keyboards, Jack Moffitt (guitar), Thomas Champion (bass) and Luke Davison (drums). The band won the Vanda & Young Songwriting Competition with their song Is This How You Feel.
The Essential Maroon 5
Maroon 5 is an American pop rock band from Los Angeles, California. It currently consists of lead vocalist Adam Levine, keyboardist and rhythm guitarist Jesse Carmichael, lead guitarist James Valentine, drummer Matt Flynn, keyboardist PJ Morton and multi-instrumentalist Sam Farrar.
The Essential INXS
INXS were an Australian rock band, formed in 1977 in Sydney. INXS was fronted by Hutchence, whose magnetic stage presence made him the focal point of the band. Initially known for their new wave/pop style, the band later developed a harder pub rock style that included funk and dance elements.
The Essential Beatles
The Beatles were an English rock band formed in Liverpool in 1960. The group, whose best-known line-up comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr, are regarded as the most influential band of all time. The Beatles are the best-selling music act of all time.
The Essential Volbeat
Volbeat are a Danish rock band formed in Copenhagen in 2001. They play a fusion of rock and roll, heavy metal and rockabilly. Their current line-up consists of vocalist and guitarist Michael Poulsen, guitarist Rob Caggiano, drummer Jon Larsen and bassist Kaspar Boye Larsen.
The Essential Chromeo
Chromeo is a Canadian electro-funk duo from Montreal, formed in 2002 by musicians David "Dave 1" Macklovitch and Patrick "P-Thugg" Gemayel. Their sound draws from blue-eyed soul, dance music, rock, synth-pop, disco and funk. As of 2018, the band has released five studio albums.
The Essential Queen
Queen are a British rock band formed in London in 1970. Their classic line-up was Freddie Mercury (lead vocals, piano), Brian May (guitar, vocals), Roger Taylor (drums, vocals) and John Deacon (bass). With estimated record sales ranging from 170 million to 300 million, they are one of the biggest.
The Essential Michael Jackson
Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American singer, songwriter, and dancer. Dubbed the "King of Pop", he is regarded as one of the most significant cultural figures of the 20th century.
The Essential Brian Setzer
Brian Robert Setzer (born April 10, 1959) is an American guitarist, singer, and songwriter. He found widespread success in the early 1980s with the 1950s-style rockabilly group Stray Cats, and revitalized his career in the early 1990s with his swing revival band, the Brian Setzer Orchestra.
The Essential Florida Georgia Line
Florida Georgia Line are an American country music duo consisting of vocalists Tyler Hubbard and Brian Kelley. Their 2012 debut single "Cruise" broke two major sales records: it was downloaded over seven million times, making it the first country song ever to receive the Diamond certification.
The Essential KISS
Kiss is an American rock band formed in New York City in January 1973 by Paul Stanley, Gene Simmons, Peter Criss, and Ace Frehley. Well known for its members' face paint and stage outfits, the group rose to prominence in the mid-to-late 1970s with its elaborate live performances.
The Essential Sheppard
Sheppard is an Australian indie pop band from Brisbane, formed in 2009. At the 2014 ARIA's ceremony, they were nominated for Album of the Year, Best Group, Best Independent Release, Best Pop Release, Song of the Year, Producer of the Year, and Best Video.
The Essential Matchbox 20
Matchbox Twenty is an American rock band, formed in Orlando, Florida, in 1995. The group currently consists of Rob Thomas (lead vocals, guitar, keyboards), Brian Yale (bass guitar), Paul Doucette (drums, rhythm guitar, backing vocals), and Kyle Cook (lead guitar, vocals).
The Essential Coldplay
Coldplay are a British rock band that were formed in London in 1996 consisting of vocalist and pianist Chris Martin, guitarist Jonny Buckland, bassist Guy Berryman, and drummer Will Champion. Coldplay have sold more than 100 million records worldwide, making them one of the world's best-selling.
The Essential Daughtry
Daughtry is an American rock band formed and fronted by namesake Chris Daughtry, who was a finalist on the fifth season of American Idol. Their self-titled debut album was released in November 2006 and reached number one on the Billboard 200. To date, Daughtry has sold over 9 million albums.
The Essential Black Eyed Peas
The Black Eyed Peas are an American musical group, consisting of rappers will.i.am*, apl.de.ap, Taboo, J. Rey Soul and singer Fergie. Originally an alternative hip hop group, they subsequently refashioned themselves as a more marketable pop-rap act and have become best-selling artists.*

Here are some excerpts from an interesting interview with magician Steve Brooks. Steve has a lot of valuable insights about magic to share, based on his own experience and involvement in this performing art. He's even in the process of writing a couple of books about magic theory, which is in itself a testimony to his ability to be a creative thinker.
When did you first get interested in magic, and what got you started?
I’ve been studying and performing magic since I was about nine years old or so. I saw a magician on television doing something and asked my mother, "How did he do that?" She said, "He’s a magician. I don’t know." That kind of piqued my interest.
When I was maybe nine or ten, my grandmother took me to see Harry Blackstone Jr., to see a show somewhere in Los Angeles. And Harry did all the stuff he was doing, like the big Buzz Saw Illusion and the Floating Light Bulb, and birds, and more. All this was more than a little nine or ten year old could take at the time, and I just had to know how this stuff works. I wasn’t content thinking, "Well, he’s a magician and it’s secret and you can’t know."
So when the show was over I broke away from my grandmother’s hand in the crowd and decided I would go back stage so I could see how this stuff worked - because if he could do it, maybe so could I. So I crawled under the curtain and got backstage and I was touching and checking out the Buzz Saw Illusion. And I hear this really deep voice, "Can I help you young man?" And I turned around, and it was Harry Blackstone Jr. - who stood like a mountain to a little boy! I was totally scared, because I knew I wasn’t supposed to be back there.
And he kind of knelt down on one knee and he pulled a little red ball (in hindsight I’m sure it was a billiard ball). He just threw it up in the air and it vanished, and he said, "When you can do that, come back and see me and I’ll show you how to do the good stuff." Then he took me by my hand and helped me find my grandmother.
How did you continue to learn magic after first meeting Harry Blackstone Jr?
After I first saw Harry Blackstone in person, a couple of years later or so, I saw a magician on television, Marshall Brodien who was selling his TV magic cards and TV miracle cards and TV mystery cards. And I saved up my pennies and I went to my local Thrifty drug store and I purchased those.
When you got those decks, inside with the instructions would be a little folded catalog, and you could buy more magic tricks by mail. Back then, I didn’t know there was such a thing as a magic shop. So I started ordering tricks, e.g. Fun Incorporated items under the Royal Magic brand. You know, classics like the Ball and Vase, Drawer Box, Crazy Cube, Pentro Penny, etc. As the years went by, I would continue to save up my money and buy even more magic tricks, books, etc.
I also had a neighbor who was in the Boy Scouts and I would borrow his Boys Life magazines and look in the back and they’d have all these ads for magic shops. So I’d send off my quarters or dimes off and get all their catalogs, and look through all the amazing things I might get. So I grew up doing magic.
Did you ever meet Harry Blackstone Jr again?
Around 40 years later, probably in the early 2000s or the late 1990s. Harry Blackstone was doing a show here in Northern California, and I saw him do his show at Chico State University. After the show he and Gay Blackstone came out, selling little magic sets for kids. I was prepared this time, because I had brought a billiard ball and I told Harry the story. I threw the ball up in the air and vanished it, and he started crying. It was a very emotional moment. He had tears coming down his eyes and he says, "I’ll be right back." And he disappears.
He comes back and he brought me a bunch of stuff, including this huge photograph which I still have. I said, "Because you were kind to a little boy who was someplace he shouldn’t have been, that turned out to be pretty much what I’ve done all my life." So it kind of came full circle, I guess.
What should be the goal of a performing magician?
What we’re really here for as magicians is to create that wonder, so that people can say: "For five minutes I can forget about my pain. Maybe I’m losing my house, or my daughter’s pregnant, or I’m going through a divorce, or my father just passed away. But for five lousy minutes, I don’t have to think about that stuff." For a short time I don’t have to think about all the drama and all the craziness. Right now with the coronavirus and everybody panicking and dying, people need laughter, entertainment, and magicians. They need something positive in their lives.
And this is why if you go back and look at the late 1920s and 30s and 40s when you had the Depression and Prohibition and a war going on, Vaudeville was so popular. This is why we needed the Marx brothers and Abbott and Costello and Laurel and Hardy, and we needed the Slapstick and we made fun of things. Back when folks understood what humor was – you know, a joke? A story with a humorous climax. Back before everyone became afraid they might offend someone.
Magicians take you away from pain and make up something wonderful. This is something that we need to keep in mind. Why are you doing magic? Are you trying to impress yourself or are you doing it for your audience? And are they just spectators or are they participants in the moment?
I remember a conversation with Eugene Burger, and I asked him, "Eugene, when you go to perform, whether it’s for one person, two people, a room full or a whole auditorium, whether it’s magicians or it’s lay people, what is your number one goal?" And he looked at me without blinking an eye and said, "To fool them." And I said, "Really?" And he looked at me and said, "Why, what is it you do?" And I said, "To entertain them." If I fool them, that’s great. That’s icing on the cake. But honestly, I’ll take a pie in the face if it makes somebody laugh, if it makes them giggle, if it makes them just have fun.
How should this impact how we approach our audience when performing magic?
I’m actually writing a couple books on magic theory. We need to look at whatever we do - and especially magic - and concentrate on making them have fun.
If your audience likes you, they’re going to stop being confrontational. Every magician I know, at some point during their career or in doing magic, has had this experience: The audience has folded arms and is rolling their eyes backward, saying, "Okay, Mr. Magic Man, fool me, do your trick." You have to turn that moment around because you can’t sit there and fight your audience. And as long as they are there to fight you and confront you, there’s a problem.
We all build this little wall around us, and we don’t allow people into our personal space. In order to connect with your audience, you can’t bust through their wall. Instead you have to let them open the door for you. And once they open the door and allow you into that personal space, now you have an opportunity. Now you can tell a stupid joke and they’re still going to laugh because they like you. And if they like you, they’re having fun and they’re enjoying the moment rather than trying to deconstruct the moment.
This is all about how we approach them. I don’t think you have to be the greatest magician in the world to have your audience walk away thinking "That person was awesome!" If they had a good time and they enjoyed themselves, they’ll remember you.
How important is sleight of hand compared with entertaining?
I know guys that are some of the best "mechanics", you might call them, with cards and such in the world. But some of those guys couldn’t entertain themselves out of a wet paper sack. They can do all these great moves, but when they get in front of an audience, they freeze, or they’re boring. You’d rather watch grass grow than to watch them perform.
For example, if you’re in front of some people and you throw a ball up in the air and it vanishes, they don’t know how you did it. And whether you did it by fantastic misdirection and sleight of hand or whether you use some gizmo is irrelevant to them because all the audience saw was the ball vanish. And that’s what’s important, that moment: the ball vanished.
You have a couple of different schools of thought on this. Some magicians say, "If it’s not done with sleight of hand, then you’re not really a magician." Others say, "If you can use a gaff card and make the trick work, that’s what I’m going to do." It’s like comparing Vernon and Larry Jennings, and how they would sit together at the Magic Castle and somebody would come up with a problem to solve. There are different ways of achieving something, and which one you choose doesn’t matter. So find the things that work for you. Not everybody has great dexterity. That’s okay.
Is it essential to be a good performer in order to be involved in magic?
Not everybody in magic needs to be a performer. There can be people that just collect props, or they collect posters, or books or whatever they collect. Or they are historians.
Just because you don’t go out and perform for audiences doesn’t mean anything. You still can be in magic. You can still hang out with your magic buddies. You can still enjoy everything that is magic. You don’t have to necessarily be a professional magician.
How important is hard work in order to be successful in magic?
There are seminars about how to get rid of a bad habit, or how to create a good habit. Let’s say I want to create a habit like getting more work done in my office. I’m going to condition myself to go to work one hour earlier every day so that I can get more work done. If you do that, after about a month or so, you’ll just keep going in an hour earlier.
Or if you want to spend time writing a book, but your life is a mess. You start off by saying, "I’m going to start at least once a week, on Tuesdays. Every Tuesday I’m going to devote two hours to writing my book." At first it will be tough. You may not even make it every Tuesday. But if you keep doing it, after a couple of months, you will do it and you might even spend more than two hours. In fact, it’ll get to the point where you don’t feel right unless you do sit down and write something on your book.
You can apply that to magic. I want to learn a new trick but it’s really hard, and it’s got a lot of difficult moves. So you start practicing and you put yourself in a habit of practicing.
What can we learn about hard work from performers who have been successful in magic?
People that make it in business, or people who make it in magic - whether it’s Penn and Teller, David Copperfield, Siegfried and Roy, David Blaine, Criss Angel, Mac King, any of them - they didn’t get there because they didn’t work at it.
Somebody could say, "Well, they got lucky." Did they now? Maybe the harder the work you do, the luckier you might get, and you place yourself into situations to have the opportunity to be lucky and meet somebody. But you don’t do it by sitting playing video games on Xbox or reading BS on Facebook You do it by actually going out, and because you give something else up.
So you say: "So I want to be the next Criss Angel." So what are you willing to give up? What does Criss give up? I’ll tell you what he gives up. For years he gave up hanging out with all his buddies. He gave up chasing girls everywhere, and going to the parties. He gave up tons of stuff. Why? Because he was too busy trying to be successful.
You need to ask yourself: "How am I going to learn this? How am I going to get into this position? How am I going to meet the right people that will open doors for me to get over here?" I’m not going to do it sitting at home. So you take chances. You invest money that you might lose. You invest time that you may not get back and you try things and you fail at them and then you say to yourself, well that was a mistake, so I’m going to do it different next time, but I’m not going to give up.
Does this change once you achieve a successful career in magic?
You can say "Somebody in Vegas that makes $20 million a year has got it made." Really? So are you willing to do what they do? That $20 million contract is also wrapped in golden chains. Because it means I can’t go anywhere. I’ve got to do two shows at night, whether I feel like it or not.
And I have got to go and hang upside down off the stage whether I feel like it or not, and get in that tank of water and do this trick again and again in front of my audience and smile and be happy whether I feel happy or not. Maybe I just got in a fight with my mom or my brother or whatever, but I still have to be there. It’s seven o’clock, and I’ve got to do my show. I’ve got all this money, but I don’t have any time to really enjoy it. Because most of my time is at my showroom or at the casino I work at.
And who are really my friends? The people that just want to hang out with me because I’m famous? Do I have real friends, somebody that I can talk to and they’ll just tell me the truth because they don’t want anything from me?
Why is magic so much harder in real life than when a famous magician does it on TV?
I’ve seen this on the Magic Café. Some person will attempt to do a trick, and say: "I saw David Blaine do this great trick, but I tried to do it, and this homeless guy threw a beer bottle at me."
When somebody like David Blaine or Criss Angel or anybody else is going to do magic on the street, they have a bunch of advantages you don’t have. They’ve got a crew of camera people and grip holders and light people and sound people with them and they walk up and they get to know the guy. They find a guy that is receptive to this. So now we’re going to run the cameras and I’m going to do four or five tricks. And finally we’ll do the trick that we want to show on TV. But by the time we edit the episodes, we don’t have time to show you us getting to know him. We just walk up, do the trick and it’s done. That’s the way it works.
In real life you can’t always do that. It’s tough. You watch videos of how to learn magic and then it looks great on a video. Someone like Michael Ammar or somebody else who knows what he’s doing, and everything just works great. But when you do it, that lady grabbed the deck out of my hand, or that kid ran off with my scotch and soda coins. Yep, that’s the real world.
How important is it to get experience when performing magic?
That’s the thing that’s missing from these videos. It’s not that the videos aren’t good. It’s not that the books are not good. They are good. But they don’t teach you the experience.
Say somebody wants to be a doctor. So they go to medical school for eight or nine or 10 years or whatever, and they come out and they know all the technical stuff. They know all about chemistry and how the body works and what these tools do. But when they start working with real people things don’t always happen the way the book says it might happen. So experience, experience.
I worked restaurants for years, and behind bars alongside bartenders. Some of the toughest magic to do is working beyond a bar because why? Because you’ve got alcohol involved. Alcohol plus humans often equals disaster. People will do things when they’re drunk that they wouldn’t do otherwise. And they’re not paying attention all the time.
So books can get into how to do the moves, and tell you how you might want to dress. But they can’t give you experience. You’re going to have to go up there and fail. You need to fail. You need to get busted a few times. And any magician who says "I’ve never been busted" I say: "bs. Yes, you have. Quit lying. Yes you have."
So learn from that and always be a step ahead of your audience. Always have an out in the back of your mind and say "What happens if this fails on me?" You must be able to adapt. Or do you just say "Oh sorry, it didn’t work." That’s really not a good out. You need to be able to take a bad situation and make it into a good situation.
What has experience taught you about dealing with hecklers?
It teaches you how to deal with a rowdy spectator. For many years it was said that there’s no bad audiences, only bad magicians. I call bs on that. There could absolutely be a bad audience. You could like do a show thousands of times and it’s awesome. But then get an audience and it’s just a train wreck. You can have unruly spectators and people who basically aren’t there to have a good time.
You’ve got to understand another thing about magic: some people don’t like it. It’s a psychological thing. If they’re sitting in a seat watching a magic show, somewhere in the back of their mind, they feel that if they get amazed and fooled by this, they must be an idiot, and everyone’s going to laugh at them. It’s almost as if they think the rest of the theater is too smart for this and they would be the only ones getting fooled by it. So they have to be the heckler, the rowdy guy, or the person who knows everything.
When I was younger and did kids’ shows, I learned a couple of little tricks for dealing with kids. Kids can really be a problem. I would set up all my stuff and stand by the doorway and watch the kids for the first two or three rows. Sure enough, there’d always be some kid who is slugging other kids in the arm and pulling people’s hair. That kid’s going to be my problem, so I’m going to deal with that right now.
So you walk up and say: "What’s your name? Come here." And you take him out in the hall and say "Listen, I’m going to be doing this show and I got a couple of tricks which I’m going to need your help. Can you keep a secret?" And you get the kid involved somehow. You make him feel special. You make him feel wanted because a bully at school is a bully at school because he’s being bullied at home where he feels like he has no power. So give him some power in your show and guess what? He’s not slugging kids in the arm, shouting things at the magician, or grabbing things, because he’s part of the show now. So it’s a pre-emptive strike.
What insights about magic have you gained from your passion for science fiction?
I like things like Star Trek and Star Wars and BattleStar Galactica, Stargate SG-1. You could make a movie and put billions of dollars into it and have the greatest special effects. But if it doesn’t have good characters that you care about, it’s not a good story. A series like the Lord of the Rings by Tolkien is good because it has good characters. Similarly Star Trek has always been good - not because of the cool space ships or the battles – but because of the relationship of the characters, and their ethics and ideas of morality. That’s what creates good stories.
That also applies to magic. Magic is more than just making something appear or disappear and standing up there saying, "See how wonderful I am. Aren’t you impressed?" Good magic is about how you can touch your audience on an emotional level.
That’s why I love close-up magic. Most people have never experienced magic in person. They see it on television and they might be impressed with it, but they’re thinking in the back of their heads, "Those people were in on it", or "It was a camera trick." But when you borrow somebody’s finger ring that their mother gave them as a gift and you do something wonderful with it, there’s this emotional connection because, "Hey, that’s my ring," or "That ring belonged to my grandmother. That’s not a camera trick, that was real. I saw it."
Conclusion
I hope you enjoyed hearing from Steve Brooks and reading his insights and observations as much as I did. He certainly has some real wisdom to share. There's a wealth of knowledge we can gain from interacting with fellow hobbyists, whether they be playing card collectors or magicians. So thank you Steve for doing this interview and for sharing your perspectives on magic!
Author's note: I first published this article at PlayingCardDecks here.

Preface

The Weeknd is a soul, R&B, and Pop artist from Toronto, Canada. He originally got his start by anonymously uploading music to YouTube.
For the last few albums, The Weekend has been doing a series of character progressions, where with each album (loosely), he transforms into a new character, taking place of his previous character. Sometimes violently (in one transition, he metaphorically kills his other self so that he can move on into his new image).
These videos touch on themes of fame, soullessness, drugs and alcohol abuse, murder, corruption, and obsessions with plastic surgery. I can't begin to describe the depth of thought and effort that went into these videos, The Weeknd's character, and the music he produced and sang. He is truly one of the greatest artists of this era.
 
Each main canonical video has a lot of references to popular or "cult" films, such as:
 
"Heartless" and "Blinding Lights"

• Casino
• Fear and Loathing in Las Vegas

"In Your Eyes"

• The Terminator
• Psycho
• Leatherface

"Save Your Tears"

• JokeThe King of Comedy
• The Dark Knight
• Eyes Wide Shut

"Too Late"

• Frankenstein
• American Psycho

Below I will list the title and description of each video. There are a few videos that are more of an aside (even though they're canonical) and don't really flesh out The Weeknd's main After Hours character, but I still like them.
Note: I highly recommend listening with earbuds or a nice set of speakers. The music is beyond great and there are sounds from the videos that can't often be heard or appreciated on regular laptop speakers.
 
 

Snowchild (animated - aside)

This is what I would call the "prequel" or interlude to his story. This is about The Weeknd growing up in Toronto, facing hardships having parents who migrated from Ethiopia, finding success, and ultimately telling himself that he's leaving for California. At the end of the video, his former self arrives at a casino in LA and sees what would be the character we transition into the next video.
I'd recommend skipping this video and maybe coming back to it, if you like. I really like the song, so I've watched this video about 5 times now.
https://www.youtube.com/watch?v=G0JKdFjWkLA
 

Heartless

At first I wasn't really into the style of the music on this song, but the choreography and style of the video had me hooked instantly. I was drawn into this character and couldn't get enough of the style of the video. (For what it's worth, I now love this song)
https://www.youtube.com/watch?v=1DpH-icPpl0
 

Blinding Lights

I'm pretty sure you've heard this song. When "After Hours" was released early in 2020, this song was on the top of the charts for a really long time. Very 80s synth pop. Well produced (much like a lot of his songs).
https://www.youtube.com/watch?v=4NRXx6U8ABQ
 

Until I Bleed Out (aside)

You can skip this video. The Weeknd's character is "coming down" from his all-night bender from the previous 2 videos. He's in a ballroom having a bad trip. There's not really much going on, story-wise, but I did appreciate it.
https://www.youtube.com/watch?v=i58MNnk6BhY
 

Blinding Lights (Live on Jimmy Kimmel) (aside)

The Weeknd performs "Blinding Lights" on Jimmy Kimmel. The production on the set is amazing. The entire video is done in one take, I think. The end of this video goes straight into the next video, which is a short film called "After Hours"
https://www.youtube.com/watch?v=VJYpyC1SNPc
 

After Hours (short film)

This video begins where the "Live on Jimmy Kimmel" video left off, where The Weeknd leaves the set of the show. The music in the background is the titular song of the album. Near the end of the video, when the people get into the elevator, I'd recommend turning up the volume, as there are subtle sounds in the background.
https://www.youtube.com/watch?v=oq9AgxHvGjw
 

In Your Eyes

Now we're getting into some really fun stuff. My kind of stuff. This video has a lot of references to "thrillekiller" movies, like Psycho, Terminator, and Leatherface. There's only a teeny tiny bit of gore. You'll probably not even notice it.
https://www.youtube.com/watch?v=dqRZDebPIGs
 

Too Late

This video continues our character's saga (even though I didn't think could've been done given what happened in "In Your Eyes") by being picked up by a couple of "hot chicks" in Hollywood. This might be the darkest of the video set, as there is a bit of gore, but it's not on screen for very long, and there are some very dark themes.
https://www.youtube.com/watch?v=Wh8DT09QCHI
 

American Music Association 2020 Performance: "In Your Eyes" / "Save Your Tears" (aside)

This is a live performance done in one take that spans almost the entire length of a bridge in Los Angeles, choreographed with timed fireworks. The Weeknd's face has now been altered by the women in the last video. It's a very fun performance and even though it's an aside, I highly recommend watching this one.
https://www.youtube.com/watch?v=f-g_SHNv5NI
 

Save Your Tears

The final video in the series. No description, as I want you to see this video without any expectations. Enjoy.
https://www.youtube.com/watch?v=XXYlFuWEuKI
 
Special shout-out to my girlfriend who turned me onto The Weeknd recently!

Not necessarily insightful into his motive, but I felt it was interesting nonetheless.

• During the riots in Los Angeles in the 1990s, he went to the roof of his property buildings with a rifle and a flak jacket, waiting for rioters
  
• Stephen was raised believing his father was dead. It was until he was in his 20s when his mother revealed to him that we was alive and living in Oregon. It is unclear if Stephen had any contact with him.
  
• Stephen was a described as a “math genius” and “chess prodigy” by former classmates.
  
• Despite being divorced since 1990, Stephen would manage properties with his ex-wife Peggy until he sold all of his properties in 2015.
  
• Bruce Paddock, Stephen’s younger brother, recalls Steve physically abusing him as a child. They hadn’t seen each other in 37 years before the massacre
  
• Bruce also stated that he disciplined his siblings more often than their mother did. He is quoted as saying “Loss of ability to control everything because he was always the controlling brother, seven years older than us, raised us, took care of us," Paddock said. "[Stephen] was the father and he was mom’s best choice. He had the bright red Volkswagen all the neighbors wanted, always in school."
  
• Stephen enjoyed staring at people to make them uncomfortable. He would often do this to other people at casinos, although it is not clear if this was to “assert dominance” or because he found it humorous. Eric, his younger brother, recalled a story in an interview where a man had taken their seat at a Rolling Stones concert in 1971, and Steve stood over him and stared at him for several minutes until the man left.
  

What really happened to Mitrice Richardson the night she disappeared?
In the early morning hours of September 17th, 2009, a beautiful young woman named Mitrice Richardson was released into the night from police custody without a phone, or any way to get home. Her body was found almost a year later. The mysterious circumstances surrounding her death remain unsolved.
On the evening of September 16, 2009, The Los Angeles County Sheriff’s Department from the Malibu/Lost Hills Station received a call from the affluent, upscale restaurant of Geoffrey’s, with the employees of the establishment claiming a woman was acting erratically, bizarre, and was refusing to pay her bill.
Beginning otherwise as a typical Southern Los Angeles Wednesday afternoon, 24-year-old Mitrice Richardson graduate of Cal State Fullerton, who normally had dinner with her great grandmother on Wednesdays, decides to switch course. Feeling compelled to embrace the cool breeze of the ocean on her skin, she heads to Malibu and begins her 40-mile trek along the Pacific Coast highway.
As Mitrice ventures into the outskirts of Malibu, just as the sun begins to set, she is captivated by the luminescent beams of lights beating off the golden sign of Geoffrey’s and makes the decision to pull into the restaurant, a pivotal decision that would change the lives of many as they knew it.
Mitrice pulls into the parking lot of Geoffrey’s and is greeted by the Valet. He quickly lets her know it is valet parking only and rushes off to park another guest’s vehicle. When he returns he finds Mitrice no longer in her vehicle, but in his vehicle rummaging through his CDs and speaking in broken sentences. Startled and frazzled the Valet asks what Mitrice is doing in his vehicle and she responds “I’m here to avenge Michael Jackson's death”. The Valet removes Mitrice from his vehicle and ushers her in the direction of the restaurant.
The unusual behavior of Mitrice doesn’t end there. Mitrice orders a $65 steak and cocktail and notices a lively bunch enjoying their meal a few tables over, with a smile never leaving her face, she asks to join them. The group is intrigued by Mitrice’s abnormal behavior but welcomes her to their table. Mitrice goes on to talk about how she is from Mars, her mother was mother earth, and the ocean was calling her. Once the group settles their bill and exits the restaurant, Mitrice attempts to follow but is stopped by the manager as she has did not pay for her bill. Not appearing hostile or angry, the manager asks if there is anyone they can call to pay the bill for her after she claimed she didn't have any money.
At approximately 9:30 pm, 91-year-old Mildred Harris, Mitrice’s great-grandmother, receives a phone call from Geoffrey’s. She attempts to give her credit card information over the phone to settle the bill, but they could not accept it without a signature. With no way to pay her bill, the employees of Geoffrey’s contacted the Los Angeles County Sheriff’s Department about Mitrice.
60 miles away in Eastern Los Angeles, Mitrice’s mother, Latice, is made aware of the unusual situation occurring at that very moment. She calls Geoffrey’s directly and finds out Mitrice has just been taken into custody by the officers. They go on to tell her about the behavior Mitrice had displayed, and that Mitrice’s vehicle was about to towed to a location very close to the restaurant, but far from the Lost Hills Station where the police had taken Mitrice. Feeling helpless, and unsure what to do, Latice calls the Lost Hills station and confirms with the deputy a woman is en route to the station from Geoffrey’s. Unable to pick up her daughter from the station, Latice is worried about Mitrice’s well-being and doesn’t want her released in the middle of the night without a phone or vehicle. The Deputy assures Latice that she will be contacted once Mitrice arrives at the station, but that call never came.
As soon as Latice wakes up the following morning she calls the Lost Hills station hoping to figure out how to get Mitrice home. She is told that Mitrice was released 5 hours earlier at about 12:30 am. They claimed they had no reason to hold her because she had no criminal record and was not exhibiting signs of mental incapacitation, despite her unusual behavior. Mitrice was released into the dark gloomy night without any form of communication, transportation, or assistance from officers. According to Steven Whitmore of the Los Angeles County Sheriff’s Department, officers said, “You can stay here if you wish. You can stay in a cell, but you can stay here, but she declined that offer”.
Panic begins to set in as Latice becomes aware Mitrice has not spoken to anyone since being released from the station, and she realized the moment she had feared the most was here. Immediately sensing something was not right, Latice calls back the Sheriff’s Office and asks how long she would have to wait to file a missing person’s report. The Deputy, seeing Mitrice was released just hours ago, encourages her to wait 24 hours before reporting her missing. With nothing left to do but wait, Latice questions how Mitrice could have possibly been released without a mental evaluation?
At about 6:30 AM that Thursday morning, The Los Angeles Sheriff’s Department receives a call from a Monte Nido community resident, located about 7 miles from the station. The resident, a former news anchor, reported a young, strange woman was in his backyard. When asked if she was okay, she responded that she was just “resting.” Once he called the police, she was gone. It was later confirmed that young woman was Mitrice Richardson by cadaver dogs that were able to catch her scent in his backyard.
But how did Mitrice get 7 miles away without her vehicle?
Monte Nido is a vast landscape of mountains and terrain, a location that would be difficult to navigate for a non-local, especially in the dark hours of the night. According to Mitrice’s family members, Mitrice was known to be afraid of the dark.
On September 18th, Mitrice’s family members gather together to discuss Mitrice's bizarre behavior in the days leading up to her disappearance. They begin to see the warning signs that something with Mitrice was not right. Mitrice had been sending erratic text messages, that did not make sense, almost gibberish. The day before she disappeared she visited her aunt’s house and left business cards from her go-go dancing job scattered everywhere. The strangest occurrence being an unusual note left on Latices husband windshield with “black women scorned” written across it, a smiley face, and had been signed off with a kiss.
In the days before Mitrice disappeared, she was posting unusual things on Facebook, and Myspace. Posting at all hours of the night, investigators were unable to understand when she slept. A psychologist that works with the LAPD assessed Mitrice was exhibiting signs of a mental health condition, possibly bipolar disorder.
During the subsequent investigation, the family of Mitrice is made aware they found money and her wallet inside her car, with officers somehow overlooking it the night she was arrested.
Days pass with unanswered questions, repeated attempts to get Mitrice’s police report are overlooked. Mitrice’s family attempts to access police footage of Mitrice at the station that night, but their request is denied. LAPD cited “they need to follow proper protocol in order to release information to the family,” and they had no footage to even give to Mitrice’s family.
Feeling like their pleas to police were going unanswered. The family of Mitrice hired civil rights lawyer, Leo J. Terrell, who assembles a press conference gathered in front of the Lost Hills Station on Thursday, September 24th, 2009, demanding action of the Police Department. Terrell said at the press conference “If Mitrices name was Spears or Lohan, they would have never let her walkout by herself. They would have escorted her home.”
Months later, as the New year quickly rang in, tensions between Mitrice’s Family and the Los Angeles Police Department continue to grow, a meeting is called between the Sheriff and Captain of Lost Hills. Things quickly take a turn when it comes to light the Police Department did indeed have footage of Mitrice the night she was arrested. They claimed they misunderstood, thinking Mitrice’s family was asking for footage of Mitrice outside the station not a video of Mitrice in the station.
On January 9th, 2010 the Los Angeles County Sheriff’s Department organized one of the largest searches in the history of LAPD. An 18 square mile search in Malibu Canyon with over 300 trained volunteers participating in air and ground searches. Mitrice was still not found.
Just 3 weeks later, and almost 300 miles away in Las Vegas, Mitrice’s Father, Michael Richardson, alerts authorities that he believes he saw his daughter Mitrice in an area known for prostitution on the Las Vegas Strip. Michael called out to Mitrice but lost her in the crowd. Latice firmly believes that wasn’t her daughter and believes she never made it out of Malibu Canyon.
On June 26th, 2010, Latice and her lawyer file 6 lawsuits against the LA County Sheriff’s Department for negligence and wrongful death. Around the same time, there is another sighting of Mitrice, by a high school friend. At around 3 AM, in a Las Vegas casino, he claimed to have seen Mitrice. He called out to her, but the woman appeared nervous and ran off.
On August 9th, 2010 Malibu State Park Rangers are hiking along the area of Dark Canyon, a vastly remote area, just a few miles from where Mitrice was last seen, searching for any illegal marijuana growing in the area. This area is said to be a very difficult place to stumble upon and very hard to get through. Upon their quest, they discover the mummified naked remains of an African American curly haired woman. Ignoring the proper protocol, the woman was airlifted out of Dark Canyon. The woman was later confirmed to be Mitrice Richardson. A ranch known for producing pornography was adjacent to where Mitrice was found, but no connection has been determined.
Multiple residents in the area reported to have heard screams in the area several nights after Mitrice disappeared, but despite this, Mitrice’s death was deemed not to be a homicide, and no foul play occurred. The cause of death was ruled to be undetermined.
What happened to this beautiful, intellectual, talented woman? Why would police let her go in the middle of the night with no phone or vehicle? Why was she acting so strangely? How did Mitrice end up dead in that creek bed? Too many unanswered questions have consumed the Richardson Family. We need to find out what exactly happened to Mitrice Richardson.
More info:
https://www.murdersandcoffee.com/post/what-happened-to-mitrice-richardson
https://www.latimes.com/california/story/2019-09-17/mitrice-richardson-reward-malibu
https://www.nbclosangeles.com/news/local/sheriff-updates-mitrice-richardson-disappearance-decade-late1965858/
https://en.m.wikipedia.org/wiki/Death_of_Mitrice_Richardson
What do y’all think happened to Mitrice? Do you think she succumbed to the elements? Or something sinister occurred to her that night? Share your thoughts!
I also wanna add her clothes were found scattered around her body. It would be unusual for her to undress and try to maneuver through that creek bed.