the posse
friends: how many of us have them?
as the curator of The Music Directory, i’ve formally established myself as a MusicStack community member. yet, a filmless score explores the intersection of music and film, and there’s a flourishing community for cinema enthusiasts known as FilmStack. imagine my excitement when i learned about their community challenge for July regarding sound in film! proposed by Swabreen Bakr, i discovered the challenge via Taylor Lewis’ post “MAGGOT BRAIN: A FilmStack Challenge.” i thought to myself, “wow, that relates to the whole premise of a filmless score!” so naturally, this is my contribution to the challenge.
friendship is a gift, privilege, and honor. if you’ve been blessed by companionship, then you know the type that’s worth keeping in your circle: they’re those righteous ride-or-dies that don’t play ‘bout you and vice versa. they’ve likely seen you through your worst times and may have cursed out a person or two in your defense. they’ll keep you out of trouble, tell you when you’re wrong, and uplift you in rooms you’ve yet to enter. there’s mutual respect and admiration because you celebrate each other’s authenticity.
however, finding people who “get us” during our coming-of-age can be a fickle thing. sometimes, we only relate based on physical proximity. other times, we’re so focused on satiating the group dynamic that we don’t build as solid one-on-one bonds as we had hoped. and when certain people fade away, what commonalities hold the group together?
this next playlist for a filmless score introduces us to the posse, our main characters’ best friends and acquaintances. what would a coming-of-age film be without reliable and redeemable sidekicks? this playlist is for various in-between moments. it’s full of songs for frolicking, daydreaming, and meandering with platonic soulmates. it’s the “getting ready in the mirror” montage before the function; that fateful strut down the sidewalk; the flicker of hope as the camera pans slowly across the party scene. through this playlist, we simultaneously experience the prelude to the main event and the night that never ends.
growing up, my mom always emphasized that not everyone earns the title of “friend”: acquaintance, peer, ally, buddy, pal, or even co-worker might be more appropriate in many instances. for me, usage of the word “friend” is often about the inflection.1 i tend to keep a small circle, so “best friend” is an even rarer term for me to use. this specific conversation has come up numerous times in popular music. with their 1984 cautionary tale “Friends,” Whodini famously rapped about having discretion with who we deem a friend.
“With friends like that, you don’t need enemies”2
i’m also thinking about TLC’s “What About Your Friends.” even though this song is not featured on the playlist, i can’t help but think of how relevant the chorus is to this conversation:
“What about your friends?
Will they stand their ground?
Will they let you down again?
What about your friends?
Are they gonna be low down?
Will they ever be around
Or will they turn their backs on you?”3
these reflections on group dynamics prompted two thought forms related to music and film. for the former, let’s discuss the merits of the posse cut. for the latter, we’ll define the concept of the ensemble cast and see whether a filmless score will fit that mold. before i break down more of the playlist’s featured songs, we’ll check in with our resident film buffs (Chris, Dan, and Regina) to get their takes on the proposed subject matter.
posse cuts
Matthew Ismael Ruiz neatly defined the posse cut concept in a 2016 Pitchfork article:
“A posse cut typically features four or more MCs rapping over a beat with plenty of negative space (leaving room for creative lyrical embellishment), and a short or non-existent hook.”
this music format goes back to the early days of hip-hop, and Ruiz further elaborated on its evolution. “While the posse cut originated as a platform for showcasing the talents of a single group, crew, or label, the “posse” took on a more loose association in the ’90s, with many forming for the sole purpose of creating all-star promotional vehicles,” he wrote. think of a recorded freestyle cypher or Busta Rhymes’ “Touch It” remix with all of its different iterations.
nearly a year after the inaugural interviews, i checked in with the resident film buffs about their favorite posse cuts. my brother Chris chose “Crew” by Goldlink ft. Brent Faiyaz and Shy Glizzy. “It’s one of those songs that’s been song of the summer for almost the past ten years, and it’ll be song of the summer for the next ten years for a reason,” he shared with me via a voice note. Chris further described “Crew” as a GRWM song or something you’d want to play as you confidently enter a club, and i wholeheartedly agree. although the song is comprised of just three artists, i think the distinct energy of each feature and the song name itself both match the essence of a posse cut.
Regina selected the So So Def “Oh I Think They Like Me” remix, where Dem Franchize Boyz teamed up with Jermaine Dupri, Da Brat, and Bow Wow. when the song came out, Regina was in high school, so there are good memories attached to it. “2006 was insane with rap,” they reminisced during a FaceTime conversation. Regina also noted the track’s fun nature and how “everyone was on their A-Game.”
meanwhile, Dan took us back to the rap collective energy of the 2010s. he picked Odd Future’s 10-minute gem “Oldie” and Pro Era’s equally long cypher “Third Eye Sh*t” (formerly “Suspect”).4 “Not only is “Oldie” the debut visual of Odd Future coming together, it was also the return of Earl [Sweatshirt],” he said over an Instagram chat. (who remembers the Free Earl “movement” that emerged after his parents sent him to boarding school??5)
Dan poignantly spoke to the momentum of Earl’s resurgence and how that tied into the rising youth culture. “[Earl] leaving the country to come back, to debut as Odd Future is going on tour for the first time, as well as debuting Loiter Squad on Adult Swim, is a priceless moment in hip-hop, street art, and youth culture. I might have played “Suspect” more, but lord knows when “Oldie” came on the first time, and for the year that it existed afterwards, it was a perfect song,” he mused. personally, i always appreciated how they rapped each other’s verses in the rambunctious video.
“Bumping oldies off my cellular phone”6
with the aforementioned picks in mind, i’m gonna add two more tracks to the rotation. first up is “Scenario” by A Tribe Called Quest ft. Leaders of the New School. my love for ATCQ is well-documented, and the energy of this posse cut is so raw and in your face. plus, the star-studded video with all its cameos is a great time capsule of the early 1990s.
with respect to the outlines of the FilmStack challenge, i’m also including the aughties-era cover of Labelle’s “Lady Marmalade” that features Christina Aguilera, Lil’ Kim, Mya, and P!nk. the 2001 song appeared in Baz Luhrmann’s Moulin Rouge!, which is set at the turn of the 20th century. i’ve mentioned my fondness for anachronistic soundtracks in earlier installments of a filmless score. although there’s only one rapper in the mix, the way they trade off verses fits the definition of a posse cut in my mind.
ensemble casts/films
next, let’s explore the definition of an ensemble cast, courtesy of a blog post from StudioBinder:
“An ensemble cast refers to a group of actors who play significant, nearly equal roles in a narrative. In this narrative structure, there is no clear single protagonist or antagonist. Unlike traditional storytelling, where a central character drives the plot, the ensemble cast approach allows for a more nuanced and multifaceted exploration of different perspectives and character developments.”
considering this, i also asked the film buffs about their favorite ensemble films. Chris chose 1996’s witchy cult classic The Craft. “Individually, the characters all have their own style and personality, but together they’re this impossible, intimidating force that you are afraid of. You want to move out of the way, but also as they walk down the hall, you can’t help but stare at them,” he explained.
Regina decided on The Master, starring Joaquin Phoenix and the late great Philip Seymour Hoffman. “It just makes me stare at the wall for 20 minutes after it’s over because it’s that intense,” they said.
Dan already spoke about one ensemble film in the introduction to this series when he discussed his feelings on The Wackness. when i followed up to ask about his favorite ensemble movie, he said, “it might be The Blackening.”
“[It’s] a pretty wonderful movie because every character is fully realized. Everything about that movie is about giving every member of that cast a moment to shine in their own way. It’s also just wonderful because they’re all Black. I think there were a lot of Black ensemble movies that I grew up with where people became caricatures and they kind of led to the current state of Black cinema we deal with today. But I think The Blackening actually undoes a lot of that.”
i don’t know if i have a singular favorite ensemble film, but Eve’s Bayou ranks highly among them. the 1997 Southern Gothic film stars Jurnee Smollett, Samuel L. Jackson, Lynn Whitfield, Meagan Good, and Debbi Morgan, among many other Black Hollywood standouts. even though Smollett’s character serves as the narrator, the development of each character and the caliber of skillful acting is consistently matched throughout the movie’s run.
so far, the working plot of a filmless score does not yield an ensemble film. still, i found it important to mention the cinematic format here because the surrounding characters are lifelines to the main ones. each main character (the femme next door and the bad boy love interest) has a small crew of friends. we may not experience the supporting characters’ storylines as robustly, but they still matter. the subtext is: “ain’t nobody fresher than my mf’n clique!”7
through the posse, the observer sees the dance breaks, the shared meals, and the montages for turning up the radio before belting at the top of one’s lungs. we witness the hubris required for overindulgence and the sobering reality of the hangover. i’m thinking of lazy weekends, hazy smoke sessions, elaborate outings, and intricate hijinks. it’s worth noting that a lot of the videos for songs on the playlist feature motifs we’ve discussed before: subtitles, callbacks to earlier forms of technology, screens within screens, etc.
the posse has 40 songs, so i won’t annotate them all here. instead, we’ll explore the playlist through the lens of prospective settings, scenes, and montages where these songs might be heard.
playlist annotations
GRWM (get ready with me)
the playlist opens with “Friend Crush” by Friends, where the chorus encapsulates the formation of the posse and their subsequent reliance on each other.
“I wanna be your friend
I wanna ask your advice on a weekday
I wanna plan something nice for the weekend”8
meanwhile, the video portrays a kaleidoscopic live jam session where singer Samantha Urbani canoodles with friends amidst a 2010s-appropriate amount of glitter. when the video ends, it seems that those moments might have been a figment of Urbani’s imagination as she reclines in bed with a journal in hand and tarot cards on the mattress. i could see the femme next door daydreaming in a similar fashion before calling up her friends to get dolled up before a night out on the town.
when it’s time to pick up the phone, Helado Negro’s “Come Be Me” might play briefly in the background. in the video, the artist sings during various phone calls from unconventional settings. he cheeses while holding a rotary phone, as if the person on the other line can hear the smile. i imagine our main character silently dancing and giddily cheering when their friends agree to pull up, despite knowing they can’t see the pantomiming.
once the friends arrive, “Tune” by Emmavie ft. DTSOUL & Skripture plays. the video for this song could not be more ideal for the GRWM moment. various women luxuriate in their respective settings, with scenes of showering, pole dancing, brushing hair, and sipping wine. Emmavie sings in the mirror and on a digital streaming display that shows the song ID.9 this video ties in with the camcorder motif that was heavily discussed in the femme next door and bad boy love interest song explorations. each member of the posse likely imagines who they’d want to serenade with this song.
elsewhere, i think we would hear “Diamond in da Ruff” by Matt Martians as the bad boy love interest is tidying up facial hair, picking out clothes, and liberally spraying cologne. he can only imagine what this night will lead to, but he’s hopeful that it’s something good. also, Matt Martians is an established master of the two-part song; this is symbolic because we might be presented with simultaneous glimpses of both crews getting ready as the song transitions.
the last song i’ll discuss in this category is Olivia Dean’s “Ladies Room.” i think this high-energy song would be at home in many of the subsequent moments i’ll discuss, but i’ll include it here because it’s the perfect track for getting over someone. also, the horn solo is a vibe, and the background chatter is akin to that of Marvin Gaye’s “Got to Give it Up.” when any of the friends are going through a breakup, count on their posse to rally around and attempt to cheer them up. i could see the characters trying on various outfits and glamming up while dancing to this groove. someone’s in the vanity applying lipstick, while another person is painting their nails in a robe and curlers.
animated affairs
a filmless score is envisioned as a live-action story, yet i couldn’t help but notice how many songs on the featured playlist have animated visuals. these songs would soundtrack the moments when our characters try to bypass reality through substances, maladaptive daydreaming, or other means.
the video for Brainstory’s “XFaded” features caricatures of the band members walking into a party “off of a few cups and puffs.”10 this is how we might find some of our characters at the event of the summer, crossfaded and at risk of hitting the point of no return.
“'Round and 'round and 'round and 'round
I'm spinning, I'm spinning, I'm spinning, I'm spinning”11
“Subways” by The Avalanches is a disco groove to get lost in, perhaps on the way to an event. the subway is usually full of colorful characters, and our cast is no exception. even if this isn’t their preferred mode of transportation, the trippy video and song match the energy of wherever they’re headed.
“Omakase” by Nappy Nina & Swarvy ft. Stas THEE Boss & Maassai recalls the aforementioned discussion on posse cuts and raises it with a video that portrays an impasto effect, featuring animations that look like thick paint protruding from the canvas. yet again, we find our characters skirting past their day-to-day circumstances by flaunting a lifestyle that does not reflect what’s in their bank accounts. it’s less “fake it ‘til you make it” and more “you gotta spend money to make it.”
“Checking my account, checking checks that bound to bounce. Omakase I just ate too expensive for my mouth. But they pay me to pronounce. Taste too tame to feel it out. Claim you ain’t still in doubt, I ain’t easy to denounce.”12
“Home” by Joe Goddard blends the animated with real-life. at the beginning of the video, the protagonist emerges from the club during sunrise. once he gets into a car, the tired character blearily looks out of the window before drifting off to sleep. he dreams in technicolor and imagines a scene where Goddard and other enticing DJs turn up the volume as dancing divas maximize their joint slay. he only jolts awake to sing along. when he finally arrives home, there’s rainbow confetti in his pocket. this song would likely play as the characters (eventually) depart from each other.
dance party montage
simply put, the posse knows how to have a good time. dancing is a recurring theme among the respective friend groups. it’s possible that someone in either crew is a trained dancer, or that the ones who grew up together have an arsenal of dance routines from their youth.
“Dirty Harry” by Gorillaz bridges the gap between animated affairs and the dance party montage, based on how i envision the song being used in a coming-of-age film. i would love to do a synchronized dance routine between the crews. i can see the choreography clearly in my mind’s eye, and i’d love to work with a professional choreographer to refine it! just know that it involves a lot of hand claps. this scene would be equivalent to a fourth wall break.
meanwhile, “Cuff It” by Beyoncé occupies space in the dance party montage that happens while getting ready. i imagine the femme next door lip-synching to this in the mirror as friends handle the ad-libs. when the breakdown happens, they all break out into the viral dance that arose on TikTok during the Renaissance era. Soul Train line, anyone?
“Kaputt” by Destroyer, in all of its 1980s revival glory, needs to be attached to the definition of “indie sleaze.” i have toyed with the idea of setting the narrative of a filmless score in the 2010s, so this video would be a relevant document to study. it’s also just a fun song to play and dance to, which could occupy many other moments i will outline below.
in the video for “Wide Awake” by Parquet Courts, the bandmates dance in coordinated purple suits and Mardi Gras beads (the video is clearly filmed in New Orleans). the title speaks for itself and ties in perfectly with the track below.
“Up All Night” by Sault is about letting loose, and the following lyric lends itself to gentle peer pressure. someone may be reluctant to hit the dance floor (maybe their crush is across the room, so they’re feeling shyer than normal).
“I know you want to. Get outta your head. Why are you so scared?”13
the sing-along
i preceded the sing-along with the mention of Beyoncé’s “Cuff It.” honestly, any song works for a sing-along if most folks know the words. here are other tracks that our characters might sing aloud.
Quadron’s “LFT” is a sensual and upbeat song in which singer Coco O. narrates a night out. i’m placing this song here for the roll call at the end. because of the mention of checking one’s makeup while the friends take a shared bathroom break, i would also put this song in conversation with “Ladies Room.” it’s easy to make new friends when you’re tipsy and/or dazed in the ladies’ room. all you have to do is compliment each other’s blue eyeshadow and funky jumpsuits.
“B*tch Let Go!” is an interlude from Gavin Turek’s album DIVA OF THE PEOPLE. in the 51-second clip, a chorus of voices urges the singer to let go of an ex. during a Reddit AMA forum, Turek said that she would often record voice notes like this to herself when she was heavily dating while working on the album. i imagine a 4-way call with a split screen effect where the femme next door is talking with her closest girlfriends about an ex, and they all chime in to say “B*tch Let GOOOOOOOO!”
feeling like “Justin Bieber” likely means something different in 2025 than it did in 2016. Fortunes. paid homage to the pop star and a few other famous artists by interpolating lyrics from some of their most popular songs.14 they even called out Frank Ocean about his highly anticipated second album (which we would get just a few months after this song was released). “Justin Bieber” falls in the “sing-along” category because music enthusiasts in the posse would be geeking out about connecting all the dots between the artists mentioned, prompting them to play some of those songs and belt out loud.
whenever “My Skin My Logo” plays, friends would take turns being Solange and Gucci, lip-synching in most moments, simply vibing in others. with both Beyoncé and Solange appearing in this section, there might be some familial relation among the posse. the exact configuration is to be determined, but i could envision a set of twins in the mix.
go best friend!
listening to “DYSBF!” (do your sh*t best friend) is a little bittersweet considering the fate of grouptherapy (now known as PARTYOF2). at the same time, maybe this context and the Crime Mob-adjacent energy of the songs signal something about a rivalry that may arise in our developing plot. maybe someone in one of the posses has a crush on a main character, so they are secretly jealous of their love interest.
Mereba’s “Phone Me” was featured in my list of favorite songs from 2025 so far. here’s what i had to say about it, which ties in neatly with its place in the “go best friend!” category.
i appreciate how Mereba loves on her friends out loud with this song and video. it’s a testament to friends becoming family. a beautiful reminder that soulmates are not reserved for romantic relationships only.
“My n*gga, you know you're my sister
Since honey in the swishers
My homie, my homie, just phone me”15
there’s also plenty of footage of milestone celebrations and grand ol’ times in the video, juxtaposed with a current hangout enjoyed by Mereba and her girlfriends (including artists like Arima Ederra, Joyce Wrice, and India Shawn). the photo collages fit in with the idea to explore other media and technology formats on screen through the plot i’m developing.
i also included “My N*gga” by Fly Anakin in the 2025 favorite songs list. with assists from Quelle Chris, $ilkmoney, and Big Kahuna OG, this is a great example of a modern posse cut with various terms of endearment that the posse might use to refer to each other. i also like how often the verses overlap with Quelle Chris’ delivery of the following chorus:
“That's my bro, that's my mans, that's my cool breeze
That's my guy, that's my pops, that's my OG
That's my sis, that's my missus, that's my auntie
Yo, basically, see, now that's my n*gga”16
other songs that fit in this category: “Best Friend” by NoMBe; “Me and My Girl” by Ruby Wood.
night rides
the subtext of this section is: “at the red light, twerkin’ on them headlights” (word to Glorilla). to start, i’ll let the opening lyrics of “Chapter Six” by Kendrick Lamar explain themselves here:
“Ridin' with them boys and girls and we're high
All we want to do is have a good time
Young, wild, and reckless is how we live life
Pray that we make it to twenty-one (One, one, one, one)”17
“Police,” a collaboration between Niki & The Dove and The Greys, would soundtrack a scene where a few characters (perhaps the bad boy love interest’s crew) get into shenanigans and narrowly escape the authorities. the protagonists might spend time stifling amusement while hiding, then erupt into laughter about the whole scenario once the coast is clear. the song’s video portrays two men wrestling and tumbling around on grass. one man attempts to restrain and subdue the other. “Police” could also serve as a commentary on how everyday people surveil each other, no badge in sight.
“Stuck” by Mars Today paints a vivid picture of driving to clear one’s head. the bad boy love interest and his friends would bop their heads to the beat while cruising. once the song switches up towards the outro (a “hidden” track called “Work”), it might reflect the main character’s inner monologue regarding the type of love he’s coveting and his plots to escape the rat race.
“One hand on the wheel, seat tilted back. Speakers up loud ‘cause I’m trying to relax. Eyes down low, ‘cause I’m smoking, yes I keep on driving.”18
i don’t want to get too far ahead of the narrative, but i think “Pull Up” by Bathe could be a recurring track for whenever the bad boy love interest and the femme next door engage with each other (this moment would coincide with the playlists that will follow this one in the series: the meet cute and the party & the after party). i’m including it here because maybe one of the femme next door’s friends plays it during a smoke sesh, so it’s all too familiar when it plays again during the fated romantic encounter. the visualizer portrays a couple conversing and sharing a joint on loop. there’s intense eye contact and wide smiles between them as the female lead takes a puff.
“You can relax
Already rolled you one
You can pull up
Smoke and enjoy the function
Pull up, pull up
Burn another one down”19
more songs for this section: “The Garden” by Unknown Mortal Orchestra; “LET THE VIRGIN DRIVE” by SPIRIT OF THE BEEHIVE.
daydreamers and weekend warriors
as i mentioned earlier, the posse knows how to have a good time, but they also spend plenty of moments enjoying each other’s company with little to no expectations. so the songs in this section would be great for portraying slower moments and utilizing B-roll footage.
“Not Really” by Homeboy Sandman would definitely be the kind of song that the friends put on to indulge in substances and reflect on life. in the video, the rapper walks along a New York sidewalk while evading a press conference and embracing admirers. he offers ample comparisons to reflect his life before and after fame. i also appreciate how the video begins by him yelling to folks nearby and foreshadowing what’s about to be filmed.
“People ask me if my life changed
Here's what I might say
Not really
Not really”20
the effervescent bop “Wavy” by 79.5 narrates a trip to the beach, and that’s quite an ideal setting to hear this song. with the mentions of sunshine and moonlight, “Wavy” could also be fitting for a night ride.
“Ride down to the beach with my ladies
Got my weed, got my shades, got my ‘kini
Hello
Sweet summer with my girls, getting wavy”21
more songs for “daydreamers and weekend warriors”: “So We Won’t Forget” by Khruangbin; “Spend More Time With Your Friends” by Pale Jay.
the endless summer
it may seem counterintuitive to place a song called “Summer is Ending” in this category, but i’m including it for myriad reasons. The Jet Age of Tomorrow was a music project between Matt Martians and Pyramid Vritra that blended hip-hop, jazz, and psychedelia. Matt Martians is also a key member of The Internet, and both groups are adjacent to Odd Future (you see the dots i’m connecting here). i mentioned Martians’ solo work earlier in this piece and named him as a master of the two-part song. here, he does it yet again! i think that a good percentage of music made by Odd Future as a collective, Tyler, the Creator as a solo artist, and the Internet as a band captures the warmth and exploration of summertime.22 in “Summer is Ending,” there’s talk of going to the lakehouse—could this space or a clubhouse be the meeting place for one of the crews in this story?
AG Club has been name-dropped in this project a few times. when i first began ideating these playlists, i had their music in heavy rotation and found myself really inspired—especially considering their own namesake reference to AV Clubs, which students would join to learn about video and audio equipment. all of their videos are a “movie,” but “Memphis” is a standout example of the rap group’s cinematic flair. the nod to the Spike Jonze-directed video for “Drop” by The Pharcyde, in which the rappers perform backwards, made me smile upon watching. this song was made to fit a scene where the characters express being loud, raw, and youthful. and dare i say that it’s another posse cut?
last but certainly not least is “Boys Life” by Small Black. i confess that i’ve had this song in my library for years, and i only watched the video until recently. i was amazed to see that it fully captures the essence of my project in four minutes, as if i saw the video in my mind before i even knew it existed. there’s time/date stamps, subtitles, lust, laughter among friends, smoking out the window (two friends even shotgun one another at midnight), fireworks, and a protagonist “fall[ing] in love again and again.”23 “Boys Life” would be right at home during any of these moments as the posse’s bond grows deeper.
the posse: the playlist
prior sync placements
according to Tunefind, 10 songs on the playlist had existing sync placements in film & television (more than any of the preceding playlists). check out each link to see which shows or movies they appeared in.
the preceding installments
a concluding note: this project is currently free for all to access! i initially used paywalls to comp and preview this work for paid patrons of my primary newsletter, things i collected. due to the current bimonthly release structure and limited resources, i’ve hit pause on paid subscriptions to re-evaluate how to maximize this offering in the future. a filmless score is all about my process, so i share this update with similar transparency. thanks for grace and understanding — Shanté
you’ll likely hear it in my tone if i mean “friend” casually, seriously, or sarcastically.
Frank Ocean’s verse is still my fave on “Oldie.” meanwhile, Pro Era’s sprawling tale was one of my top choices as well. RIP Capital Steez.
fans really thought he needed to be saved when his parents were being responsible and intervened to address some of his absurd (online) behavior, as perpetuated by being in Odd Future.
the characters weep for the infamous Chicago rapper that shall not be named and who he’s become. but at least we can say that Big Sean was the one actually rapping the lyric in question.
one of my favorite parts of this song is how it samples Khia’s “My Neck, My Back” and uses those lyrics as a response to Emmavie seductively singing “I’m gonna kiss you all over your..”
timestamp 0:00 — i couldn’t find the lyrics anywhere online, so i transcribed themselves. pardon me if i didn’t get it 100 percent accurate.
Justin Bieber’s “Somebody to Love”; Jack Ü’s “Where Are Ü Now” ft. Justin Bieber; Alicia Keys’ “You Don’t Know My Name”; Destiny’s Child’s “Jumpin, Jumpin”; Beyoncé’s “Love on Top”; Frank Ocean’s “Swim Good”
timestamp 0:30 — i’ve always loved this song for the sample of We Are KING’s “Hey”
anyone else remember Tyler’s Summer Camp mixes? good times.
“Everything is Romantic” re-enters the chat (previously mentioned in the femme next door).