"You Loved Cannoli More Than Me" is Giuseppe’s estranged wife’s musical mic drop—the bitter, buttery, country-goth revenge anthem no one saw coming, except maybe the huskies. Equal parts heartbreak, pastry slander, and stream-related psychological warfare, this song drips with sarcasm, sadness, and residual powdered sugar. The opening lines set the stage: she once stood in the soft glow of kitchen intimacy… now she's just stepping over husky pee and watching her husband mutter sweet nothings to his webcam. The emotional center of the song? That he didn't cheat with another woman—he cheated with dessert. Dozens of them. Night after night. Tray after tray. Cream-filled betrayal in every bite. Each verse unpacks layers of domestic decay like a forensic love autopsy. He ignored her pleas. He sided with chat users named things like “TroggLad420.” He replaced pillow talk with conspiracy theories about moderators. And she—once the woman of his dreams—was left to sweep up pastry flakes and broken promises. The chorus is a weapon: "You loved cannoli more than me / More than trust or sanity…” It’s brutal, catchy, and somehow both sad and hilarious—like watching someone cry during a food fight. By the bridge, the tone shifts from angry to intimate, as she recalls watching Giuseppe disappear bite by bite, her heartbreak punctuated by his final words: “Babe… the filling’s pink.” It’s absurd. It’s tragic. It’s a devastating breakup letter to an Italian dessert—and yet, it’s also one of the most honest things ever written about loving someone who’d rather stream at 3AM with strangers named “Chad” than look you in the eye. The final chorus hits like a slap with a cold cannoli—firm, final, and covered in powdered regret. It’s not just a song—it’s closure in 6/8 time.

In “Fading from View,” Giuseppe trades in synth pads for steel guitar, letting his pain twang across the plains like a cowboy who never owned a horse, but definitely cried into one. It’s his first foray into country music—and somehow, it fits a little too well. This is classic country Giuseppe: lost time, dead dreams, family dysfunction, and just enough poetic nonsense to make you wonder if he’s okay. The chorus, “Feels like I’m fading… like a dream that never came true,” sounds like something you'd hear at 2AM in a dive bar while a trucker softly weeps into his third beer and fourth divorce. He sings of “50 years gone in the blink of an eye,” but you get the feeling Giuseppe blinked a lot, and missed all of them on purpose. There's the usual heartbreak, but now it’s wrapped in twang and sadness with lyrics like “Had a son — he was my father,” which sounds less like a metaphor and more like a Maury episode that spiraled. By the second verse, he’s fully leaning into country tropes: lost children, betrayal, regret, and possibly a dog that left him emotionally (though he never confirms if the dog is real or metaphorical). The song’s slow, weary rhythm makes it sound like it’s trying to fall asleep halfway through—just like Giuseppe. And the finale? “Say so long… say farewell…”—a broken whisper under the shimmer of a sad slide guitar, as Giuseppe disappears into the sunset of his own pity party, riding a mechanical bull of raw emotion. It’s country. It’s tragic. It’s unintentionally hilarious. It’s Giuseppe—fading from view, but never from your memory. Unfortunately.

"Dragonfly" is Giuseppe’s most hauntingly beautiful track—a gentle, melancholic meditation on grief, letting go, and the search for peace in a chaotic world. Unlike his louder, more tortured works, this song drifts like the insect it’s named after—soft, mysterious, and fragile. The dragonfly in the song isn’t just an insect; it’s a symbol of transformation, a spiritual messenger gliding between worlds. Giuseppe uses it as a poetic stand-in for someone he’s lost—possibly a loved one who struggled deeply, someone who left this world seeking peace. The lyrics dance between reality and the mystical, blurring the lines between a nature scene and a spiritual visitation. As the dragonfly “whispers secrets” and “carries words on the breeze,” Giuseppe sings of messages from beyond—gentle reassurances that the pain is over, the struggle has ended, and freedom has finally been found. The chorus, repeated with quiet reverence—“She’s happy / finally free”—feels like a message Giuseppe desperately wants to believe. More subdued than his usual rants and self-pity, “Dragonfly” reveals a quieter, more poetic side of Giuseppe—a man aching for connection, finding fleeting meaning in the flutter of wings and the hush of twilight.

Giuseppe, is a man built like a beanbag chair with opinions. His thinning long hair—greasy, stubborn, and inexplicably windblown indoors—frames a face locked in a permanent scowl, like he just smelled something offensive (which, to be fair, he probably did—it might have been himself). He’s balding, but refuses to admit it, often blaming “camera angles” or “hat hair” for the barren tundra forming atop his skull. Once a promising something-or-other (he forgets what), Giuseppe is now a full-time live streamer broadcasting from his dimly lit man-cave, which smells faintly of regret and cheese dust. His streams consist of ranting, eating cannoli on-camera like it’s performance art, and arguing with people in his chat—most of whom are bots or trolls, both of whom are winning. His wife hasn’t spoken to him in weeks, communicating solely through the strategically timed slamming of doors. She drifts through the house like a ghost, haunting the kitchen and occasionally muttering “mistake” under her breath. Giuseppe’s two huskies, Loki and Meatball, don’t listen to a single command and regularly urinate with defiance and eye contact. They are, objectively, the alphas of the household. Every day follows the same tragic ritual: wake up at noon, inhale three cannoli, yell about "Those damn Blacks and Jews!" into a webcam, get banned from a subreddit, try to train the dogs (fail), microwave dinner, pass out in the chair he’s fused with, repeat. His last attempt at exercise was clicking “maybe” on a YouTube ad for a home workout plan. And yet, in the wreckage of his routine, Giuseppe persists—clutching his half-eaten cannoli like a sad trophy, crowned king of a crumbling digital kingdom where nobody’s watching, but he’s still yelling anyway.

"Candle in the Rain" is Giuseppe’s raw, emotional ballad—a desperate cry from a man lost in the fog of his own life. Framed in poetic metaphor, the song tells the story of a fragile flame flickering in a storm, symbolizing Giuseppe’s fading sense of hope, purpose, and identity. The candle represents his inner light—small, stubborn, but still burning—while the relentless rain mirrors the constant disappointments and emotional neglect he endures. In verse after verse, Giuseppe sings of being overlooked, unheard, and misunderstood. His lyrics touch on everything: a love grown cold (his wife), dreams that never took off (his failed streaming career), and the loneliness of shouting into the void (both online and off). Even his dogs seem woven into the chorus—chaotic forces that won't be tamed, much like life itself. Yet despite the bleakness, the song isn’t entirely hopeless. The final verse shifts subtly—acknowledging that while the rain may never stop, the candle still burns. Faint. Pathetic. But alive. It's tragic. It's earnest. It's unintentionally funny in places—but to Giuseppe, "Candle in the Rain" is his soul on display. His magnum opus. The one thing he truly believes in… even if it only has 13 plays on SoundCloud.

Follow SouthernGhost on Odysee: https://odysee.com/@Ghost:dc1/That's-A-Great-Point!:c

lyrics taken from tuber & ais THERE HE IS LOOK THOSE TITTYS LOOK THOSE TITTYS WOOOOOOOOOOO LOOK AT THOSE TITS LOOK AT THOSE TITTYS THERE'S THOSE TITTYS LOOK AT THOSE TITTYS HOLY SHIT DAMN LOOK SEE HOW UNHEALTHY HE IS look at them tittys LOOK AT THE WAY THEY SEPERATE SPREADING TAKING UP SPACE TAKING UP SPACE DUDE LOOK AT THAT SHIRT IT'S LITTERELY SPACE A GALAXY THERE'S THOSE TITTYS LOOK AT THOSE TITTYS HOLY SHIT DAMN THERE HE IS LOOK THOSE TITTYS LOOK THOSE TITTYS WOOOOOOOOOOO LOOK AT THOSE TITS LOOK AT THOSE TITTYS CAN YOU SEE THE FOLD? HE HAS A FUCKING ROLL IN HIS TITTY HIS SHIRT IS TOO SMALL IT'S BAD SMALL LOOK SEE HOW UNHEALTHY HE IS look at them tittys LOOK AT THE WAY THEY SEPERATE SPREADING TAKING UP SPACE TAKING UP SPACE DUDE LOOK AT THAT SHIRT IT'S LITTERELY SPACE A GALAXY OF SOME SORT CAN YOU SEE THE FOLD? HE HAS A FUCKING ROLL IN HIS TITTY HIS SHIRT IS TOO SMALL IT'S BAD SMALL BUT HE CAN SELL YOU VITAMINS HE CAN SELL YOU VITAMINS HE CAN SELL YOU VITAMINS

Suno.ai 3.5 and DALLE-3

Sunao.ai 3.5 and DALLE-3

Fat Joe: The G Man: Original lyrics by the Last Watch. Made with Suno music creator. Based an a true story. Vote for your favorite Trog song on the Trog Top 20 James o/