#Old School West Coast Beat

[djevilninja]

I live in L.A., there's lots of catch action there; Say freak, ménage à trois, come closer, you dare. Let's pretend you're a Ferrari and I will drive; I'm gonna show you why Egyptian Lover is so alive.

The Egyptian Lover - And My Beat Goes Boom

*freak this

[meropegaaunt]

WEST COAST

Billy Dunne x reader

Implied eventual Graham Dunne x reader

Summary: The love between two best friends toes the line between platonic and romantic.

Warnings: Kid on kid violence, fighting, angst, alcohol, and attempted kissing

Word Count: 2,359 words

© Meropegaaunt 2023

GRAHAM DUNNE (lead guitar, The Six): Growing up, Y/N and Billy were, like, best friends. I mean, God, they were close, so close you never saw one without the other.

ੈ✩‧₊˚

You, Y/N L/N, grew up in a small suburb outside of Pittsburgh, Pennsylvania. Said suburb was small, quaint, filled with red-brick houses and white picket fences. The kind of place where everyone knew everyone. The rich thrived, having two or three properties in their name and far too many zeros in their checking accounts, but the majority struggled to make ends meet, to even keep a roof over their heads. You were part of the majority, but your father, F/N L/N, did everything in his power to ensure that you lived in blissful ignorance, unaware of the struggles that weighed so heavily upon his shoulders. He had two jobs, one as a music teacher and one as a bar manager. Endless hours had been spent slaving away at those jobs in an attempt to ensure you were given every opportunity to succeed, and luckily, you were.

Truth be told, you had not the faintest idea of your dire living circumstances, because your father showered you in love and affection, making everything, even the most mundane tasks, seem like an adventure. He had a way with people, a way that he passed on to you, which was why at school, you got on well with your classmates. You got on best with Billy and Graham Dunne, though, two brothers that shared your true love: music.

(Your friendship did not have an easy beginning, though. Not by a long shot, because even at a young age, Billy had trouble letting people close. Your first encounter with him was in passing. Names had been exchanged, but there was no inkling of what would bloom between the two of you. That inkling did not come until a boy two years older than you and Billy and four years older than Graham came around looking to give Billy a hard time. He found Graham instead, who became his victim of circumstance. You happened upon the scene just in time to see the boy deliver a harsh kick to Graham’s ribs, and that sight alone was enough for you to see red and abandon all common sense. It mattered not that he was your superior in both age and size. All that mattered was that Graham, who had only ever shown you kindness and civility, was frightened and bleeding and needed help, which was why you threw caution to the wind, ran forward, and thundered, “Hey, that’s my friend you’re kicking!” In an instant, you two were on the ground, grappling violently atop the dirt path. The boy pawed at your face, pulling at your locks while you pressed on his throat. His efforts broke your skin and knocked your nose askew, yet your hold stayed firm, just as F/N had shown you. You hunched forward, pale with rage as he writhed about, trying futilely to get free. Each action made his throat tighter, though, so his attempts hastily slowed down. He gasped, his eyes growing hazy from the wild thrumming of the blood in his head. It was only after oxygen escaped him for a beat that you lessened your grip and retreated with Graham, though, your feet flying over the earth until you found Billy. That day, covered in blood and dirt, he deemed you all right.)

Seeing your love for music, your father found and salvaged an old guitar for you, a Gibson Les Paul that had seen far better days. It had suffered much hurt and misuse, but he searched out alternatives for each decaying piece, eventually returning it to its former glory. You basked in its glory, showing it off to the Dunne brothers with stars in your eyes and a smile that rivaled the sun in intensity. They had an old Silvertone guitar, so the three of you began learning how to play, going through much trial and error before discovering what worked and what did not.

Your musical range evolved as you entered your teenage years, especially when Billy and Graham’s mother, Marlene, bought them an old Strat. Armed with three guitars, you delved into songwriting, thus laying the foundation for what eventually became one of the world’s most beloved rock bands.

You were there at the nanscene of the Dunne Brothers band, long before its first additions — drummer Warren Rhodes, bassist Chuck Williams, and rhythm guitarist Eddie Roundtree — were brought on. You did not have a designated title, though. Instead, you played whatever part was needed, whether that be a singer, guitarist, or keyboardist. The band worked whatever gig it could, whether that be at house parties, seedy bars, or dance clubs.

Around that time, you had noticed that you had physically changed, had grown into your own. Your friends had, too, but you did not realize until one of the nights when the band had played at a seedy bar. There had been various acts of violence committed at said bar, but this particular night, a man who was out of his mind on drugs had started swinging. Hands had been thrown, landing hits upon bar attendants, but then, he had come for you . . . You had not seen it coming, too engrossed in your music, which was why there was no time for you to react, to defend yourself. Your eyes snapped up, catching sight of the fist flying your way, but it never made contact with your face. Before it could, Billy collided with the man, hitting him with enough force that he was sent crashing to the ground.

You blinked once, twice, thrice, pure, unfettered shock keeping you rooted in place. It was only when a warm, familiar hand landed upon your shoulder that you snapped out of it, the shock wearing off. “Thanks, Billy,” you breathed, your eyes rising to meet his emerald ones. “I owe you one.”

“It’s nothing,” he shrugged, a mischievous look flitting across his face. “Couldn’t let him take you out before I do.”

“Ah, that’s not happening,” you remarked, unable to conceal your amusement. He had tried to sweet talk you before, had even gone as far to use his go-to pick-up line: If you let me take you out I’ll write a song about you. The pick-up line had not worked, though, for you had shot back: No, thanks, Dunne. If I want there to be a song about me, I’ll write it myself. “The day we start dating bandmates is the day the Dunne Brothers is over.”

Perhaps if he was being serious, you would consider going on a date with him, but you truly believed that he was not, that he was simply being his typical coquettish self. Despite this, in the future, you will think that this perhaps was the moment when you first realized that you loved him, that you were in love with him . . .

─── ✧･ﾟ: *✧･ﾟ:* ───

BILLY DUNNE (lead singer, The Six): We got hired for this wedding. It was a big deal. A wedding meant we were gonna be heard by, you know, a hundred people. I think I was nineteen.

We had auditioned for this couple with our best song. It was this slower, folkier song Y/N and I had written called “Nevermore.” Just thinking about it makes me cringe. Truly. I was writing about the Catonsville Nine and things like that. I thought I was Dylan. But we got this gig.

And about halfway through our show at this wedding, this fifty-something guy catches Y/N on a water break and pulls them onto the dance floor. I see and think, Does this guy know what a creep he looks like? And then I realize it’s my dad.

GRAHAM: Our father was there, all over Y/N, completely unaware he was making them uncomfortable. I realized it before Billy, I think. Recognized him from the pictures our mom kept in the shoe box under her bed.

Y/N L/N (singer, The Six): I didn’t originally know it was Mr. Dunne that had pulled me onto the dance floor that night. I mean, plenty of older men go after younger people. It’s not great, it’s just how it is. Not wanting to start a scene, I danced with him until Billy came down off the stage and pulled me away. Afterward, he told me who he was, and it just . . . made me sick. Mr. Dunne looked right at Billy, his son, and didn’t recognize him. How is that possible? How is that fair?

BILLY: I couldn’t believe it. He’d been gone ten years by that point. And he was supposed to be in Georgia. The asshole was just standing in the middle of the dance floor, no idea his sons were up onstage or that he was dancing with their best friend. I put an end to that. I got off stage and pulled them apart. Y/N was confused as hell, but I explained who he was.

GRAHAM: Billy asked a few people at the wedding about him. Turns out our father had been living a few towns over. Friends with the bride or something. Y/N was furious, saying, “You know what, fuck him. You guys are the best. If he can’t see that, that’s his problem, not yours.” They were right. He was a drunk asshole anyway. So good riddance to him.

ੈ✩‧₊˚

Seeing the response — or lack thereof — from Mr. Dunne infuriated you. He had laid eyes upon his sons for the first time in a decade, and there had been no recognition, no remorse. He had helped bring them into the world, had raised them for five and seven years respectively, but then, when given the opportunity to reconnect, he treated them like strangers, like they meant nothing.

Your father had loved you dearly, had done everything in his power to protect you, which was why such a poor excuse of a man was hard to wrap your head around. You tried, though, even going as far as to snag a bottle of whiskey in an attempt to lessen your inhibitions, to think outside of the box. Unfortunately, the whiskey did not offer any answers about Mr. Dunne, but it did cause your budding feelings for Billy to spill out, to make themselves known.

He too had taken in alcohol, had consumed beer after beer, but Billy, for a reason you did not know, held his alcohol better. That was why when you took a seat next to him with a half-empty bottle of whiskey in hand, he looked relatively put together. You, on the other hand, looked simultaneously attractive and disheveled. It was paradoxical, but the sight of you, with your warm cheeks and wild hair, lit a fire within him, a fire whose flames threatened to consume him, to devour him whole.

“Billy,” you breathed his name, leaning through the dark so that your faces were mere millimeters apart, causing your breaths to mingle. “Your dad is a real prick, but I’m — I’m glad you’re not like him. You’re a real great guy. The best.”

“I’m not,” he refuted, knowing that your tongue had been loosened by the alcohol. When sober, you were generous with your words, but not like this. Not to this degree. “I’ve made some dumbass decisions. You know that better than anyone—“

“And yet, I still love you,” you cut him off, leaning impossibly closer. You had contemplated kissing him a handful of times since that night in the bar, but had yet to work up enough nerve to do so. Now, when you were feeling brazen, it would be so quick, so easy. All you had to do was bridge the gap between your faces . . . You made to do so, to press your lips to his, but he pulled away, moving out of your range. A mixture of hurt and confusion crossed your features then, followed by uncertainty. “Do you not want to—“

“Not like this,” he shook his head, because even though the flirtatious comments sent your way held truth, he would not allow you to make such a drastic move when drunk. Not with him. “If you remember this tomorrow, we can figure things out, Y/N.”

In a perfect world, you would remember this conversation the next day. You and Billy would communicate and sort out your feelings together, but this world was not perfect. In this world, you did not remember your advances on Billy, which was why when he met the foxy, dark-haired Camila Martinez, he pursued her . . .

─── ✧･ﾟ: *✧･ﾟ:* ───

WARREN RHODES (drummer, The Six): In the summer and fall of ‘69, we were all really starting to get laid, man. And Billy was taking himself off the market. We’d all be with chicks and he’d be sitting there, smoking a joint, having a beer to keep himself busy. I came out of a girl’s room one time, zipping my pants up, and Billy was sitting on the sofa, watching Dick Cavett. I knew Y/N loved Billy. Hell, by that point, I think everyone except Billy knew. So I said, “Man, you gotta ditch that girlfriend.” Don’t get me wrong; we all liked Camila, she was foxy and she’d tell you your business right to your face, which I liked. But c’mon. Y/N isn’t the sort of person you want to miss out on an opportunity with.

Y/N: I wanted to hate Camila. It would have been easier that way, if she was terrible to Billy, if she made him unhappy, but she didn’t. She grounded him, made him a better version of himself, so there really was no choice but for me to take a step back, to put some distance between Billy and I.

GRAHAM: It killed Y/N to give Billy and Camila space, but they did. Because they loved him, and that . . . that took a lot of selflessness. I think, maybe, that might have been when I started falling in love with them.

[reasoningdaily]

The Milton Hershey School in Pennsylvania is one of the wealthiest education centers in the world. Founded in 1909 as an orphanage for “male Caucasian” boys, it was awarded 30 percent of the company’s future earnings by Milton S. Hershey upon his death. Thanks to the success of Kit-Kats, Reese’s, and Whoppers, the school is worth a staggering $7.8 billion.

Now home to more than 2,000 students, it owns a controlling interest in the $22.3 billion Hershey company—a chocolate maker with roots in child protection and education that, in the worst form of irony, allegedly relies on cocoa harvested by child laborers in West Africa.

It is this irony that serves as the motivation behind a class action lawsuit filed Monday against Hershey and two of its competitors, Mars and Nestle. The complaints, filed by three California residents, allege that the companies are guilty of false advertising for failing to disclose the use of child slavery on their packaging. Without it, the plaintiffs claim, the companies are deceiving consumers into “unwittingly” supporting the child slave labor trade.

“America’s largest and most profitable food conglomerates should not tolerate child labor, much less child slave labor, anywhere in their supply chains,” the complaint reads. “These companies should not turn a blind eye to known human rights abuses... especially when the companies consistently and affirmatively represent that they act in a socially and ethically responsible manner.”

The class action suits seek both monetary damages for California residents who have purchased the chocolate and revised packaging that denotes child slaves were used. It’s a new approach to an old problem: the chocolate industry’s deep, dark, not-so-secret scandal. It’s been 15 years since the first allegations of child slavery in the chocolate industry caused national outrage. Will this be the final straw?

***

West Africa is home to two-thirds of the world’s cacao beans (cocoa), the main ingredient in chocolate—a product that’s fueled a $90 billion industry.

The first group to question the financial strategies behind the industry’s wealth was a British organization called True Vision Entertainment. In a shocking 2000 documentary titled Slavery: A Global Investigation, the group reported on the chocolate industry’s alleged connection to cocoa harvested by child slaves.The award-winning film opens on stick-thin adolescent boys in the Ivory Coast slinging hundred-pound bags of cocoa pods on their backs, followed by an interview in which the boys express their confusion over not being paid.

Later the filmmakers meet with 19 children who were said to have just been freed from slavery by the Ivorian authorities. Their guardian describes how they worked from dawn until dusk each day, only to be locked in a shed at night where they were given a tin cup in which to urinate. During the first six months (the “breaking-in period”), they say, they were routinely beaten. “The beatings were a part of my life,” says Aly Diabata, one of the former child laborers. “I had seen others who tried to escape. When they tried, they were severely beaten.”

The boys’ stories are sickeningly graphic. Before beatings, the boys say they were stripped naked and tied up. They were then pummeled with a variety of weapons, from fists and feet to belts and whips. In the film, some of the boys get up and imitate the beatings. Others stand to reveal hundreds of scars lining their backs and torsos—some still bloody and scabbed. They get quiet when the filmmakers ask whether any are beaten today and say some are simply “taken away.”

Asked what he’d say to the billions who eat chocolate worldwide (most of the boys have never tried it), one boy replies: “They enjoy something I suffered to make; I worked hard for them but saw no benefit. They are eating my flesh.” Toward the end of the segment, the filmmakers meet with one of the “slave masters,” who admits he purchased the young boys and that some of his men routinely beat them. His reasoning: He is paid a low price for the cocoa and thus needs to harvest as much of it as he possibly can.

The release of the film in late 2000 sparked national outrage. No one seemed more shocked than the chocolate companies themselves. In June 2001, Hershey senior vice president Robert M. Reese told Philadelphia Inquirer reporter Bob Fernandez that “no one, repeat, no one, had ever heard of this.” After internal investigations, several companies, including Hershey, expressed concern over the conditions of laborers in West Africa.

The news made its way to Congress, where U.S. Rep. Eliot Engel quickly drafted legislation asking the Federal Drug Administration to introduce “slave free” labeling. After gaining approval in the House of Representatives, the bill moved to a vote in the Senate, where it had the support needed to win passage. But just before the legislation made it to a vote, the chocolate industry stepped in with a promise it has yet to keep: to self-regulate and eradicate the practice by 2005.

The Engel-Harkin Protocol (or Cocoa Protocol), as the agreement was called, was signed in September 2001.

Eight companies—including Nestle, Mars, and Hershey—were signatories of the massive accord, pledging $2 million to investigate the labor practices and eliminate the “Worst Forms of Child Labor,” the official term from the International Labor Organization, by 2005. When the July 2005 deadline arrived with the industries yet to make major changes, an extension was granted until 2008.

When the next deadline came and went, a new proposal arose. By 2010, the companies basically started anew with a treaty called The Declaration of Joint Action to Support Implementation of the Harkin-Engel Protocol. This document pledges to reduce the worst forms of child labor by 70 percent across the cocoa sectors of Ghana and Ivory Coast by 2020.

In the 15 years since the documentary sparked outrage, there are more child laborers in the cocoa industry than ever before. The companies have not only failed to stop the “worst forms of child labor”; they’ve seemingly made it worse. A report released on July 30, 2015, from the Payson Center for International Development of Tulane University and sponsored by the U.S. Department of Labor found a 51 percent increase in the number of children working in the cocoa industry in 2013-14, compared to the last report in 2008-09. The number, they found, now totals 1.4 million. Those living in slave-like conditions increased 10 percent from the 2008-09 results, now totaling 1.1 million. The study concludes that while “some progress has been made,” the goal of reducing the number of children in the industry had “not come within reach.”

The California plaintiffs’ false-advertising claims against Nestle, Hershey, and Mars are the latest effort to pressure the chocolate industry to fix a problem it has known about for more than a decade. “Children that are sometimes not even 10 years old carry huge sacks that are so big that they cause them serious physical harm,” the complaint alleges. “Much of the world’s chocolate is quite literally brought to us by the back-breaking labor of child slaves.”

The complaint goes into detail about the lives of the estimated 4,000 children allegedly working in forced labor conditions harvesting cocoa in the Ivory Coast. Many of the children are sold into slavery, some for less than $30; others are kidnapped or tricked into thinking it’s a real job, the complaint alleges. Once there, the children are allegedly trapped on isolated farms, threatened with physical abuse, required to work when they are sick, and denied sufficient food.

While the plaintiffs mention each company’s individual pledges to tackle the problem of child labor, they consider these promises to be “false assurances” that have done little to solve the problem. As long as the companies allegedly continue to use child slaves, the plaintiffs say they believe consumers have the right to know.

In the eyes of Miki Mistrati, an award-winning documentary filmmaker who released a movie on the subject in 2014, Shady Chocolate, the lawsuit may help, but it won’t be the answer. “There is no doubt that a campaign about the reality in chocolate production will harm the chocolate companies,” Mistrati said. “Modern slavery with children is a part of the chocolate industry today. But I do not think that it can be the real game changer.”

Mistrati, who consulted with UNICEF and the U.S. Department of Labor, among others, for his movie, said he witnessed child slave labor firsthand—and believes it can be stopped quickly. “Mars, Hershey, and Nestle have had every opportunity to stop the trafficking of children and illegal child slaves,” he said. “I have seen small children, 6 years old, being trafficked from Mali to Ivory Coast. It was so heartbreaking to watch. But the companies have not had the will to end it for many years. Only empty words and expensive advertising instead of using money to pay back to the children on the ground in West Africa.”

Mistrati stressed the importance of Americans taking at least part of the blame. “Consumers have not been critical enough,” he said. “They have not asked why a chocolate bar only costs $1 when the cocoa comes from Africa. Customers have been too easy to trick with smart ads. It is over now. This trial is a unique opportunity for the world to see how their chocolate is produced and why it is so cheap.”

***

Nestle responded quickly to a request for comment on the allegations, calling the lawsuit “without merit” and claiming that “proactive and multi-stakeholder efforts” are necessary to eradicate child labor, not lawsuits. Of the three chocolate makers, Nestle appears to be taking the lead in fighting child labor. The company is the first cocoa purchaser to set up a system for tackling the problem, with concrete measures in place.

The company’s more than $100 million action plan involves building a child labor monitoring and remediation system to identify children at risk, enable farmers to run profitable farms, and improve the lives of cocoa farming communities. “Child labor has no place in our cocoa supply chain,” a spokesperson from Nestle told The Daily Beast. “We are taking action to progressively eliminate it by assessing individual cases and tackling the root causes.”

Mars representatives echoed Nestle’s sentiments on child slave labor, saying the company “shares the widely held view that child labor and trafficking is abhorrent and rooted in complex economic, political, and social issues.” In an official statement to The Daily Beast, the company said it was “committed to being part of the solution.”

At the moment, that solution seems vague. The company points to “Vision for Change,” an initiative it launched in 2012 that, according to its website, is meant to “achieve sustainable cocoa production” and “address farmer productivity and community issues.” Mars mentions that it has built 16 Cocoa Development Centers and 52 Cocoa Village Centers in the Ivory Coast, where farmers are taught how to manage their land and crops efficiently. How it specifically targets child labor is unclear.

Steve Berman, managing partner at Hagens Berman, the law firm representing the plaintiffs, confirmed that Nestle seems to have launched the most tangible program but said it has yet to yield results. “They claim they’ve been taking steps. They partner with the Fair Labor Association to investigate, and they claim they’re committed to eradicating it, but the fact is the recent reports show the number of children in the cocoa industry has increased,” Berman told The Daily Beast. “We doubt that Nestle is taking this very seriously.”

“The consumers reaching out to our firm have been outraged to learn that the candy they enjoy has a dark, bitter production cost—that child and slave labor have been a part of Nestle, Mars, and Hershey’s chocolate processing,” said Berman. “These companies fail to disclose their use of child and forced labor, tricking consumers into indirectly supporting the use of such labor.”

Berman added that he believes Mars, Nestle, and Hershey’s failure to eradicate child labor in the cocoa trade boils down to one thing: “cheap labor; dirt cheap.”

After interviewing Hershey about the 2000 documentary for the Philadelphia Inquirer, Fernandez decided to pursue a book on the company’s trust. That book, The Chocolate Trust, was released in June. In the final chapter, he remarks on the oddity of a company with roots in child welfare making its billions on the backs of child laborers.

But it’s the 15-year gap that most baffles Fernandez, who remembers being shocked by the initial revelations. The fact that alleged child slavery persists to this day seems almost too difficult to believe. “The thing is the industry said it would solve it in 2001; then they said they’d do it by 2005,” he told The Daily Beast, before asking the pivotal question: “What happened?"

Update: Hershey sent The Daily Beast the following comment:

At Hershey, we are committed to the ethical and responsible sourcing of all of our product ingredients and have no tolerance for illegal practices, including children used as forced labor in cocoa farming.The allegations in the lawsuit are not new and reflect long-term challenges in cocoa-growing countries that many stakeholders, including NGOs, companies in the cocoa supply chain and the U.S Government have been working diligently together to address for a number of years. Poverty is a fundamental issue in the cocoa-growing region of West Africa, and companies across the entire cocoa supply chain have been actively involved in substantial initiatives to improve the economic, social and labor conditions in these cocoa-growing communities.

Hershey is proud of the cocoa sustainability and farmer training programs we have established through NGOs and other partners in West Africa during the past few years. We have begun to see success from these programs. This includes programs in Cote d’Ivoire that are now beginning to take hold after years of political unrest that had hampered progress there until recently. From the work the industry has undertaken in recent years, it is clear that addressing the challenges will require an aligned and sustained focus from all stakeholders, including the cocoa industry, local governments, and NGOs and non-profit groups. That’s why CocoaAction, the industry response being led through the World Cocoa Foundation (WCF), is so important. These aligned efforts are aimed at accelerating sustainability and improving the livelihoods and social conditions of cocoa communities in Ghana and Cote d’Ivoire.

The cocoa industry, including Hershey, will invest more than $400 million in West Africa by 2020 to accelerate both the supply of certified cocoa and reduce instances of inappropriate labor by investing in better cocoa communities. These industry-wide efforts seek to reduce the occurrence of inappropriate farming practices that involve the use of children by reaching tens of thousands of farmers and their families in cocoa-growing areas, educating farmers about the risks and dangers of child labor, and training farmers and professionals to safely manage riskier tasks in which children have previously been involved. The combined and focused effort of the entire industry and other stakeholders is a very encouraging and positive development.

[jaxteller87]

paintball

THE TEENAGE YEARS

We were coming home after a fun day out, and I asked Kim if I could take Amber to the paintball war room. Her mom liked me for the most part; at least, I felt like she did. I knew her parents were a little old-fashioned, which I respected, so I always made it a point to do things slightly old-school whenever they were around. On the flip side of things, though, when it was just Amber and I— I tended to be a bit more relaxed but still gentlemanly. Regarding the paintball war room, I thought Amber would have a blast. As it would turn out, I was right. The war room was a total wreck; neon paint splashed everywhere like someone went crazy with a paintball gun. Colors were smeared all over the walls, floor, and even the ceiling. It looked like a tornado rolled through a paint shop. It was chaotic, messy, and absolutely perfect. We ducked and dodged, laughed and shouted, letting ourselves get totally lost in the freedom of the moment. When it was time to head back, I could just tell by the look on Amber’s face that she had a better time than she expected. To be honest, I knew she would like it, but she seemed to love it so much that she asked me if Opie and Donna would like to join us next time. The drive back was nice. The setting sun cast a warm orange glow over the road, making it look like some image plucked right from a “Wish You Were Here” West Coast postcard. I was enjoying the hum of the road, as I often do being in the MC, but I guess it wasn’t stimulating enough for Amber. She reached down and turned on the radio. It was strange, almost as if she planned it, but I couldn’t believe the song that was on. Biggie’s “Big Poppa” played through the speakers, and it was just starting. Amber’s eyes lit up, and she turned the volume up loudly. The bass thumped through the truck, and Amber began singing along.

“I love it when you call me Big Poppa Throw your hands in the air if youse a true player I love it when you call me Big Poppa To the honies gettin’ money playin’ fellas like dummies I love it when you call me big poppa.

You got a gun up in your waist; please don’t shoot up the place.

’Cause I see some ladies tonight that should be havin’ my baby. Uh!” I took the opportunity to add my little contribution to the song:

“Baby!”

Laughing, singing, and smiling, I glanced over at Amber, who was covered head to toe in paint. Her hair was streaked with vibrant colors, creating a wild, beautiful chaos that framed her face. I chuckled and shook my head, thinking that she looked like she just beat the shit out of an army of clowns. Her eyes sparkled like stars, and her cheeks were flushed with excitement. She looked amazing, as always. The neon colors on her skin seemed to glow, highlighting her natural beauty in a way that took my breath away. I wished she could see how wonderful she truly was, how her spirit shone through every playful smear of paint and every carefree laugh. Maybe one day she would see herself the way I saw her in that moment—utterly extraordinary. As the song wrapped up, Amber turned down the radio. “Thank you, Teller. I had a wonderful time today.” “It was my pleasure,” I smiled, pulling into the driveway. I walked her to the front door, where her mother was standing, watering her flowers. “It sure looks like you guys had fun.” “Thanks again, Kim, for letting me take her,” I said. “Of course,” Kim smiled. “So, Amber, do you got anything going on tomorrow?” “Nah, I don’t think so. Just hanging around the house. You?” I shrugged, “Not really.” “You know, you really should hang out with the boys tomorrow. I don’t want them to think I stole you, and then next thing you know, everyone hates me.” Amber said. “Aw, you don’t have to worry about that. But yeah, I should catch up with Ope tomorrow.” “No paintballing without me, though!” She shouted. “Alright, darling,” I laughed, getting back in my truck. The next day, I made plans to go out with some of the guys, but they canceled on me at the last minute. I was just about to call Amber to see if she wanted to do something when I heard Opie’s bike pull into my driveway. “Hey, brother,” Opie said with a nod, walking over to my fridge and grabbing himself a beer. “How’d everything go yesterday?”

“Better than I expected,” I replied as he handed me a beer of my own. “And to be honest, I expected it to go pretty good as it was, so…” “That’s great!” Donna clapped her hands. “You want a drink, babe?” Opie asked her. “No thanks. So, Jax, Amber had a good time then?” I nodded while chugging my beer. “It definitely seemed that way.” “Good!” “Yeah,” I let out a small belch, “Anyway, I got a question for you two. Mainly you, Ope.” “No,” he joked before I could get the first word out. “No?” Donna scoffed. “You really gonna tell me no, Ope?” Opie stared into my eyes like we were on a date. After an awkward pause, he finally said something. “Aw, who can say no to those big old dough-boy eyes of yours?” I rolled those big old dough-boy eyes, “Oh, brother.” “Opie, let the boy speak,” Donna laughed. “I was just thinking that maybe next week we could all go down to the paintball war place in town. I took Amber, and she loved it. She actually asked me if we could all go sometime, so I figured with you guys here and paintball fresh on my mind, now’s a good time to pop the question.” Opie spit out a little of his beer, “Pop the question!?” “Uh, yeah? Why not?” I asked. “Bro, marriage is a huge thing. I know you guys are great together, but that’s a bit quick, don’t you think?” Opie looked like he just saw a ghost. “Marriage?” I reared back. “Ope, I’m just talking about a double date at the paintball place.” “Oh,” Opie looked relieved. He took another sip of his beer, this time almost finishing it. “We’d love to,” Donna smiled. “Yeah… I guess I could go,” Opie chuckled and shook his head. “Great! Double date at the paintball room. I’ll go call Amber and let her know,” Donna said, giving her man a kiss on the cheek before disappearing out of the kitchen.

“I was only joking. I hope you know that,” Opie said. “Oh, I know,” I said, taking a drink of my beer. “Not that I don’t think you guys will get married, but it just seems a little early. These are our teenage years, Jax. Take your time and enjoy them because you only get so many. Less than a decade as a teen, then a lifetime of being an adult.” It was a bit morbid to think these were the best years of our lives, but living in the moment was the way to go. “Yeah, you’re right. Good thing I was talking about giving her a paintball gun and not putting a ring on it.” “That’s probably best for now,” Opie chuckled. “I see a difference in her, though.” “Who? Amber?” He nodded. Amber was a bit hard around the edges when it came to joining in on plans. I think she always felt like a burden to the rest of us like she didn’t fit in, but that wasn’t the case. She and Donna are practically best friends, and even Donna says she’s distant at times. I knew that doing things as a group made Amber more likely to join in, and, like Ope said, the difference was noticeable. “I don’t know if it’s because we give her the confidence or what, but Amber is the reason why I don’t put up a fight to do things.” “What are you boys whispering about?” Donna walked back into the room. “Oh, nothing, honey,” Ope said, leaning back in his chair. A few weeks later, we were at the paintball place. Paint was flying everywhere. “Teller! Winston!” the girls both yelped as we carried out our well-thought-out ambush. Just as they rounded one of the corners, Ope and I descended upon them, each of us tossing a paint grenade at their feet before letting go of a relentless barrage of semi-automatic paintballs. A few days later, I was flipping through the pictures Donna took. Every time we hang out, she makes sure to snap at least one shot of us together. Says it’s for when we’re old and gray, so we’ve got something to look back on. She had managed to snap a picture of Opie and Amber laughing, looking at each other. “You know, he told me what you guys were talking about when I went inside the other day,” Donna admitted, breaking the silence. “Is that so?” I responded, still staring at the picture. The image of Opie and Amber laughing together captured a rare, genuine moment. “He’s right. There’s a difference in her. I don’t know if it’s partly because you two finally gave in to your feelings for each other or if it’s because we do things as a group that she’s finally coming out of her shell,” Donna said, her tone thoughtful.

“Honestly, I think it’s both,” I smiled.

[scotianostra]

30th May 1889 saw the birth near Kirkliston of Isobel Wylie Hutchison.

Another of those strong willed Scottish women, Isobel overcame the constraints that the age, her class, and her own personality placed upon her, to become a solo adventurer in the far North, an accomplished plant collector and a successful poet and writer.

Carlowrie "Castle", a Scots baronial mansion near Kirkliston in West Lothian, was the comfortable upper-middle class home into which Isobel Wylie Hutchison was born in 1889. It was there her father, Thomas Hutchison, a successful wine merchant in Edinburgh, looked after his gardens, and passed on to Isobel his fascination for plants and his habit of meticulous note-taking. I put the commas round castle as, although it is known as a castle by it's name in the old sense of things, having only been built in the mid 19th century, to me a castle needs to have a lot more history than that, Isobels grandfather had it built from scratch, nowadays it is top wedding venue and voted one of the top three venues under 200 bedrooms in Europe.

Back to the lady in question, three deaths were to shatter Isobel’s youth. From 1900 she went to school in Edinburgh where she studied a curriculum suited for a young Victorian Lady. After her sister married a naval officer and saw very little of him for long periods Isobel decided that marriage would restrict her life.

Three deaths were to shatter Isobel’s youth. Her father died suddenly, shortly before her 11th birthday; and her two brothers when she was in her early twenties – one in a climbing accident in 1912, and the other during the First World War. The deaths however meant she has an independent lady of means, affording her the luxury of leading her own life without restrictions.

She travelled to the Arctic, filming the things she saw around her, the landscape and the wildflowers growing there and the daily lives of the indigenous people. Other travellers of the time who wrote of their discoveries did not dwell on the domestic detail that makes Hutchison's work unique. Her first exploration was to East Greenland in 1927, followed in 1928 by a year in Umanak, North Greenland. She filmed eskimos collecting ice for water and hunting seals from a kayak, the wild flowers of Umanak and the Governor's coffee party! Scottish whalers had taught reels and other dances to the locals, Hutchison filmed them a century later still dancing with enthusiasm.

In 1934 she set out for Alaska, travelling by coastal steamer from Vancouver to Skagway and then overland to Nome. Here she found a very small freighter to take her along the north coast of Alaska, ending with 120 miles by dog sledge and returning on mail plane to Alberta. Hutchison brought back samples of the plant life for the Royal Horticultural Society and the Natural History Museum. She had a long connection with the Royal Scottish Geographical Society as Honorary Editor of the magazine and as a fellow and Vice President.

She was awarded the Mungo Park Medal as a tribute to her explorations and in recognition of her original and valuable researches in Iceland, Greenland and Arctic Alaska. She wrote several travel books including 'North to the Rime-Ringed Sun' and 'Stepping Stones from Alaska to Asia' and four volumes of poetry.

In later life she gave frequent lectures, using films and lantern slides, describing her travels for film-making and writing articles for National Geographic' magazine. She died in 1982.

Of her poems I have chosen one I can resonate with, having spent my childhood on the doorstep of the Pentland Hills, south of Edinburgh:

LAMENT FOR THE PENTLAND MEN.

Oh early grey of morning-time! Oh Pentland Hills! The bracken white with frosty rime, The brown peat rills, Home of the wild-bird wet with dew, Heard ye the sunrise yearning For the eager beat of Pentland feet No more, no more, no more returning?

Up from the city’s clustered spires, Up from the glen, The thin sweet bugle-call inspires The Redford men. Home of the wild-bird wet with dew Heard ye the bugle yearning For the eager beat of Pentland feet No more, no more, no more returning?

From high Caerketton’s pebbly ridge, From Kips to Castlelaw, From Loganlee to Redford Bridge, From Dunsyre to Cobbinshaw, Braes where the sheep-dog watches lone Fling wild the echo, yearning For the eager beat of Pentland feet No more, no more, no more returning.

Oh fallen hearts of Pentland gold! Oh bleeding feet that roam The long grey silences that fold The Hills of Home! Hear ye no sobbing faint and far? The grey old Pentlands yearning For the wistful beat of children’s feet No more, no more, no more returning.

You can read more about this little know Scottish explorer and her poetry here https://www.scottishpoetrylibrary.org.uk/poet/isobel-wylie-hutchison/?fbclid=IwAR1xQBXLm5Z020id-

[checkthreetimes]

Hip-Hop: The Most Listened To Genre And Its Subgenres

Hip-hop is a cultural movement that emerged in the late 1970s in the Bronx, New York. It encompasses various elements such as rap, DJing, breakdancing, and graffiti art. Hip-hop music is characterized by rhythmic spoken words accompanied by beats, samples, and scratching. It's a music genre, a lifestyle, a language, and a way of expression. It has influenced many aspects of pop culture, such as fashion, film, television, sports, and politics. Hip-hop has also spawned many subgenres and styles over the years, reflecting its artists' and fans' diversity and creativity.

Popularity Around the World

Hip-hop is the most popular music genre in the United States and the United Kingdom. In 2021, hip-hop accounted for 27.64% of all music consumption in the U.S., measured by equivalent album units. It also dominated the on-demand streaming market, with 29.39% of all streams coming from this genre.

Hip-hop is also popular in other parts of the world, such as Canada, France, Germany, Japan and South Korea. According to Spotify, hip-hop is the most listened-to genre globally, with over 9 billion streams per month. Some of the most popular hip-hop artists worldwide include Drake, Eminem, Kanye West, Jay-Z and Kendrick Lamar.

Subgenres and Styles

Hip-hop has grown and changed over the past five decades. It encompasses a variety of styles and influences, some of which have become mainstream and some of which have remained underground. This article will explore some of the major subgenres and styles of hip-hop music.

Old-school hip-hop

Hip-hop music traces its roots back to the late 1970s and early 1980s, with its earliest form featuring basic drum beats, turntablism, and MCing. Notable pioneers of old-school hip-hop include Grandmaster Flash, Afrika Bambaataa, Kurtis Blow, and Run-DMC.

New-school hip-hop

The second wave of hip-hop music, known as the new-school hip-hop movement, surfaced in the mid-1980s and continued until the early 1990s. It brought forth a diverse and intricate collection of beats, lyrical styles, and influences from different musical genres, such as jazz, rock, and funk. The trailblazers of this genre include LL Cool J, Public Enemy, Beastie Boys, and N.W.A.

Golden age hip-hop

The late 1980s to early 1990s marked the golden age of hip-hop, a time when artistic quality and innovation flourished in the genre. This era showcased a range of sounds, themes, and techniques from various regions and subcultures, featuring legends such as Rakim, Big Daddy Kane, KRS-One, De La Soul, and A Tribe Called Quest.

Gangsta rap

During the late 1980s and early 1990s, a subgenre of hip-hop emerged, which dealt with themes like crime, violence, drugs, and social issues. This form of music was heavily influenced by the everyday struggles of people living in inner-city neighborhoods and often attracted controversy and criticism. Gangsta rap was pioneered by artists such as Ice-T, N.W.A., Snoop Dogg, and Tupac Shakur.

Alternative hip-hop

Alternative hip-hop is a subgenre that originated in the late 1980s and early 1990s. It aimed to challenge the traditional norms and conventions of mainstream hip-hop music by integrating elements from other genres like rock, jazz, soul, and folk. Some of the pioneers of this genre are De La Soul, A Tribe Called Quest, The Roots, and Outkast.

East Coast hip-hop

A regional style of hip-hop that originated in New York City and its surrounding areas. It is characterized by complex lyrics, storytelling skills, and sample-based production. Some of the icons of East Coast hip-hop include Nas, The Notorious B.I.G., Wu-Tang Clan, and Jay-Z.

West Coast hip-hop

A regional style of hip-hop that originated in Los Angeles and its surrounding areas. It is characterized by funky beats, synthesizers and gangsta rap themes. Some of the icons of West Coast hip-hop include Dr. Dre, Snoop Dogg, Tupac Shakur, and The Game.

Southern hip-hop

A regional style of hip-hop that originated in the Southern states of the U.S., such as Texas, Louisiana, Georgia and Florida. It is characterized by slow and heavy beats, chopped and screwed vocals, crunk energy and dirty south slang. Some of the icons of Southern hip-hop include Outkast, UGK, Scarface, Lil Wayne and T.I.

Midwest hip-hop

A regional style of hip-hop originated in the Midwestern states of the U.S., such as Illinois, Michigan, Minnesota, and Ohio. It is characterized by fast and complex flows, lyrical dexterity, and diverse influences from other genres such as soul, rock, and techno. Some of the icons of Midwest hip-hop include Eminem, Kanye West, Common, Bone Thugs-n-Harmony, and Tech N9ne.

Trap

A subgenre of hip-hop that emerged in the early 2000s in the Southern U.S., especially in Atlanta. It is characterized by hard-hitting drums, 808 bass, hi-hat rolls, and lyrics about drug dealing, crime and street life. Some of the pioneers of trap include T.I., Gucci Mane, Young Jeezy and Three 6 Mafia.

Conscious hip-hop

A subgenre of hip-hop that emerged in the late 1980s and early 1990s that focused on themes such as social justice, political awareness, spirituality and Afrocentrism. It was influenced by the civil rights movement, black nationalism and the teachings of Islam. Some of the innovators of conscious hip-hop include Public Enemy, KRS-One, Mos Def and Talib Kweli.

Mumble rap

A type of hip-hop that became popular in the mid-2010s is known as mumble rap. This subgenre features slurred or unintelligible vocals, simple beats, and memorable hooks. Some people criticize mumble rap for its lack of meaningful lyrics and technical ability. Notable artists in this category include Future, Lil Uzi Vert, Migos, and Lil Yachty.

These are just some of the main subgenres and styles of hip-hop music. Many more variations and hybrids exist within this rich and diverse genre. Hip-hop is constantly evolving and adapting to new trends and influences, making it one of the most exciting and influential forms of music in the world. Hip-hop has shaped and transformed the music industry and culture for decades. It has given voice to the marginalized, challenged the status quo, and inspired generations of artists and fans. Hip-hop celebrates creativity, innovation, and expression. And it's here to stay.

[randomvarious]

Today's compilation:

React Test Six 1997 Trance / Techno / Tech-House

The UK-based React label was a deeply eclectic electronic and dance behemoth throughout the 90s that succeeded in both releasing music from singular acts and putting out a whole bunch of different V/A compilation series too. And while most of those series seemed to be more specifically tailored towards similar types of sounds or vibes, the label's budget React Test series was particularly known for its seemingly randomized, grab-bag nature, serving up assorted batches of tunes from a bunch of the different genres that React itself had tried to be involved in.

So, ultimately, what we have here with this sixth installment from the React Test series is a 90s smorgasbord of tunes that broadly serves as a showcase of what the label had either been putting out themselves, or what they wish they had put out, and were forced to license instead.

And I guess we'll just have to start with one of React's single-biggest successes then, the tried and true "Now Voyager Mix" of The Source's "You Got the Love," which managed to smash its way all the way up to #3 on the UK charts in '97. Confusingly, the original version of this song was released in 1986 by a US disco and funk group called The Source, but in 1990, it was famously remixed into a classic house banger that paired its iconic, sampled Candi Staton vocals with a Frankie Knuckles beat, and was credited to an entirely different act that was also called The Source, who happened to be John Truelove, the owner of the label that'd put out this new remix of it in the first place. And then Truelove updated it himself in '96 into an epic breakbeat tune that seemed to be following directly in the footsteps of Massive Attack's already deeply beloved 1991 anthem, "Unfinished Sympathy." A combination of Staton's passionate vocals, a chugging drum break, lovely and full undergirding string pads, and some rich keys made for a song that the British just could not say no to. Easy to see why this tune ended up doing so well in the end, especially when "Unfinished Sympathy" had proven so effective just half-a-decade prior.

And then another couple songs definitely worth knowing about here are Blue Boy's "Remember Me" and Nightmares On Wax's "Nights Interlude," both of which were not put out by React themselves, but are nevertheless great tunes anyway that further enhance this comp overall. "Remember Me" was simply one of the biggest trip hop-chillout tunes of the 90s, making its indelible mark with sections of repurposed vocals from the great Marlena Shaw that one could now blissfully and hypnotically bob their head along to in the midst of a warm summer breeze. Originally released on premier 90s Chicago deep house label Guidance Recordings in '96, it was picked up and re-released the following year in the UK by a very small label called Pharm, and would eventually make its way up to #8 on the UK singles chart and #2 on Billboard's Hot Dance Club Play chart in the US too. And it was also championed by DJ Mark Farina in the States as well, who used it as his anchor track in '96 on the first installment in his popular Mushroom Jazz series.

And if you're already familiar with the old school west coast alternative rap classic of "Passin' Me By" by The Pharcyde, then you should probably know that they got the idea to sample its famous and floaty organ riff off of Quincy Jones' "Summer in the City" from Nightmares On Wax's "Nights Interlude," which originally appeared on his debut 1991 album, A Word of Science (The 1st & Final Chapter), on Warp Records. Simply put, DJs who line this lovely downtempo gem up in tandem with "Passin' Me By" are pretty cool in my book 😎.

Word to the wise, though: make sure you skip over the first leg of this album, because React decided to kick it off with a run of bad progressive-house-and-trance dreck that feels like it was specifically manufactured to be played in those big, high-ceiling venues where globetrotting DJ sets and ads for Absolut Vodka freely comingle with one another. Love myself a lot of progressive trance and some progressive house to a lesser extent too, but I think these tunes in particular are lame, limp, boring, uninspired schlock, and consequently probably led to the explosion of EDM the following decade 😒.

It only gets better after that though, with a couple very cool techno offerings from French legend Laurent Garnier and Detroit pioneer Kevin Saunderson, a terrific jazzy deep house remix of Norma Jean Bell's "I'm the Baddest Bitch" by the one and only Moody Man, and then the closing trio of Blue Boy, Nightmares On Wax, and The Source 🙌. A pretty ample, yet limited window into what both React was up to at the time and the 90s UK electronic landscape writ large.

Highlights:

Laurent Garnier - "The Force" E-Dancer - "The Move (Kevin Saunderson Mix)" Wamdue Kids - "Ohm (Christian James Remix)" Norma Jean Bell - "I'm the Baddest Bitch (Moody Man Mix)" Blue Boy - "Remember Me" Nightmares On Wax - "Nights Interlude (Original Version)" The Source feat. Candi Staton - "You Got the Love (Now Voyager Mix)"

[therappundit]

PUNDIT PICKS: THE CREAM of the Crop - continued... [My Favorite SONGS of 2024 (*so far*)]

ICYMI, my favorite album list from Jan. - Aug.: https://therappundit.tumblr.com/post/763889760563576832/pundit-picks-the-cream-of-the-crop-my-favorite

***Please note: the selections on this list had to have dropped by 8/31/24, FYI***

Yikes. This has been a doozy of a week, to say the least.

But the show must go on, and back in June/July I began compiling what would become my ongoing “best of” list for 2024, with every intention of dropping said list by the end of the summer...aaaaaand it is now October. In my defense, it has often felt like summer over the past few weeks (just one of many red flags to rise that potentially indicate that the world is finally ready to shake us off)...so is it that crazy to be dropping a "summer blowout" list as we sail into Thanksgiving territory???

Meh. Don't answer that - let's just get to the music. Here are my favorite rap SONGS of 2024, ***as of Labor Day weekend***....

MORE OF MY FAVORITE SONGS: "place i rep" by Remy Banks, "Banded Up" by Chief Keef feat. Tierra Whack, "Complications" by Reiiki APOLLO, "HOO" by LIFEOFTHOM, "Bonnet" by TiaCorine, "ALAMODE" by CJ Fly & Stoic, "Type Shit" by Future & Metro Boomin feat. Travis Scott & Playboi Carti, "Curtis Jackson" by C Stunna feat. Skrilla, "Pedal tha Ave" by Wiseboy Jeremy & Kirti Pandey, "Shining Brighter" by Quelle Chris, Denmark Vessey & Pink Siifu, "DUMMY" by JUNECINEMA feat. RoBB, Chow & rivan, "Rotation" by BagChaser Reke feat. 2Real, Rufus Sims, "Custard Spoon" by Cavalier, "Humpty" by Semiratruth, "NOTT" by Hitkidd, Key Glock & Doe Boy, "Money Problems" by Nino Paid feat. Lil Gray, "Colors" by Remble feat. Mozzy & Stoneda5th, "6ix Times 2Day" by BabyChiefDoit, "proper vertigo" by mynameisntjack feat. Sol ChYld, "euphoria" by Kendrick Lamar, "Fisherrr (Remix)" by Cash Cobain & Bay Swag feat. Ice Spice, "Cullinan Gang" by Nasaan feat. Icewear Vezzo, "Doubles" by Sasco feat. Big Flowers, "Grandmother's Lessons" by Your Old Droog, "Penmanship" by Kooley High & Tuamie, "THAT'S HARD" by Anycia feat. Cash Cobain, "Super Rufus" by Rufus Sims & Billionaire Boyscout, "LIBERATION" by Mutant Academy feat. Quelle Chris, "See The Sunset" by Nick Satchel & dp0mmy, “Short Stories” by Jawnino feat. MIKE

24. "12:50 in New York" by Chuckyy

(Probably my favorite flow in rap right now, the "new school" Chicago drill MC is blessed with a delivery that I can only describe as a "menacing auctioneer flow".)

23. "Amanda Seals" by ReallyHiiiM feat. B.A Badd & Boldy James

(Concrete hard ReallyHiiim beat, featuring some classic basement Boldy and B.A Badd vibes.)

22. "MESCALINE" by LaRussell & CAM CORTEZ

(LaRussell is one of the hardest working rappers in hip-hop today, so he has had plenty of high points in 2024, but the way he bounces over this "Grindin"-esque beat puts this joint over the top. LaRussell brings a breath of positivity into his music that the west coast sound is really benefting from right now.)

21. "Ray Vaughn" by Ray Wop

(Ray's recent run has added some teeth back to TDE that they lost when Kendrick moved on.)

20. "INFORMATION AGE" by No Label

(A NYC based crew that you absolutely need to keep on your radar.)

19. "SINCE I WAS LIL" by JasonMartin & DJ Quik feat. Curren$y, Bun B & Jay Worthy

(Classic westside head nodder with veteran reps from other cities. Dope album from Quik & the artist formerly known as Problem, if you haven't peeped it yet.)

18. "MLK" by Myaap & Nedarb

(Myaap has been one of my favorite artists out of Milwaukee since last year's "h.t.s. (Hit That Shit)", her records are fun as hell.)

17. "PAYMEAGRIP" by Ovrkast. & Cardo Got Wings

(His star keeps rising, as the barriers between sub-genres in rap music continue to fall. Ovrkast. has already proven to be one of the most impactful young producers doing it today.)

16. "Match That" by BRISTACKZ

(Another attention grabbing artist out of Milwaukee, rapping like a trap Missy Elliot, experimental in a similar vein as Certified Trapper, and like Trapper, Bristackz records might miss the mark...but when she hits, she hits real hard.)

15. "I'm G (OMG)" by Blu & Shafiq Husayn

(Funky, hard joint - with a perfect Easter egg of a movie sample worked into the hook.)

14. "Dream Blunt Rotation" by Rich Jones & Sleep Sinatra/SINAI. feat. AJ Suede, Qari & J.U.S

(As smooth of a dope posse cut as you're going to hear, coming from a diverse collection of some of the underground scene's finest.)

13. "Trippin" - Bossman DLow

(As contagious as mainstream rap can get today, and I'm still laughing at "I pullin' up in a what the fuck kinda car is that?")

12. "SONJE" by Mach-Hommy. feat. Hephzibah

(I went back and forth trying to choose which Mach song to include here, but in my mind this luscious instrumental best represents the strong vibes that run across #RICHAXXHAITIAN.)

11. "Rocafella Chain" by Grafh feat. Freeway, Peedi Crakk & Memphis Bleek

(A dope Roc-A-Fella themed posse cut is not what I expected to hear in 2024, but I couldn't be happier that it exists.)

10. "Gank Move" by Big Hit, Hit-Boy & The Alchemist feat. HitgirlLENA

(Hits that sweet spot between smooth west coast rider music and underground grime, and when that combination works well, there aren't many soundscapes capable of yielding a stronger outcome. This album's aesthetic is peak chemistry between Hit-Boy & The Alchemist, and I hope that all of the challenges facing Big Hit today end up in his rearview soon, because this talented family still has a lot to share with the world.)

9. "Psalm" by 7xvethegenius feat. Jae Skeese

(If 7xvethegenius wasn't high up on your radar before I sure hope she is now. 7xve packs all of the skills of a traditional "conscious MC" without sounding the least bit trapped within those constraints, she's an exceptional writer that knows how to corral the thoughts of a woman that's trying to excel in rap music in 2024, and that in and of itself, provides endless material. 7xvethegenius is the true MVP on Drumwork's team..yup, I said it!)

8. "Lost Angel" by Blu & Evidence

("This album is dedicated to L.A., and everybody who helped me get home, every step of the way." Blu and Evidence's Los Angeles album is easily one of the best rap albums of 2024, and even though it's a skip-free ride that showcases Blu's gifts as a presence on the mic and Ev's - somehow still underappreciated - incredible mastery over the production of this album, it's this loosie that the duo dropped earlier this year that perfectly captures Blu's heartbreak, and subsequent rise from the ashes of his painful past to release some of the best art of his already impressive career.)

7. "Yea Yea" by Star Bandz

(With certain records...you just know it as soon as you hear it. The beat, the swagger of the MC, thay MC's voice...on "Yea Yea" every box is checked. And Chicago's young rising star, appropriately named Star Bandz, has breakout potential written all over her.)

6. "expensive piss" - shemar & Child Actor

(Hazy, unrestrained, and representing some of the best indy music out there today, capturing some of the best traits of the boom-bap era but adding they're own twist to it, the combination of shemar and Child Actor yields a sound that I hope to hear a lot more of in the future.)

5. "The Harder They Come" by YUNGMORPHEUS & Alexander Spit

(The teeth of YUNGMORPHEUS's pen paired with the soothing palette of Alexander Spit, hit me in a special place when I first heard this song earlier in the year. The whole album they did together is great, but this one has stayed with me all year long as one of the strongest examples of hip-hop music being in great hands today.)

4. "Collection Plate" by Ka

(Still shocked to be writing this as the last time to ever be discussing a new Ka record. If The Thief Next to Jesus is to be remembered as the Brownsville poet's swan song, what a bittersweet beautiful farewell to behold. "Collection Plate" was the immediate favorite for me, as it captures Ka's knack for simple but highly effective hooks, sharply written verses without one word wasted, all of it dragged over a rolling organ that paints the picture of a Brooklyn evangelist better than anyone else ever could. 52 years was far from long enough, but thank you for all of the art you gave to the world while you were here, Kaseem.)

3. "Free Jesus" by Mike Shabb feat. Navy Blue

(Not totally sure of what the song means, but I felt it deeply from the moment that Shabb posted a snippet from the studio with Navy. I’d like to think that it’s a statement about how tales from the streets can escalate to God-like levels of exaggeration, and the fragile line separating the exaltation of idols from the reality…but whatever it means to you, it’s a potent attention grabber.)

2. "Zayre" by Previous Industries [Open Mike Eagle, Video Dave, STILL RIFT]

(One of many standout records from this trio, but for my money's worth, this joint captures what is so special about the whole album: nostalgia for "the way things used to be" has never sounded more peaceful and content with the present.)

1. "Doves" by Armand Hammer feat. Benjamin Booker

("It's cold again..." Truth be told, I didn't think Armand Hammer's 2023 AOTY We Buy Diabetic Test Strips needed another song to make if that much stronger, but here we are. Maybe the greatest songs that I have ever heard added to an album long after it dropped, "Doves" captures both the beauty and pain of loss. It would be a bleak song as cold as the heart of winter if it wasn't coming from the powerful duo of billy woods and ELUCID, who excel at showing us glimpses of their hearts shining through dark clouds. And the crackle of that Benjamin Booker hook takes this moment to another level.)

[indepthjaybeats]

"Get ready to vibe with ‘I Need Dope Bars’ — a beat that hits with classic West Coast flavor and G-funk vibes perfect for any rapper who wants to channel their inner Snoop Dogg. This beat serves up smooth, soulful melodies with hard-hitting drums, giving you that iconic 90s vibe mixed with a modern twist. Ideal for artists who need that old-school touch in their bars and flow. If you’re looking to stand out with authentic, unforgettable West Coast energy, this beat’s made for you!"

[trapangeles]

Compton AV Ignites L.A. with New Hit "Do Yo Dance" Featuring Jason Martin and Zoe Osama

Compton's very own Compton AV has the entire city vibing with his latest track, “Do Yo Dance.” This infectious banger, featuring Jason Martin and Zoe Osama, perfectly blends classic West Coast vibes with catchy hooks that make it impossible to sit still. From the streets of Compton to the clubs of L.A., this track is quickly becoming the soundtrack to the city’s party scene.

West Coast Vibes at Its Best

With a reputation for creating tracks that keep the streets buzzing, Compton AV delivers yet again. “Do Yo Dance” is a celebration of L.A. culture, bringing together the laid-back, fun energy that defines West Coast music. Jason Martin and Zoe Osama’s contributions only elevate the track, adding layers of dynamic flow and energy that make this song a must-listen.

The song not only showcases the smooth lyrical delivery from these artists but also encapsulates that signature bounce that’s become synonymous with West Coast anthems. From house parties to car rides through the city, "Do Yo Dance" fits seamlessly into the vibe of L.A.’s urban music scene.

A City-Wide Movement

“Do Yo Dance” is not just a song—it’s quickly becoming a movement across Los Angeles. Compton AV’s latest hit is already inspiring countless dance challenges on social media, with fans from all over showing off their moves. This track is more than just a club banger; it's an anthem that unites people through music, dance, and that unmistakable L.A. swagger.

With its catchy hook and danceable beat, it’s no wonder that Compton AV has the entire city on their feet, dancing and showing out. The collaboration with Jason Martin and Zoe Osama only adds to the track’s appeal, bringing together three artists who truly understand what it means to represent for the West Coast.

Compton AV Continues to Rise

Compton AV has always been a name to watch in the L.A. rap scene. Known for his infectious energy and dedication to his craft, he’s consistently dropped music that resonates with fans across the West Coast and beyond. With "Do Yo Dance," he’s cementing his place as one of the most exciting artists to come out of Compton in recent years.

This track further proves that Compton AV knows how to create music that not only keeps his core fans hyped but also draws in new listeners. "Do Yo Dance" is the perfect balance of old-school West Coast vibes and fresh, modern production, making it a song that will stay on repeat long after its release.

The Power of Collaboration: Jason Martin & Zoe Osama

Jason Martin and Zoe Osama’s presence on “Do Yo Dance” is nothing short of electric. Jason Martin’s smooth flow contrasts perfectly with Zoe Osama’s raw energy, creating a dynamic that elevates the track to new heights. Both artists have been making waves in their own right, and this collaboration solidifies their spots as essential voices in the West Coast rap game.

By teaming up with Compton AV, they’ve created a track that not only highlights their individual talents but also showcases the power of collaboration within L.A.’s vibrant music scene. Together, they’ve crafted a song that’s poised to take over the streets, clubs, and airwaves.

Get Ready to Do Yo Dance!

If you haven’t already, it’s time to add “Do Yo Dance” to your playlist. Whether you're cruising through L.A. or hitting the club, this track is guaranteed to set the vibe. With its addictive hook and undeniable West Coast energy, "Do Yo Dance" is destined to be a summer anthem.

Compton AV, Jason Martin, and Zoe Osama are bringing the heat, and it’s clear that “Do Yo Dance” is just the beginning. Get ready to move, because this song is about to take over the city!

Have you been spending all your money and time on making music and shooting videos, but still not getting any exposure? Tired of just spinning your wheels? You know to get exposure you need to get featured on blogs, radio stations, playlist, and get your music e-mail blasted out to the masses. Need help getting all that done? Then check out the Package we’ve made available for you below!

Like & Listen To Our Spotify Playlist

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The Latest Music, Videos, News, Entertainment……

[djevilninja]

This high-powered music is truly unique, As The Glove cuts the rhythm to the hip-hop beat. Hе moves like a madman as he spins his disc; Hе's the number one scratcher on the DJ list, he's Reckless.

Chris "The Glove" Taylor & David Storrs feat Ice T - Reckless

[pwblogarchive]

August 2008

August 4, 2008

i got the front of my car smashed last night

chasing you off my (intellectual)property.

yet i still want to believe as much as you.

or you less than me.

there is a code of words when inputed in the right order that will make sense:

Control Feral Obsessed Blackout,

sadly that is not it. alone.

if i believe does it make it real like a dragon or real like the last 4 years?

Posted by xoat 1:15 AM

August 4, 2008

its obvious right now this is where the party starts with you and me all alone.

the new klosterman book is pretty good. dude is definitely the ultimate geek.

i think he is probably either the most self aware person on the planet and a complete genius or completely oblvious and therefor a complete genius anwyay.

The verb “cleave” is the only English word with two synonyms which are antonyms of each other: adhere and separate.

ive been having crazy dreams. very colorful and memorable.

in the 80s there were quite a few movies made about robots wanting human emotions and babysitting experiences gone bad. both are really funny. where are all those movies now?

Posted by xoat 2:23 AM

August 12, 2008

crazy is just a perspective. (i am sid and nancy)

because we just need a more refined version of mayhem.

these days im always in and out of somnia

there is something pavlovian about all of this.

i know i am not allowed to explain it outloud.

i know i am not allowed to sign it.

but you understand.

i think youre getting it.

loud and clear.

Posted by xoat 1:26 AM

August 13, 2008

“to you (unfinished, off the top of my head)”

It all started with some friends and a van

a kick drum inside my ribs

Preaching electric into a microphone stand

Raise your red plastic cup

And Turn the laughter up

We fell asleep in the grass on the summer fest days

You'd never guess I'm still trying to get my head screwed on straight

All us believers still believe

Everytime we sing "two more weeks"

Someone shoulda thrown us in a cell and swallowed the key

Somebody shoulda told us to leave em be

The only news we tuned in to was the traffic update

Nothing feels as close to home as nightime windows down on 88

Lax to berlin and back

Wake up on the west coast inside a flask

The good books in the drawer next to the bed you pissed in

passports a blur, full of stamps from places I missed you in

They'll tell you everything about last night that you forget

Pack your suitcase, joes in the back smoking a jazz cigarette

They hated me before they ever loved me

I'm not ready for things to change

I miss you missing me in the good old days

Got stuck in the cell of you and me

I guess it still beat solitary

-----Worry worry

Put my head in such a flurry

Freckle freckle

What makes you so special-------

One of these days yr gonna wake up in heaven

Laugh about that night you got four stitches above your eye

when they let the guitars fly

Never trust a band that wouldn't bleed for you

Never believe in anyone who wouldn't drive through the night

(To you)

They never tell you in school you'll feel so alone

Wake me up again when were in the same time zone

The way I'd take a cornfield over a coast

Mulitply me times what you adore most

There were nights between yellow lines

When I confessed to you riding shotgun asleep under purple skies

They say

You get what you get

Well we Got lost in the middle of nowhere And you almost quit

Tonight Come together

Come apart

You can get lonely when u

Only read the charts

Called everybody I knew in this life

Can we get it together just for tonite

I miss old friends and "play it agains"

Please Send my love,

to everyone above

August 23, 2008

i hope

i dont miss you tommorrow.

i love the way this city looks at night.

Posted by xoat 2:45 AM

August 24, 2008

edit:

i meant fuck off and die.

not im sorry.

Posted by xoat 3:34 AM

[rennisaturate]

if i hadn't made me i'd be more inclined to bow / powers that be would have swallowed me up / but that's more than i can allow

full name: bryce dawe elderhallow preferred/nicknames: none birthdate: november 30th age: 30 height: 6'2" gender: cis man pronouns: he/him sexuality: bisexual education: homeschooled ( mundane verse: high school ) nationality: idrisian ( mundane verse: british residence: seattle WA, USA occupation: shadowhunter ( mundane verse: bookstore clerk ) sun sign: sagittarius tags: opens / canon / traits  / music taste / aesthetic / turn ons / wanted opposites

a fleshed out and more detailed bio will be here sometime, but in the meantime here’s the rundown:

Like all nephilim, through the veins of Bryce Elderhallow, runs the blood of the angel Raziel. And with this blood, he is born to defend the earth from the multi-dimensional demon filth that slips through the void and tries to devour our world. Bryce grew up in the Shadowhunter home country of Idris, until he was nine years old. That was the year he lost his father.

Henry Elderhallow was an idealistic man, he’d always believed that downworlders were not truly monsters and that like shadowhunters, they were blessed in ways and just as equally cursed. He believed that downworlders and shadowhunters could work together for the greater good of fighting away demons. But that idealism unfortunately lost Henry his life. A raid of an Accords disobeying vampire’s coven gone wrong. The small band of shadowhunters had relied on the help of another coven to lead them, but it turned out the other coven betrayed the shadowhunters rather than to turn in their own kind to the Clave.

Bryce remembers the day his mother got the news. She could barely speak the words to her sons before she fell apart to tears and could hardly stand. He remembers he and his brother, Jonathan, breaking the living room window and running out, the tears never stopping, and the pain… a line of lightning struck right through them. Since that day, Bryce has hated downworlders. But, rather than to follow in his eldest brother’s misguided footsteps in attempting to hunt down the vampires who killed their father, he went along with his mother to the Seattle institute, a smaller west coast Institute that answers to the LA Institute. His mother decided she just couldn’t stay in Idris any longer with Henry gone. There they live with Collin and Trini Maythorn and their daughters: Lorraine and Corinne. Bryce can be cold and condescending; closed off to the world around him. He buries himself in his work, killing demons and dealing with non-law abiding downworlders being the only thing he claims to know best. Though when he feels no one is paying attention, he tends to lean into attempting to play piano. He's not amazing at it, but it's a form of comfort for him.

There had been no word from his brother John for months, and his family had begun to think the very worst… until John came to the front steps of the Institute, looking gaunt and beat down and dirty, Seattle rain pouring over him. The Elderhallows and the Maythorns have kept John hidden in The Institute, for the fear that the Clave might find him, and punish him for having gone rogue for so long; which, Bryce was surprised to hear, John regretted deeply.

[newmusicweekly]

New From Keyvous “Catch A Wave” now at radio: Radio Download Here

This multi-faceted California rapper Keyvous began making music when he was just 11 years old. Born Keyote Gilmore in Portland, Oregon, he moved to greater Los Angeles, California and was involved from a very young age in theater and learning music. He formed a group called Think Twice with two school friends, and at the end of his teenage years he was touring and recording solo, as well as with the League and Leon Rockmore. His solo material drew on a wide range of west coast hip hop, R&B and pop influences as the years rolled on. 2011’s The Travel was a retro-fitted homage to ’80s hip-hop and radio rap, with funk-tinged beats and wobbly synths backing up Keyvous’ rhymes and vocals. He returned in 2014 with Open Letter, Pt. 1, preceded by party anthem single “I Get It.” Ever active, he continued to issue new singles and make appearances on other artists’ tracks over the next several years. From Street People Entertainment the radio world is about to experience something very special with Keyvous. Additional Artist/Song Information: Artist Name: Keyvous Song Title: Catch A Wave Publishing: Keyvous Music Publishing Affiliation: BMI Album Title: Catch A Wave Record Label: Street People Entertainment Record Label: Street People Entertainment Larry Weir 3236587449 larry_weir@sbcglobal.net Radio Promotion: National Record Promotion Larry Weir 3236587449 larry_weir@sbcglobal.net Read the full article

[crabscrabscrabs]

Biggie has become so under-appreciated in the 21st century.

As we proceed (uh) To give you what you need '95, motherfuckers Get live, motherfuckers As we proceed To give you what you need '95, motherfuckers Get live, motherfuckers Now turn the mics up (as we proceed) Turn that mic up, yeah That beat is knockin', I need that mic up though (to give you what you need) Turn that shit the fuck up (East Coast, motherfuckers) Uh, what? (Bad Boy, motherfuckers) Turn it up louder Yeah, uh As we proceed to give you What you need J.M., motherfuckers J.M., motherfuckers (uh) '95, motherfuckers (woo) Uh

Who shot ya? (uh) Separate the weak from the obsolete Hard to creep them Brooklyn streets It's on nigga, fuck all that bickering beef I can hear sweat trickling down your cheek (woo) Your heartbeat sound like Sasquatch feet Thundering, shaking the concrete Finish it, stop, when I foil the plot Neighbors call the cops said they heard mad shots (uh) Saw me in the drop, three and a quarter Slaughter, electrical tape around your daughter Old school, new school need to learn though I burn, baby, burn like Disco Inferno (burn, baby, burn, what?) Burn slow like blunts with yayo Peel more skins than Idaho potato Niggas know, the lyricla molestin' is takin' place Fuckin' with B.I.G. it ain't safe (uh) I make your skin chafe, rashes on the masses Bumps and bruises, blunts and Land Cruisers Big Poppa smash fools, bash fools (uh) Niggas mad because I know that cash rules Everything around me two Glock 9's Any motherfucker whispering about mines (and I'm) And I'm Crooklyn's finest (uh) You rewind this, Bad Boy's behind this

As we proceed (what?) To give you what you need '95, motherfuckers (what? Uh) Get live, motherfuckers

As we proceed (what? Uh) To give you what you need East Coast, motherfuckers Bad Boy, motherfuckers

Get high, motherfuckers Get high, motherfuckers (uh, uh) Smoke blunts, motherfuckers (uh) Get high, motherfuckers ('95, uh) Ready to die, motherfuckers (uh) '95, motherfuckers (uh)

I seen the light excite all the freaks (uh) Stack mad chips, spread love with my peeps Niggas wanna creep, got to watch my back Think the Cognac and Indo sack make me slack? I switches all that, cocksucker G's up (uh) One false move, get Swiss cheesed up Clip to TEC, respect, I demand it Slip and break the 11th Commandment Thou shalt not fuck with nor see Poppa Feel a thousand deaths when I drop ya (uh) I feel for you, like Chaka Khan I'm the don Pussy when I want, Rolex on the arm You'll die slow but calm Recognize my face (uh), so there won't be no mistake So you know where to tell Jake, lame nigga Brave nigga, turned front page nigga Puff Daddy flips daily (uh) I smoke the blunts he sips on the Baileys On the rocks, tote Glocks at christenings Hammer cock, in the fire position and, what?

Get live, motherfuckers Ready to die, motherfuckers

Come here, come here (what?) Open your fucking mouth, open your (it ain't gotta be like that B.I.G., oh) Didn't I tell you don't fuck with me? Huh? Didn't I tell you not to fuck with me? (as we proceed) Huh? Look at you now (to give you what you need) Huh? Can't talk with a gun in your mouth huh? ('95, motherfuckers) Bitch-ass nigga, what? (get live, motherfuckers) (Get live, motherfuckers)

As we proceed (who shot ya?) To give you what you need '95, motherfuckers Get live, motherfuckers Get high, motherfuckers (who shot ya?) Ready to die, motherfuckers

As we proceed (who shot ya?) To give you what you need '95, motherfuckers East Coast, motherfuckers (Who shot ya?) West Coast, motherfuckers (us) West Coast, motherfuckers

As we proceed To give you what you need As we proceed (as we proceed) To give you what you need (to give you what you need)

Get live, motherfuckers Get live, motherfuckers (get live, motherfuckers) '95, motherfuckers ('95, motherfuckers) Get money, motherfuckers (get money, motherfuckers)

as we proceed To give you what you need (to give you what you need) '95, motherfuckers Get live, motherfuckers '95, motherfuckers J.M., motherfuckers J.M., motherfuckers

As we proceed To give you what you need

[aaronafgash]

10 NEW SONGS - 2/23/24

Pretty bad week again for the new tunes, but that’s why I’m here, trying to find the diamonds in the rough. And boy, was this rough. A dishonorable mention to the new corny-ass Justin Timberlake song. Where were you when he lost all rizz? Fascinating what happens when he isn't backed by Pharrell and Timbaland. Anyways, enjoy!

1. Test It - Erika de Casier

There’s something about Erika de Casier’s music that feels mysteriously nostalgic - familiar for reasons I can’t quite pinpoint. It’s almost like I’m discovering an artist from the ‘90s that went under the radar back in the day. That being said - this song rocks. Sultry and lowkey, Erika sings in an almost-whisper, discussing how she and a potential partner need to “test” things out before fully committing. Her album was hit or miss, but this song is a clear hit. (Sidenote - worth listening to "ice" if you want to hear an all-time Andre 3000 impersonation.)

2. I Don’t Love You - Charlotte Day Wilson

Charlotte Day Wilson - who I’ll be referring to as CDW for the remainder of this blurb to avoid writing her long-ass name out again - sings with her soul. “I Don’t Love You” is a classic breakup ballad, but there are some fascinating things happening texturally on the backing production, including synth pads and sped-up samples. “It's more peaceful being heartbroken” is a devastating (but effective) lyric in the first verse. Knowing that shit is going to hurt but accepting that it’s the right thing for yourself? Damn, CDW. Bars.

3. Illusions - Jalen Ngonda

Talk about an old soul. Jalen Ngonda burst onto the R&B scene last year with his debut album Come Around and Love Me, a warm, beautiful soul album that makes you want to dance in the kitchen with your partner. He keeps the vibe going here with “Illusions”, his first release since then. The production is perfect, channeling ‘60s Motown, but his voice is the reason you want to keep listening - this dude would have been a star in any era. Whereas artists like Bruno Mars pick a decade and base an entire album / era on that, what Jalen’s doing here feels much more authentic and grounded - more reminiscent of someone like Leon Bridges.

4. High Value (feat. Ty Dolla $ign) - RJMrLA

I know literally nothing about RJMrLA, but I cannot stress enough how nice it is to hear Ty Dolla $ign collaborate with someone who isn’t a Nazi. Good West-coast beat, solid verses, and a great hook. (We’re only on the fourth song and I’m already starting to struggle. Bear with me.)

5. Britpop - A. G. Cook

A.G. Cook has been one of Charli XCX’s main collaborators for a while now. I tend to have a harder time getting into his solo work, but this is catchy, and you can definitely hear Charli over this kind of beat. We love mindless electronic music!

((Update - after some light reading, I discovered that Charli's voice is the one we hear on this song. Sick!))

6. Karma (feat. Isaiah Rashad) - SiR

TDE-labelmates SiR and Isaiah Rashad link up here for a laid back track. SiR’s recent single “No Evil” hit much harder for me, but I’m not mad at this. 

7. Flowers - Real Estate

Real Estate’s 2014 album Atlas is one of my favorite front to back records of all time, conjuring up nostalgic memories of the spring before graduating high school. Their new album, Daniel, does not live up to that billing! But “Flowers” specifically strikes me as a proper return to form for the indie rock mainstays - a breezy, chill track that just feels like summer.

8. Mine (feat. Shakka) - Ghetts

I mentioned Ghetts’ single with Sampha a few weeks ago - he dropped his full album, On Purpose, With Purpose, today, and this song was a standout. Over an uptempo, soul-sampled beat, Ghetts flows effortlessly while maintaining tactile precision with his words and cadence. Shakka provides a lovely little hook, and we even get a small backing choir supporting him.

9. NO SLACK (feat. Healy) - DLG.

Cool beat / production. Chill. I’m a Healy fan, so that’s why this popped up on my Spotify. I don’t know shit about DLG. so I have little to add here, but it’s worth a listen.

10. Fear - Logic

Cannot emphasize enough how little I want to be associated with Logic fandom, but damn, "Fear" is so good. Released a few weeks ago, I will fully admit that I slept on this. Over a funky guitar riff and a four-on-the-floor house beat, Logic sounds better than expected singing the simple “I can’t let you hold me back” hook. His nimble, brisk raps pair perfectly with the song. My only critique lies in the second half, where we get a full two minutes of a jazzy, slow motion, fully-sung outro. It’s cool! But I would have loved it if they treated it more like a brief interlude, instead of letting it consume what ends up being a majority of the track. Regardless, good job Logic!