#Westside Connection Song Lyrics

[thecapodomme]

THE MUSE 🎨🖌️

Paired Up: DOM! Trevante Rhodes As Zyair Malloy x SUB! Black Fem/Plus size Reader!

Background Music/ Song Inspired by @kittehkwrites

Word Count: 4,390 (Yikes, but not counting the lyrics)

WARNINGS: Mature Audiences: 18+, Minors DNI -(HEAVY Daddy kink, BDSM, SMUT, SMUT, MORE SMUT! PROFANITY!, Established Relationship, , Some use of AAVE, The N word, light Bondage, Breeding kink, Tease and Denial, Wax play ,Choking, Grabbing, Hair Pulling, spanking, Praise, Smacking of the face ,Fingering (F), unprotected sex , A BIT OF A LONG READ, Some grammatical errors because IDK WTF i'm doing! (Capo say sike..Right now. lol But Im deadass) ... and all over Nastiness. Did I miss anything?

DISCLAIMERS:

-DO NOT COPY OR REPOST MY WORK.

-DO NOT TRAIN AI WITH MY WORK.

Synopsis: In the glitzy world of art and indulgence, Zyair and Y/N reign as the epitome of a power couple, their magnetic connection sizzling with untamed desire. Their love story ignites from the ashes of Zyair's artistic stagnation, sparked by the fateful encounter at a decadent sex party. From that moment, their lives intertwine, fueled by passion and creativity, leaving behind a trail of whispered rumors and envious glances.

As their anniversary dawns, Zyair prepares for his long-awaited art show, his first since meeting Y/N. Yet, his thoughts stray not to the gallery's pristine walls but to the allure of his beloved, whose presence electrifies every inch of his being. The clock ticks away as Zyair's anticipation grows, his yearning for Y/N eclipsing all other distractions as he finally comes home.

But time slips away in the tender embrace of their love, their passion threatening to consume them whole. As the hours blur into a haze of whispered promises and heated caresses, Zyair and Y/N find themselves ensnared in each other's arms, oblivious to the outside world. They are late for the grand affair, yet in the realm of their intimacy, time holds no dominion.

Taglist: @megamindsecretlair @notapradagurl7 @henneseyhoe @browngirldominion @melaninpov @hwadam-stories @spaceslutsworld @nahimjustfeelingit-writes @skvrpion @westside-rot @tvchi @kittehkwrites @kindofaintrovert @lostgalaxies

A/N: first off ... I'M RUSTY OK. Also I'm a bit upset because my older brother was like "who writes fan fics anymore they're so passé." 🥹 I said am I not a writer? Did I not get a journalism degree? Did my teachers not push me to do this and saw something? He didn't have anything to say back. But anyway! Is this self indulgent? YES. Are you still going to enjoy it? YES! BRAIN ROT....? YEAH IM GLITCHIN'! Be easy this is my first Fan fic/Smut I'm nervous. I love yall! It's real nasty because... I want him to do this to all of us! Do you hear me?! Slight delay because I was transfixed with the dialogue. I was really trying to get the essence of Zyair. If this gets positive feedback There may be a Prologue, a part 2 , and a part 3 if y'all feelin' this! Like, comment, reblog.... if your heart so desires! 🫶🏽

It's been four years since Zyair's trial, and it was his first art show since then. Mea was long gone and probably still with her pinhead ass husband, and to think he really wanted to like her. He was breathing new life into his art, his name was cleared, and he was getting into his first real relationship. He found his ONE.

 Touring London and France during the summer months. His nights were long, and his days were short. You missed him whenever you hung up from talking with him all night or if he sent you a cute text. You knew he was premiering his new pieces from home tonight, and anything was possible with you on his arm.

Daddy: I'll be home later than usual. The show starts soon. Be dressed, be ready, and wear those heels I like. I'll come to collect you. You've been such a good girl. I can't wait to see you! This tour has been hectic.

You: Yes, Sir! I miss you more. Come home to me. ❤️🥺

Daddy: That's my Big Girl. I'm on the way. 

You gently placed your phone beside the claw foot bathtub on the vanity chair you'd drug over. The plush afghan carpet ruffled as you moved it to where you wanted it. The master bathroom on the first floor was spacious yet cozy.

An open shower in the back is made of dark marble and granite, and Zyair's closet is off to the left, surrounded by suits, ties, and his wardrobe. Although the loft was Gargantuan, unlike most places in Chicago, it had a makeshift industrial vibe that made it mysterious enough, you thought to yourself.

'It really needs a woman's touch.'

Drums and soft piano flooded your ears from the huge vinyl and Bluetooth sound system; you rifled through Zyairs' music collection all day. It was impressive, spanning from 70s soul to 90s R&B, which was very prized to his heart and his favorite genre. As you prepare to get ready as instructed by the love of your life, it always helps soothe your soul and set the mood for a night in the city.

You peeled out of your I murdered my husband's robes, Pinned up your waist-length Goddess locs, and began to run a bubble bath. Candles illuminated the floor, glinting your umber skin into the floor-length mirror beside the vanity.

You carefully sluiced a toe into the roaring torrent to test its temperature. With a satisfied grin, you plunged into its warmth and shut off the water; the suds were cloud-like and steamy, clinging to every part of you, and the scent of damask roses filled the air. Toni's contralto caressed you.

Whoa-oh, whoa-oh Oh-oh oh-ooh Whoa-oh, whoa-oh Oh-oh oh-ooh Baby...

Relaxation couldn't even begin to explain the euphoria encircling you. You've bagged the hottest artist in Chicago, are engaged to be married, and have much to look forward to as you start life with Zyair.

You hum along with the song as you grab your pink African exfoliating net, scrubbing from top to bottom. Occasionally, you slump your hand out to hold your phone in case he calls, or any texts from his art assistant flash across your dimly lit iPhone 15.

Head Bopping along to the beat and your legs kicking water onto the floor as you half danced in the tub. You were so bewitched by your daydreaming and bathtub concert that you couldn't hear a pin drop.

Arriving into the lot and slowly turning the corner, shined chrome and black wheels approached the entrance and parked, with a thud from the door to the Range Rover, where his driver let him off.

Since you been gone I been hanging 'round here lately With my mind messed up

Zyair stepped out of the vehicle in all black as usual; A pin stripped, short sleeved, button down shirt, noir wife beater, Prada slacks, and matching boots.

He quickly approaches the gate to the elevator, which was now broken. He shook his head in annoyance, and a frown curled at his lips when he realized. "Always on some bullshit," he scoffed.

A flick of his wrist, he checked the time. The gold bracelet draped on his wrist, twinkling in the light from the cars going in and out. He began descending up the inside stairwell to the third floor toward the loft.

With solid traces, he rose from the staircase. Slowly, he closed the exit door, hoping you didn't hear it squeaking to lock. Crossing the downstairs living room floor, he passed leather chairs, scattered and unfinished art pieces, and an acrylic-adorned curtain. He crept behind the curtain and into the room.

Jumped in my car Tried to clear my mind, didn't help me I guess I'm all messed up now, baby

His gait was slow yet boisterous. His hand behind his back, and he bounced a little with one foot pointed firmly in front of the other, walking straight and tall. His presence was always known in a room. He held a box of two dozen long-stem roses and a rounded, substantially sized jewelry box.

---

Meanwhile, you'd already gotten out of the tub as the first verse goes into the chorus. The Whirl of the water rushing out of the tub feels loud against the empty room. You check your messages once more and check the time yourself: 8:30 p.m.

As soon as I jumped into my ride Those memories start to play, yeah A song comes on, on the radio And there you are, baby Once again!

Rubbing your body in Fenty butta drop lotion for an unforgivable glow, you look into the long-length mirror to the side of your makeshift vanity.

You pull on your raven-colored thigh-high stockings, bra, and Lacey panties with the corseted back, putting your talons into your mouth as you turn and take in yourself. The finishing touch is a generous dab of merlot lipstick and a flick or two of eyeliner and mascara after setting your foundation.

Nodding as if to say, 'Im that bitch.' You slipped on your coveted Dior patent calfskin sling backs, carefully lifting each foot to get each one on. Admiring your supple breasts, hips, and bountiful assets. From all angles.

It's just another sad love song Racking my brain like crazy Guess I'm all torn up And be it fast or slow It doesn't let go Or shake me And it's all because of you...Hoo!

Zyair's panther-like proximity took you by surprise. He cocked his head to the side while taking in the sight of you setting down his gifts for you on the counter of the bathroom.

You didn't hear him stride up behind you. His hands gliding up your hips, and his luscious beard cuddling into the crook of your neck. Taking in your scent and his full lips, kissing your clavicle.

It made your heart palpitate. You felt his hands snake up past your bra as you relaxed into his embrace, letting your tensions melt into him. That familiar cologne of sandalwood and pimento that you adored wafted into your nasal cavities as his hand gripped your neck ever so gently but slightly, applying pressure.

"You look incredible, Y/N. Stay just like this." Zyair says in his full-bodied baritone, sounding like heaven to you after so long. Nibbling your ear into his mouth with a playful bite.

He was watching you in the mirror, hunched over you a bit as he towered above because of how short you were compared to his six-foot stature, hugging you to his manhood.

Your ass pressed against his inky slacks. You turned around out of his grip and held his high cheekbones into your manicured, blood-red nails, Sucking his bottom lip into your mouth as he gripped and massaged your ass from above, making you stand on your tip toes and your breasts heaving into his Adonis-like abdomen.

Since you been gone I keep thinkin' about you, baby It gets me all choked up This heart of mine keeps dreamin' of you And it's crazy, babe

"I missed you. You were gone all month. I thought we'd never have alone time."You sighed into his parted lips, trailing butterfly kisses from the pronounced girth of his neck down to his Aureate-colored chains that sat right on his sternum.

Zyair respired, and his massive pectorals flexed in unison with your smacking lips as you kissed every inch of his chest through his open-collared shirt. Looking at you in the mirror, he stopped your assault of smooches by holding your hand.

"I know I miss you when I'm gone too,Baby girl. A nigga can't stop thinkin' bout you." He gently pulled you towards him, giving you that boyish grin and a flash of those to-die-for ivories as he clasped your lower back.

His bulging frame surrounded you as he stood back with your hand in the air, making you twirl like a Princess.

Before he sat down causally onto the vanity chair and embraced you in a hug between his thighs and a gentle kiss on the forehead, he bent over to grab the things he'd laid on the counter, brandishing them before you. He gave you the rounded jewelry box first.

Sitting back, his posture was relaxed and confident to the side, and his right foot bore the weight as he man spread all alpha, chocolate, and delicious.

You'd think I'd had enough, yeah Soon as I get you out my head I'm in my car again, ooh darling Just one request from the radio I'm back in love, sugar Once again!

"Mmh, Look at you girl. "He breathed in satisfaction, looking as if he could eat you right then and there. His tongue glides over his bottom lip, and his eyes darken with lust. You giggled and rubbed his thigh as you looked into his face. 

You squealed with excitement and vigorously shook the box, dancing in place. "What is it!?" touching it to your ear as if you could guess from the sound.

Zyair huffed a chuckle and looked at you, shaking his head. "You goofy lil' mama." he stroked his hand down his beard while looking at you.

Once you were done playing the guessing game, you unwrapped the thing like it was Christmas and you were the luckiest girl on the planet.

Wrapping paper, bows, and cards with the company name on them flew up in the air and scattered onto the bathroom floor. You got to the gilded piece.

It's just another sad love song Racking my brain like crazy Guess I'm all torn up And be it fast or slow It doesn't let go Or shake me

"You like it, Baby?" Zyair cooed, his voice deepening.

"Baby, I don't need this. I have so much alr- "He stopped you before you finished.

"Nah... nah... this is totally different. Unique even. You've earn't it, haven't you? "He says with a slight Louisiana drawl, his shoulders moving as he laughed.

"Y—You're going to collar me, Daddy? "You flung your hands around his thick neck and embraced him. Your eyes watered from his compassionate actions.

"You're the only one I think about and want to be with. I said why the hell not? " He smiled and played with your hair, twirling it between his nimble fingers.

Zyair took the collar from your hands, holding it carefully in the box. He took out the skinny key and unlocked the seamless hinge to open it. You stood in front of him, back turned toward him so that he could put it around your neck.

His hands gently placed the jewelry around your neck and shut it closed using the same key. Tracing it with his finger and mouthing "Mine" while you both look in the mirror.

You looked into his dark eyes with love, facing him as he leaned in to lick your lips and kiss you.

His fingertips turned white as he gripped onto your curvaceous hips, picked you up, and set you atop the stand-alone double sink vanity. You pull him into you by his belt loop and wrap your thighs around his muscular waist.

And it's all because of you It's just another sad love song Racking my brain like crazy (Like crazy, babe) Guess I'm all torn up And be it fast or slow It doesn't let go Or shake me (Whoa, baby)

The both of you all tongues and slobber each other down until you feel his long fingers curling under the silky crotch of the fabric of your lingerie.

You felt the sting of his teeth latch under your jaw as he bites into your neck. You hiss in want.

"Ahh, Zyair..." You breathe into his neck, rubbing down his back.

"Take this shit off. You ain't gonna need it."

He growled as you heard the sharp rip and crack of the cloth coming away as he tugged them off of your body.

His hands fondle and squeeze you until he finds your clit; your body bows from his encircling rhythm as he massages your nub with the fingertips of his index and middle fingers.

The cold from his ring on that finger makes you tense up and sigh. He licked from head to toe with his enormous tongue covering you.

He stops suddenly at your waist. You whine and squirm, but he's holding your arms above your head and looking straight into your eyes.

He licks his lips and winks at you, curling them in that bad boy fashion as he unbuckles his pants achingly slow with one hand, standing up slowly.

You watch, sitting straight up as he holds you, watching him pull pleasure from your inner depths against with your back against the tile of the wall.

His dick threatened to poke you through his Black and Gold PSD briefs. He moaned as he pressed against you. You moaned and purred back at him.

Here come the strings Then somebody sings Only takes a beat And then it starts killin' me, darling Only takes one note, I tell ya From that radio It's just another lonely love song

"Let me take it out, Daddy... please..." you said through gritted teeth, never breaking eye contact. Your breath hitched in your throat and went dry from his persistent teasing.

"Beg for it, and don't waste no time." He looks down at his growing and tenting hard-on, bites his lip, and raises his brow at you, looking back at you with the same taunting look.

You looked confused and in need as you ached for him. Smirking and pressing his lips to your ear as you struggled.

"Use your words. Or we're going to be late."

You begin to break into a cold sweat as droplets appear on your forehead. Trying to comprehend how to get out of this predicament, you slowly open your mouth to say something.

Still, by that time, Zyair was already bringing you down to your knees and grabbing your Goddess locs while ordering you to keep your hands behind your back.

He didn't hesitate as he stood over you, his slacks and boxers down his muscular physique. All you could do was look up at him, mouth drooling at the sight of him.

"Gon' come over here and Suck me," he said mercilessly in a dangerous tone. His voice echoed through the bathroom and made your chest vibrate. You did what you were told.

The way he only emphasized SUCK with feeling made your lower limbs thump with elation. You were already dripping but tried to hold out.

Your breathing increased with each moment that you realized you weren't filled up with his dick. Veiny, beautiful, and thick. You lick your lips in anticipation.

"Mmh, that's my BIG GIRL. What you gonna do with it?" His moans send you shock waves as he insists on teasing you. You use both hands to wrap them around his thick member not sure if it's a rhetorical question or if he was using it as a mind fuck.

Damn.

Zyair snaps your head back against the marble of the vanity. "I can't hear you, Bitch. "He snarls. "I asked you a question."

You squeal at the force and nearly yell from your tummy. " What Daddy told me to!!!!"

He chuckles that deep, devilish laugh again as he releases your hair. Your breathing becomes even more ragged, and you shudder at the sound. 

Before he's even done, he grabs the back of your head and forces his hard length deep into your throat. The mere shock causes you to sputter and choke.

With no room to run or breathe, he fucked into it, fisting your hair, making you bend over on all fours as he leaned down over you, smacking your ass precisely on your cheek, leaving it fiery, making it ache and jiggle, gripping your supple flesh as he went to trace a finger down your drenched slit at the same time. He moans, watching the recoil.

You gently swayed your hips from side to side as he played in your wetness, not wanting him to stop as you tried to keep up the pace. He was enjoying being sadistic with you, but it was a first that he hadn't been gentle before.

"Take it all, Mama. Don't stop."

Sucking in a sharp breath at your failed attempts to come up for air.

Coaching you as you did so, using your hair like a lever, tugging at it to make you go deeper and deeper by the inch.

Your legs automatically closed onto his wrist as he sucked his fingers and dipped a few inside you, your essence pooling around your opening.

He dipped his middle finger, then the second finger, taking his sweet time alternating. Making you writhe below him. Soaked and needy was the name of the game.

He twisted and pumped his fingers inside, leaving you leaking around them.

You glucked and gagged on his dick and hissed as he inscribed you just enough to make you whine.

Your gurgling and moans echoed throughout the bathroom, and he wouldn't let up. Looking down at you, biting his lip in pure bliss.

"That's it...Just. Like. That." eliciting a low moan from his lips. You looked into his eyes as your eyeliner smeared down your face from the tears. Making it hard for you to see.

The constant smacking, gagging, and slurping made you close your eyes tight.

The twinkling flames of the candles melting onto the floor and his chiseled face coming in and out as you tried to stay alert. The noises turned you on more than the act. Until you felt a welting smack to the face.

"Look at me. I don't want you focusing on nothin' else." his breath shuddered, and he kept up the same pace until he got tired.

You whimpered from the sudden flush of pain. But kept going, your hands still behind your back. His strokes became less frequent as he slowly slid his dick out of your mouth to the tip.

He was done using your mouth for now. Removing his fingers from your pussy, sucking them clean like he hadn't eaten in days, and cupping a hand under your chin as he stood up at his full height, looking intensely into your eyes like he'd never seen you before.

A soft kiss to your mouth, and You popped him out with a plopping noise and began to jerk and stroke him. A chain of spit latched from your crimson lips to his thick manhood.

"Hold that thought, Princess." He smiled as he walked to the other side of the bathroom. You watched, still in the same position he left you, as he gathered up a slow-burning candle from the floor.

Walking back over to you, he tested the temperature on his inner arm. Nodding and pleased with the degree, he approached you.

"Down." He commanded gruffly.

You used your hands to lower yourself onto the floor on your stomach and breathed in nervously as Zyair stood above your head.

Looking up, he looked even more Godly as you viewed his body from this view below.

You settle, and he crouches beginning to pour some wax onto the middle of your back.

You groan in pain, but as the sting settles into a numbing puddle, your senses begin to awaken.

Some beads down into your ass cheek. He waits to pour more onto the back of your neck and shoulders. You flinch with each interaction.

"Mmmh... " You softly moan; you fidget with anticipation of the next drip.

"You Aight Pretty? " He asks.

"Oh, that feels so good. Daddy," your eyes closed, and your mouth slung open.

"It's been a minute." He says with amusement. "I knew you'd like it."

He pours two more burning spots onto your ass cheeks, stands, and blows the candle out, placing it onto the vanity.

Turning his head so as not to blow any ash or soot into your face, and gently pulls you up.

He sat you back into the plush red and gold vanity chair, his lips meeting yours once more, kissing you down your body, and His tongue engraving tiny circles over your neck and down your breasts. slipping off your bra down your shoulders. You trembled from his touch.

His hands cupping one after the other, his skilled tongue lapping and suckling onto each as he goes from one to the other. You groaned as he bit down and tugged with his front teeth.

"Mmh... Fuck.." you shuddered and gasped at him playing with your body in this way.

Suddenly he lifts you up into the air and parts your legs, holding your weight onto his broad shoulders, suckling and licking your clit into his mouth and greedily scooping his tongue over your soaked folds.

Shoving his tongue in between, you yelped from the sudden waves of pleasure hitting you, and just when it started to get good. He denies you yet again.

Sitting you back down in the chair, he pauses as he lifts each leg and purposely slings your thighs over his shoulders.

Anchoring you by holding the chair, leaving wet kisses down your ankles, and spreading your inner thighs to give them some love, too.

Your eyes closed again, and you rubbed the back of his burst fade as you yearned for him to be inside you.

Reaching out to touch his stomach, his dick poking that triangle made between your legs. You subconsciously thought about shoving his dick inside you. But knew better than to try him.

"Oh fuck baby... Please." You tried to stop him from toying with you, but he only glared at you.

"Please, what? PLEASE WHO?" He asked with a flair of arrogance, tipping your chin up.

" ooouuue.. Daddy..." You whispered.

"Yeah, Be a good girl, Y/N, and be still fo' me." With fervor, he lined himself up at your entrance, stroking himself a bit, holding your head from above to make you watch him slide into you.

"Sssss.... Fuck I missed this pussy, and I missed you so much." He entered you tip first. Forcing himself out and plunging in again profoundly, making your head go back.

"Z-ZYAIR!" you cried out in response to his torture.

Repeatedly dipping himself into you again and again… he was halfway in and hadn't even begun to bottom out this time.

He wrapped his large hand around your neck, and both of you groaned in unison. as he made one swift pump into your creamy nectar.

"Mhm, You feel allat baby? "He coaxed.

You grimaced and blurted out, "Fuck, just fuck me....!" you said, almost screaming. You couldn't take much more as you needed him like water.

smugly looking into your soul he swooped up the chair with you in it, and your body went limp as he slammed into you, filling you up like never before. Leaning into you just enough at an easy tilt that was nothing for him.

The man pressed 350 pounds or more, and this was light work. Your walls clenched down in unison with his pounding strokes, your calves flailing out from over his inner elbows but holding you in place just the same while he kept you right where he wanted you by the seat.

A gut-wrenching moan came from the depths of your stomach as you held onto his shoulders; you leaned into him, the chair leaving the floor as he powerfully thrust into you at the same time.

"You so fuckin' pretty like this." He grunted and praised you as all life had left your body, and nothing was left but the room spinning. You gave way to him, and moans started to escape you. 

"Yes, Daddy. Fuck! Daddy! YES," You pleaded and panted in pleasure as he bounced into you non-stop. Through hooded eyes, he watched you getting so close.

Zyair being the pleasure Dom he was is paying attention to how your body heaved and pulsated around him. He slowed, pounded, and roughly used his hips to kiss your cervix as he continued to try to break into your walls.

With calculated potency, he taunted you as you pushed him away, scratching at his abs.

"Na, this is what you wanted, right? Take it," He whispers.

hitting your hands away with one hand. He bucked his hips, going upwards and faster by the second.

In a swift motion he's putting you down on the floor in the chair as your body convulsed in complete surrender.

Your juices gushing in a splash of release. He grunted as your walls cradled his length, still deftly stroking into you, But he wasn't done with you yet.

Zyair moved you from the chair and bent you over in front of him while clutching your neck, his fingers curling on your throat. Dog walking you around the bathroom while pinning your ass to his hips.

He kisses your cheek lovingly as your moans echo throughout the room.

"This shit is mine, Hm?" He asked.

"FUC- FUCK!..."  

Your gaze followed Zyair's as you looked back and moved around the bathroom.

You mewed and tried to hold onto anything your hands could find. Rough, long, and hard thrusts make your thighs quake with ecstasy.

You felt his hard abs and balls hit against your clit as he dug into you. His hands squeezing yours comforted you yet made you weak for him as he took control once more.

The squelching and wetness from you only fueled him as he tried to fuck the shit out of you.

"Look atchu creamin' all down my dick and enjoyin' this shit, little girl."

Your eyes fluttered as his words did something to you. You saw stars behind your eyes as you felt wobbly and tense. Your orgasm growing near.

You found the wall to hold yourself up with, looking out into the living room, your claws digging marks into his palm as you grunted.

He chased you with his own release by going harder, pounding, swiveling his hips, and moving his hand to the back of your head, keeping your makeup-stained cheek pressed against the cool cement of the wall.

"SAY IT! " He hummed in your ear.

"ZYAIR! " You came instantly.

You screamed as you squirted all over the floor of the bathroom, making it hard for both of you to stand. Inaudible cursing and degrading remarks flew from his mouth as he nodded in gratification.

You felt warmth rush over you as he sprayed your walls with his seed. He purposely fucked it into you as you tried to squirm away. Removed his hand from your face to open your ass and watch as he made you take all of his kids.

His strokes slowed as the last of your leaking subsided. Both sigh in relief, Holding you by your hips and kissing over your neck as if he couldn't breathe without you. He smiles, holding you against the wall.

"I guess we're late ain't we." He laughs through a smile, his eyes crinkled at the ends as he looks at you.

"Aht, Aht! Fashionably." You taunted.

"You've been in my collection again?" He says with amusement.

"AND WHAT ABOUT IT!? " you rolled your neck in a comical attitude.

"I told you what that does to me, girl. You know nothing about that. My momma gave me those albums. "

"Let's shower before we miss our anniversary party".

With a hard smack on your ass as he grabs towels from the hooks on the walls running playfully after you, your laughing excitedly getting a head start as the last notes of the song come to a staccato.

So sad So sad, so sad (Sad, darling) So sad, sad love song Ooh, I heard it on the radio last night So sad So sad, so sad (Sad, baby) So sad, sad love song (Ooh) You got me singin' another love song all night, darling...

P/C: If you'd like to be added to my Tag list just say so it's MAD OPEN! i'll be glad to add you. I really do hope ya'll enjoyed it. Lord knows I had a time writing it for ya'll!

Special Shout out and a thank you to: @megamindsecretlair @notapradagurl7 @melaninpov @browngirldominion @nahimjustfeelingit-writes For bullying me..... (Nah just kiddin!) For making me see this through. all inspirational to me and incredible moots!

[cyarskaren52]

It’s not uncommon to find a great song from this legendary rapper

With a musical output that spans decades and quiet influence that’s helped shape an entire subgenre of emo-backpack rap, Common has one of the most illustrious careers in Hip-Hop. He started out in 1992 as “Common Sense” when he dropped his debut produced mostly by No I.D. Can I Borrow A Dollar?, a quiet album that showed sparks of his talent. But it was his two subsequent releases, also produced by No. I.D., 1994’s Resurrection and 1997’s One Day It’ll All Make Sense that cemented his arrival as one of rap’s top-tier emcees, known for his layered storytelling, emotional honesty, and lyrical charisma. 

Over the next two decades, he’d release a string of albums that established him as a unique talent with an enviable career, including the projects that would grant him the mainstream success that had alluded him early on kickstarted by 2001’s Like Water For Chocolate, helmed by the Soulquarian collective. But it was his Kanye West era that re-established Common as one of rap’s most talented emcees after his lackluster reception to 2002s Electric Circus. His time with Kanye also gave him his most successful run on the charts with 2004’s Be and 2007’s Finding Forever. 

In the 2000s, he expanded beyond Hip-Hop, jump-starting his film and television career, and now he’s only a Tony Award away from reaching EGOT Status, the only rapper to hold that distinction. 

#26

"LOVE OF MY LIFE (AN ODE TO HIP-HOP)" - ERYKAH BADU FEAT. COMMON [BONUS SONG]

Our BONUS SONG pick is a celebrated classic guest spot! In the early '00s, Common and Erykah were one of Hip-Hop's most high-profile couples—and collaborators. 

#25

“A SONG FOR ASSATA” FEAT. CEE-LO

Sure, the song from his 2000 album Like Water For Chocolate was very on the nose and maybe a little book report-ish but you can’t really diss a song that gives a history lesson about the activist hero, Assata Shakur.  

#24

“SWEET"

The No I.D.-produced banger featured on The Dreamer/The Believer sparked some controversy because people thought Common was taking shots at Drake. He denied it, there was a mini back-and-forth, and then it was over. Drama aside, “Sweet” is a solid fairly rare street-friendly entry into Common’s latter-era discography.

#23

“SOUL BY THE POUND"

One of the tracks that announced Common Sense to the game. A fresh-faced Com and No I.D. team up to help kickstart each other's illustrious careers on this verbose display from 1992's Can I Borrow A Dollar? 

DROP YOUR EMAIL

TO STAY IN THE KNOW

SUBMIT

#22

“GOOD MORNING LOVE” FEAT. SAMORA PINDERHUGHES

In 2019, Common teamed up with acclaimed drummer/producer Karriem Riggins and quietly dropped a sleeper jewel in his long discography, "Let Love Live." The album is jazzy and somber, anchored by Riggins’ production, and features vocalists/musicians including Jill Scott, and BJ The Chicago Kid. The album opener “Good Morning Love” featuring Samora Pinderhughes exemplifies the jazzy-soul direction of the album. 

#21

“THE 6TH SENSE"

Over melancholy DJ Premier production and accented by an aching hook from Bilal, Common delivers a strong offering from his acclaimed project, Like Water For Chocolate. 

#20

"BREAKER 1/9"

Over a loop of the Isley Bros' classic "Between The Sheets," a youthful Common Sense delivers rapid-fire, pop culture-referencing raps about trying to get laid and running into interference from outside forces. 

#19

“THE BITCH IN YOO”

Common drew a diss from Ice Cube and Cube's cohorts in Westside Connection for some lines he rapped on 1994's "I Used To Love H.E.R." (more on that later); and Com Sense fired back with this heater. The song first appeared on the Relativity Records compilation Relativity Urban Assault in 1996 and features Common going at Cube, Mack 10 and W.C.

#18

“G.O.D. (GAINING ONE’S DEFINITION)” FEAT. CEE-LO

Common is all about a good acronym and on this track from "One Day It’ll All Make Sense" he explores the concept of religion over a chill, piano-heavy track featuring distinctive vocals and a dope verse from Cee-Lo.

#17

“TAKE IT EZ"

The song that introduced him to the world. Young Common Sense had one foot in Leaders Of The New School-esque wiseassery and another in Das EFX-like wordplay. This is one of the best examples of his early style. 

#16

“TESTIFY"

Carried by a transcendent sample of "Innocent Til Proven Guilty" by 70s girl group Honey Cone, and one of Common's all-time best music videos; this classic track from Be is an early '00s winner from the tandem of Com and Ye. 

#15

“GHETTO DREAMS” FEAT. NAS

Common reminds everyone again that no matter how many TV appearances he makes, he’s still a skilled rapper when he reconnects with No I.D. and gets an assist from Nas on his ninth album, "The Dreamer/Believer." The song was also featured on the "Madden NFL 12" soundtrack. 

#14

“THE DREAMER” FEAT. MAYA ANGELOU

When Common reconnected with his longtime friend and early producer, No I.D. on "The Dreamer/The Believer" in 2011, people weren’t totally sure what to expect. Any doubts were laid to rest, however, as illustrated on the head-bobbing, mid-tempo album opener “The Dreamer.”

#13

“GO"

A Kanye West production featuring vocals from John Mayer, “Go” is a gem from the album that reintroduced Common as a top-level emcee, "Be," and a groovy addition to his catalog. 

#12

“THEY SAY” FEAT. KANYE WEST AND JOHN LEGEND

Kanye West did snap with this beat, so did John Legend with the hook. Once again, Common is at his height lyrically on this sleeper gem from "Be": “They say a nigga lost his mind/But in the scheme of things I never lost a rhyme/The thin line between love and hatred/”I’m the black pill in the Matrix, the saturated life.”

#11

“GETO HEAVEN PART TWO” FEAT. D’ANGELO

Common’s "Like Water For Chocolate" helped kick off the legendary Soulquarian era, and there might not be another song on the album that represents the collective’s sound more than “Geto Heaven” featuring D’Angelo on vocals over production by J. Dilla. Common delivers grounded verses about Blackness and survival. 

#10

“FAITHFUL” FEAT. BILAL AND JOHN LEGEND

Common is in his new lane when he’s rapping about relationships (both with himself and with women), and this track contemplates the idea of God being a woman and spins a tale about a man struggling with indiscretions is one of the best on "Be." It’s strengthened by the back and forth between John Legend and frequent collaborator, Bilal, at the end of the track.

#9

“I WANT YOU"

will.i.am samples Minnie Riperton on this mid-tempo jam from "Finding Forever" that ended up creating a lane for a lot of Common’s later work, which leans heavily into a mellow, grown man rap aesthetic. The video was pretty cool too, co-directed by Kerry Washington and starring Alicia Keys.

#8

“THE QUESTIONS” FEAT. MOS DEF

“Why do I need ID to get ID? If I had ID I wouldn’t need ID.” The Questions” from "Like Water For Chocolate" and produced by J. Dilla is one of the most comical, honest songs Common ever made, aided by a perplexed, but always lyrical Mos Def. 

#7

“THELONIUS” FEAT. SLUM VILLAGE

Whether you consider this a Common or a Slum Village track (it’s also featured on their album "Fantastic, Vol. 2"), there’s no question that this is one of the dopest Hip-Hop offerings of the past 20 years. J. Dilla was at his peak when he crafted what might be the best beat on Common’s fourth album, 2000’s "Like Water for Chocolate." 

#6

“THE PEOPLE"

Another Kanye West production, this time from the 2007 album, "Finding Forever," it’s Common in his element rhyming about the beauty of the Diaspora while Dwele throws an assist on vocals.  

#5

“RESURRECTION"

On his 1994 title track, Common’s flow is seamless over No I.D.’s piano-based production which samples David Axelrod, Ahmad Jamal, and the Whatnauts. DJ Mista Sinista’s scratches further help bring the track to life. 

#4

“THE LIGHT"

Produced by the legendary J. Dilla and featuring keys from James Poyser “The Light” is the most recognizable track from Common’s acclaimed 2000 album, Like Water for Chocolate. The semi-sappy love jam that samples Bobby Caldwell’s classic “Open Your Eyes” remains a radio favorite. 

#3

“THE CORNER” FEAT. THE LAST POETS

“The Corner” from his 2005 album Be,  is Common in top form over a Kanye West beat. And the iconic Last Poets elevate the track to something that's as spiritual as it is street. 

#2

“RETROSPECT FOR LIFE” FEAT. LAURYN HILL

The somber, beautiful track (produced by No I.D. and James Poyser and featuring a Donny Hathaway sample) is a great display of what might be Common’s greatest strength as an emcee—emotive storytelling. Lauryn Hill’s raw vocals on the hook interpolate Stevie Wonder’s “Never Dreamed You’d Leave In Summer” and are a perfect stamp on the standout rap classic featured on his 1997 album, "One Day It’ll All Make Sense."

#1

"I USED TO LOVE H.E.R."

It kind of has to be, right? Romanticized rap nostalgia before it was cool. Yes, it’s the source of one of rap’s most overused metaphors. It’s also one of the best rap songs of all time, and one of Common’s signature tracks from 1994’s Resurrection, as he creatively details his relationship with the genre he loves. 

Sent from my iPhone

[ericleo108]

Westside Connection

05/03/2024 Click here for Spotify, Apple Music, or Youtube. “Westside Connection” is my 76th official release and my 116th track published. This 6-track EP features Kokane from the Alcoholics, Tash from the dirty ogs, Xzibit, and Kxng Crooked. This is intellectual music with a hardcore vibe and a west coast sound that pays homage to west coasts legends like Dr. Dre along with conscious bars along side of some of the regions top mcees. It’s more than an album, it a connection, and it not just any connection, it’s a westside connection. The beats and features are all from Anno Domini. The entire project was produced by Keyano and the cover art is by Gigzlogo from Fiverr.

I talk about this blog post and other updates in the latest Sunday update here:

I actually really like “Symphonies.” I took the liberty of explaining why I haven’t made it yet in “hot fire.” I assume the position of and alcoholic and I show you whats important at the end.

Project overgrowth was a domestic civilian disobedience campaign that got started in chat rooms in the 1990s. The government had outlawed marijuana to such a degree that even having it on your land could land you in prison for decades. The problem and advantage is the plant is everywhere, and grows like a weed. So the project was to tell people to take marijuana seeds and plant them everywhere, especially in public parks until there is an overgrowth.

I did a word of the day rhyme for months. I wanna say 7 months, without looking. It doesn’t create enough attention and I don’t have the money or willpower to really make it have that wow factor. I want it to be fun and if I have to worry about all the technical aspects its not fun. Anyways, it’s my aspiration to achieve and like I said in my top 10 that I publish ever year on the blog, to work with Dr. Dre is the ultimate dream.

Lyrics

Afterlife

(Xzibit’s verse)

Forever ever we rock the mic

Even when we’re dead the real will Rise

Like that zombie shit

That Jesus did

My music resurrects the feelin given

That self-determination

And inventive creation

Derivation

And attitude that’s audacious 

X and I are legends

Next level like the episode

On the metronome

We flex on um, impeccable

The way we rhyme, it’s on a pedestal

These pussies are, delectable

My rise to the top is inevitable

Cuz I’m the shit, colorectal flow

From west coast to midwest

We have the most fun

They flex, but we test

And show them up

When you see me playa, just roll up a blunt

And we can reminisce about all songs we’ve done

Show you, how i did it all for the love

And bring this energy to the industry and build up my buzz 

So there’s one thing that I seek

I need you listening to my symphonies

What you know about a fan base

Or all the hate you can take

Or all the waves you can break

When you surfing the music sample bank

It’s my destiny, to rock these beats

I be standing on my own two bringing that heat

That fire, to light the blunt

I’m looking at Xzibit like pass the Dutch 

Alcohol and bud, I’m just tryna amass a buzz

They dissuade and front, while I rage and stunt

We fresh bud, you distillate carts 

Been real from the start, and an ace, word to cards

This shit hear not for the faint of heart

Soon I’ll be meticulously arhythmically climbing the charts

What goes up, must come down

Unless you escape Earth’s gravity and your outer space-bound

Shh, you won’t hear a sound 

As I transcend and descend on you and come for the crown

From west coast to midwest

We have the most fun

They flex, but we test

And show them up

When you see me playa Just roll up a blunt

And we can reminisce about all songs I have done

Show you that I do it for the love

And bring this energy to the industry and build up my buzz 

So there’s just one thing that I seek 

I need you listening to my symphonies

Hot Fire

I was putting in work

While you were getting worked on

I’m a hundred percent independent dawg

I own my own masters and control my songs

They trust in me because my word is bond 

Bang this in the east

Bang this in the west

Turn up the base and make it sweat

Hot fire, on the deck

I bring the heat, til she wet and vexed

I ain’t in a gang but damn I bang

These lyrics are a verbal assault that I slang

You should be offended by what I have to say

They like my evil, sinister accolades 

Sit and Stu in your hate, cuz I do what you can’t

I’m here to piss the world off and take some names

Of these wack Mcees that think they’re great

Cuz they can’t compare to what I’ve made 

I was putting in work

While you were getting worked on

I’m a hundred percent independent dawg

I own my own masters and control my songs

They trust in me because my word is bond 

Bang this in the east

Bang this in the west

Turn up the base and make it sweat

Hot fire, on the deck

I bring the heat, til she wet and vexed

I been grinding for years, without reward

I’ve made less and spent more than that job of yours

Tryna build an audience to go on tour

But the algorithm not interested in promoting my store

Success in the industry is more about

Who you know, not the songs you put out

How much you have to invest Is basically clout

Cuz you can pay for the promotion that plays you loud

In hip-hop, hard work doesn’t pay off

Unless you have an audience and can rock a crowd 

If you don’t agree then tell me how

When the room is empty that plays your sound

But This flow so retro like you got it on your iPod

I wanna get that money like a reticulating python

Real real long, like pics from a Nikon 

It’ll be forever Until I die like Rit or Dylon

I was putting in work

While you were getting worked on

I’m a hundred percent independent dawg

I own my own masters and control my songs

They trust in me because my word is bond 

Bang this in the east

Bang this in the west

Turn up the base and make it sweat

Hot fire, on the deck

I bring the heat, til she wet and vexed

Happy Hour

(Hook)

We drinkin beers, takin shots

As you’re sippin suds, let your body rock 

Weather in the cut, club or spot

Alcohol is what you got

This really isn’t funny, I have problems

And make them go away by shooting vodka 

My gaba receptors can’t handle the interruption

I’d probably have a seizure if i just drank nothing

So Imma lean back sippin

World Spinnin for my health

We need free healthcare

Before I can afford some help

I spend money on addiction

Not accumulating wealth

As long as a drink in my hand

The problem solves itself

At the bar playin the game “you call it”

At happy hour, 

(Hook)

This the type of music, To tell you how to do it

Because Technically, alcohol is a solution

My therapist said I need healing

But I don’t like sharing

So I drink, till I can’t feel feelings

Tennessee and Kentucky like a country song

That’s Jack and Jim whiskey in my cup

Thought I found a girl to love, and have some fun

Turns out I can’t remember who she was 

You’re not a bad person because you drink

We all got problems, I hope you see

It’s okay to fall apart, relapse, and binge

Tacos fall apart and we still love them

But Cirrhosis of the liver ain’t gon’ develop itself

It needs help, so call me

(Hook)

We drinkin beers taking shots

As your sippin suds, let your body rock 

Weather in the cut, club or spot

Alcohol is what you got

This the type of music, To tell you how to do it

Because Technically, alcohol is a solution

Damn I’m thirsty, I hope they serve me

If not I’m asserting 

Project Project Overgrowth

(Tash Verse)

Puff puff pass and blaze the weed up

From Michigan to Cali go and spread that seed stock

This is Protect Project overgrowth

Go ahead and help it grow

This sound like the dope you roll and smoke

Puff puff pass and blaze the weed up

From Michigan to Cali go and spread that seed stock

This is Protect Project overgrowth

Go ahead and help it grow

This sound like the dope you roll and smoke

Throw those seeds in ditches

Til the weed takes grip and then

Plant them in parks

Undercover at dark

On the side of the road

Or in a box in your home

They call it a weed, so plant it and let it grow

The plan is to overwhelm the government

With marijuana germaneness 

Put in the work to get

An overgrowth of permanence

Blow her back out 

Then she ask for it again like please

All my boys with the bud be like “sheesh”

I do it for the love, and that buzz, capeesh

To bad we can’t make THC outta yeast

Drink a drink that beer

I know you’re thirsty

Celebrate, go shawty, it’s your birthday

Drink a drink that beer

I know you’re thirsty

Celebrate, go shawty, it’s your birthday

God’s plant is calling you to get dirtay

What you need to do 

Is plant weed for Earth Day 

then

Puff puff pass and blaze the weed up

From Michigan to Cali go and spread that seed stock

This Protect Project overgrowth

Go ahead and help it grow

This sound like the dope you roll and smoke

Puff puff pass and blaze the weed up

From Michigan to Cali go and spread that seed stock

This Protect Project overgrowth

Go ahead and help it grow

This sound like the dope you roll and smoke

These cali girls got me pitchin a tent 

At Cocella wishing I was playin a set

Ride down PCH lookin out west

And she’s like “I want you to stay and get wet”

Cuz I do it for my girls

That growing all the herb

Harvest every 10 days when I’m chilling with her

She always horney, and likes to be on top

Feeling trim, and like a lollipop

Break it break it down now

How they gonna find out?

Germinate and spread around

Seeds while in your local town

Then

Drink a drink that beer

I know your thirsty

Celebrate, go shawty, it’s your birthday

Drink a drink that beer

I know your thirsty

Celebrate, go shawty, it’s your birthday

God’s plant is calling you to get dirtay

What you need to do 

Is plant weed for Earth Day

then

Puff puff pass and blaze the weed up

From Michigan to Cali go and spread that seed stock

This Protect Project overgrowth

Go ahead and help it grow

This sound like the dope you roll and smoke

Puff puff pass and blaze the weed up

From Michigan to Cali go and spread that seed stock

This Protect Project overgrowth

Go ahead and help it grow

This sound like the dope you roll and smoke

Aspiration

I’ve made my name, like Dr Dre

I’m a legend from the lane I’ve paved

Edutainment, what you learn today?

Aspiration is the word of the day

Aspiration is about what you aspire to be

A goal that you strive for and try to believe

Obstacles in the way of what you're trying to reach

Is how you dominate adversity and learn to achieve

Failure is natural,

Make up what they lack, envoke

If you don’t have the capital

Put in the work until it’s equitable 

If you have hate in your heart, let it flow

Back into your home and shut the door

Don’t start nothing, it won’t be nothing

Unless it’s your hope

To spread some love at the show

I got that feeling and let ‘em know

Coming real,  is the next episode

I’ve made my name, like dr Dre (still)

I’m a legend From The lane I’ve paved

Edutainment, what you learn today?

Aspiration is the word of the day

Aspiration is about what you aspire to be

A goal that you strive for and try to believe

Obstacles in the way of what you're trying to reach

Is how you dominate adversity and learn to achieve

I need a doctor because I forgot about Dre

But the physician said, it’s nothing but a G thing

What your seeking, is chronic and riesling 

You gotta guilty conscious from the envy you’re feeling

No diggity, I got some California love

All the way from Michigan I’ve been telling them thugs

From the D to LBC is the simplest cuz

That’s the route of the next shipment of bud 

So I roll another blunt and try to focus

On writing dope bars while I’m toke’n

Puffin the leaf often leaves me stolid 

But Dre in my mind saying “make it explosive”

We gotta smoke that weed, some devils spinach

While tracking the lyrics on beat and rhythm

I’m telling you, look before you finish

Let me put some kush up in it

I’ve made my name, like dr Dre (still)

I’m a legend from the lane I’ve paved

Edutainment, what you learn today?

Aspiration is the word of the day

Aspiration is about what you aspire to be

A goal that you strive for and try to believe

Obstacles in the way of what you're trying to reach

Is how you dominate adversity and learn to achieve

What If 

Yo what's happening, it's King Crooked

I dedicate this to all the rappers out there

That's better than the rapper that's on right now

I know it's hard, hold up

I know you wanna make it to the tip-top

But it's difficult to get it in Hip-hop

So you side hustle, bag it in the Zip-Loc

Cause you're too lyrical to go viral on TikTok

Under the radar every time your shit drops

Cause they listening to kidz bop

And you like 'Ah nah... Dog... Y'all really think that shit's hot?!'

How many spitters the top ten got pen drop

Silence of the Lambs there's too many sheep

While you reaching for your dreams there's too many asleep

But you in there deep so you gotta keep going through the pain and the failure

You gotta keep growing

Let me tell you what this shit is about

This rap biz is a math quiz, figure it out

Bigger the problem you solve, the bigger your house

Bigger the cheques and six figure amounts hit your account

If music is your real occupation

This ain't no rap homie this is a consultation

A business conversation about your operation

I see the spot you're chasing like Roc Nation

What if you never meet Jay

You never meet Em'

What of you never meet Dre

You never meet them

You better be ready

You're never overweight to take chances

Then your chances can never be slim

I want you to make it

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

I don’t need to be at the tip-top

Just wanna represent hip-hop

Banksy to my Basquiat 

Be like exit through the gift shop

Wanna bump it loud

Make the OGs proud 

Be like he bite me here 

But made it his own sound

I wanna be like Tyrese

Represent and take the lead

Change what you see 

By educating through reach

Work with platinum producers

Teach my audience cool shit

Find a new ways to grove to it

While we’re making the music

Of course I want to meet Dr. Dre

But I’d take Timberland or DJ Quik

I would be honored to lay a rift

See if you’re open, and have the bandwidth

I’ll serve Um up like a sandwich 

Put on Jurmain Dupree as the deli meat

Pharelle as the cheese and spread upon the Mustard seed

Learn some alchemist, Classified, or the Rza

Got that Metro Boomin' Swizz Beats like J Dilla

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

It’s hard not to be dark

Damn Crooked brought the art

I think about it all the time

What if my dreams are never realized

What if I never meet Em, What if I never meet Tay

What if I never meet Mary and get carried away

What if I never meet Cary and try to marry her and stay

What if we don’t become us but face rejection all the way

What if I never find love

What if I never become the one

What if I stop putting up money

Cash my chips and say I’m done

But on the real homie, I’ve already made it

I don’t have to work but still can’t pay for it

This all me, I don’t get no help

Don’t have a label or a manager, hell

I don’t have the money, I’m going into debt

Cuz this an investment and it’s going to sell

But what if I never blow up

What is I can never afford a home

What if investing in this rap shit was what’s was really wrong

What if I never get the opportunity to get out on stage

What if they never get to see love your way

What if my meds fail and I find myself harboring

Malcontent for the ones that are starving 

What if my cards are spent

And my chips are in

I’m called and fallen

Come up short and like Van Gogh

I paint it like Bawden 

She gotta know I’m all in

I love her and the thought of it

But what if I never meet Charlotte 

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

And I know I’ll make it, cuz I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

I know I can make it, I’ll build it up

Put in the work, but still hope for luck

In this philosophy of mine and I’ll tell you what

As long as the sun shines, Imma soak it up

All the what-ifs in the world can’t amount to the action you take

[doubleattitude]

JUMP Dance Convention, Phoenix, AZ: RESULTS

High Scores by Age:

JUMPstart Solo

1st: Tatum Self-’Somewhere Over The Rainbow’

2nd: Harper Schwalb-’You Are So Beautiful’

3rd: Lucia Piedrahita-’Fields of Gold’

4th: Navy Forrest-’Charge It Please’

5th: Mikayla Isler-’Baby I’m A Star’

6th: Kaylee Jones-’My New Philosphy’

7th: Charlotte Rathjen-’Do You Want To Build A Snowman’

7th: Soleil Lynch-’Titanium’

8th: Aliya Yen-’Loyal, Brave & True’

9th: Shale Herrera-’Wonderful World’

10th: Jewel Moody-’Be So Blind’

Mini Solo

1st: Kiera Sun-’The Full Circle’

2nd: Fiona Sartain-’The Way You Move’

2nd: Alexis Alvarez-’Wide Eyes’

3rd: Ellary-Day Szyndlar-’Snow’

4th: Keelyn Jones-’Slowly Fading’

5th: Shayne Knapp-’Blackbird’

6th: Elsie Sandall-’Almost Gone’

6th: Peyton Szuberla-’Glacier’

7th: Esme Chou-’Particle’

8th: Naiya Abalos-’Forces’

8th: Madison Machado-’Hallelujah’

8th: Aliyah Middleton-’Legs’

8th: Scarlet Bunker-’Pretty Women’

9th: Sierra Wells-’Turn to Stone’

10th: Claire Gestring-’On The Mast of Faith’

Junior Solo

1st: Laci Stoico-’Mibiso’

2nd: Taylor Morrison-’That Walk’

2nd: Kylie Kaminsky-’The Offering’

3rd: Colby Rich-’I Lie’

4th: Amaya Weeks-’Illusions’

4th: Alyssa Park-’Switch’

4th: Kortlynn Rosenbaugh-’Unearthed’

4th: Ellie Smith-’Waking Dream’

5th: Campbell Castner-’Fallen’

5th: Ellie Duffin-’Gentle Savior’

6th: Brooke Toro-’Clear Your Mind’

6th: Makaia Roux-’Everything I Wanted’

6th: Abbi Francis-’Feel It Still’

6th: Julia Chavez-’Going Under’

7th: Emmy Claire Kaiden-’Eyesore’

8th: Chloe Tyler-’Material Girl’

9th: Charlotte Webster-’The Light’

10th: Lauren Perng-’Among The Waves’

10th: Tatum Kahler-’Dreams’

10th: Chloe Bailey-’Last Man Standing’

10th: Avery Lee-’New York, New York’

10th: Milan Padula-’Stand By Me’

10th: Abby Honstad-’Veiled’

Teen Solo

1st: Emma Donnelly-’What Would I Be Without You’

2nd: Emma Hellenkamp-’Blackbird’

3rd: Courtney Chiu-’Fever’

3rd: Isaiah Villegas-’Notorious’

4th: Alexis Adair-’A.M’

4th: Brightyn Rines-’End of Love’

5th: Avery Hall-’Lie To My Heart’

6th: Erin Park-’Respire’

6th: Hailey Myers-’Standing Still’

7th: Mia Larkin-’My Blood’

7th: Alexa Lopez-’Piel’

8th: Kayla Harrison-’Crumbling’

8th: Krysten Ham-’Forgiven’

8th: Caroline Skrable-’Pick Up The Phone’

9th: Addison Leitch-’Heart On The Table’

10th: Summer O’Haver-’Black Coffee’

Senior Solo

1st: Alex Shulman-’In System’

2nd: Ella Horan-’Profundo’

2nd: Jade Bucci-’Sacrifice’

3rd: Avery Gay-’Haxun’

4th: Rylee Kiel-’All That Way’

5th: Kailyn Yi-’I Never Left’

6th: Ashley Spiller-’Disconnect’

7th: Julia Christensen-’Calling’

7th: Imani Frazier-’Deepest Thoughts’

7th: Aimee Paredas-’Do You Love Me’

7th: Kennedy Barry-’The Distance Between’

7th: Jenn Gamma-’Unconscious Mind’

8th: Ally Couch-’Let’s Stay Together’

9th: Dawson Walker-’Ramblin’ Man’

10th: Lilly Lorber-’Evening Song’

10th: Leigha Agins-’Prerogative’

10th: Abbey Zirkle-’Sispirium’

JUMPstart Duo/Trio

1st: Danceplex-’Stand By Me’

2nd: Summer’s DanceWorks-’The Queens’

Mini Duo/Trio

1st: Dance Connection 2-’Rise Up’

2nd: Danceology-’Cars That Go Boom’

3rd: Danceology-’Do Somethin’

Junior Duo/Trio

1st: Danceology-’Chelloopa’

2nd: L.A Dance Arizona-’Just Got Paid’

3rd: Bricks Studio-’90′s Mix’

Teen Duo/Trio

1st: WESTSIDE Dance Project-’The Trial’

2nd: Danceology-’Busy Signal’

3rd: WESTSIDE Dance Project-’Pulse’

Senior Duo/Trio

1st: Royal Dance Works-’Evol’

2nd: Elite Dance and Performing Arts Center-’Come Home’

3rd: Safford Dance Academy-’Say Something’

JUMPstart Group

1st: Club Dance Studio-’The Rose’

2nd: Dance Connection 2-’Cookin’ With Grease’

3rd: Danceplex-’Little Wonders’

Mini Group

1st: Club Dance Studio-’Songbird’

2nd: Dance Connection 2-’Conga’

3rd: Dance Connection 2-’Love Shack’

Junior Group

1st: Dance Connection 2-’Dawn’

2nd: Club Dance Studio-’Let My Touch’

3rd: WESTIDE Dance Project-’Santa Fe’

Teen Group

1st: Club Dance Studio-’Creator’

2nd: WESTSIDE Dance Project-’Aurora’

2nd: The Platform Dance-’Fade’

3rd: Dance Connection 2-’Silence’

Senior Group

1st: Club Dance Studio-’Bamboo Banga’

2nd: Club Dance Studio-’Paquita’

3rd: Royal Dance Works-’Uncertainty’

JUMPstart Line

1st: Club Dance Studio-’Baby Mine’

2nd: The Platform Dance-’Get Up’

3rd: The Platform Dance-’Somewhere Out There’

Mini Line

1st: Club Dance Studio-’Chapstick’

2nd: Dance Connection 2-’Dreamin’

3rd: Club Dance Studio-’Clap Snap’

Junior Line

1st: Danceology-’Just Got Paid’

2nd: Dance Connection 2-’RSVP’

2nd: Club Dance Studio-’Skin’

3rd: Club Dance Studio-’Bassline’

Teen Line

1st: Dance Connection 2-’Be Italian’

1st: Royal Dance Works-’Eye On Hand’

1st: WESTSIDE Dance Project-’Illusion’

2nd: Danceology-’My Hands Are Always Cold’

2nd: WESTSIDE Dance Project-’Strings’

3rd: WESTSIDE Dance Project-’Obsidian’

Senior Line

1st: Danceology-’It’s Weezy’

2nd: Royal Dance Works-’Exhale’

3rd: Club Dance Studio-’Impossible’

JUMPstart Extended Line

1st: Club Dance Studio-’Bathing Beauties’

2nd: Club Dance Studio-’Copa Cabana’

2nd: Dance Connection 2-’Jailhouse Rock’

3rd: Club Dance Studio-’Hollaback Girl’

Mini Extended Line

1st: Club Dance Studio-’Drum Step’

2nd: The Platform Dance-’Smash Bros’

3rd: Dance Connection 2-’Courage’

Junior Extended Line

1st: Club Dance Studio-’A La Cardi’

2nd: Club Dance Studio-’Din Da Da’

3rd: Club Dance Studio-’Physical’

Teen Extended Line

1st: Club Dance Studio-’Who Da Baby’

2nd: Danceology-’Not Today Satan’

3rd: WESTSIDE Dance Project-’One More Cup of Coffee’

Senior Extended Line

1st: Danceology-’Above Below’

2nd: Club Dance Studio-’Yo’

3rd: Dance Connection 2-’Come Together’

3rd: Danceology-’Night Thirst’

3rd: Club Dance Studio-’Slave For You’

Junior Production

1st: Danceology-’Blind Faith’

2nd: Danceology-’Rich Girl’

3rd: Danceology-’Level Up’

Teen Production

1st: The Platform Dance-’B’

2nd: Dance Connection 2-’Swing Kids’

3rd: Royal Dance Works-’Baby’

Senior Production

1st: The Platform Dance-’Wash Us’

2nd: The Platform Dance-’Joyner’

High Scores by Performance Division:

JUMPstart Jazz

1st: Club Dance Studio-’Copa Cabana’ 1st: Dance Connection 2-’Jailhouse Rock’ 2nd: Danceplex-’Let’s Hear It For The Boy’ 3rd: Spisak Dance Academy-’Remember Me’

JUMPstart Hip-Hop

1st: Club Dance Studio-’Hollaback Girl’ 2nd: The Platform Dance-’Get Up’

JUMPstart Tap

1st: Dance Connection 2-’Mr. Lee’ 2nd: Spisak Dance Academy-’Choo Choo Cha Boogie’

JUMPstart Contemporary

Club Dance Studio-’Baby Mine’

JUMPstart Lyrical

1st: Club Dance Studio-’The Rose’ 2nd: Dance Connection 2-’Fly’ 3rd: Danceplex-’Little Wonders’

JUMPstart Musical Theatre

1st: Club Dance Studio-’Bathing Beauties’ 2nd: Dance Connection 2-’Cookin’ With Grease’

JUMPstart Ballroom

Club Dance Studio-’Barbie Girl’

Mini Jazz

1st: Club Dance Studio-’Chapstick’ 2nd: Dance Connection 2-’Love Shack’ 3rd: Dance Connection 2-’Hangin’ Around’ 3rd: Dance Connection 2-’Peek A Boo’

Mini Ballet

1st: Danceology-’Scarf Dance’ 2nd: Danceology-’Polonaise’

Mini Hip-Hop

1st: Club Dance Studio-’Drum Step’ 2nd: The Platform Dance-’Smash Bros’ 3rd: The Platform Dance-’Main Event’

Mini Tap

1st: Danceology-’Luck Be A Lady’ 2nd: Spisak Dance Academy-’Sea Cruise’ 3rd: Studio 49-’Splish Splash’

Mini Contemporary

1st: Dance Connection 2-’Dreamin’ 2nd: Danceology-’Time Passing’ 3rd: Danceology-’Saved From The Depths’

Mini Lyrical

1st: Club Dance Studio-’Songbird’ 2nd: Dance Connection 2-’Courage’ 3rd: The Platform Dance-’Wind Beneath My Wings’

Mini Musical Theatre

1st: Danceology-’Mary Poppins’ 2nd: Club Dance Studio-’Sisters’ 3rd: The Platform Dance-’I Can Cook’ 3rd: The Platform Dance-’Don’t Tell Mama’

Mini Ballroom

1st: Dance Connection 2-’Conga’ 2nd: Club Dance Studio-’Clap Snap’ 3rd: Danceology-’Favorite Things’

Mini Acro

Spisak Dance Academy-’Hot Hot Hot’

Junior Jazz

1st: Danceology-’Rich Girl’ 2nd: Club Dance Studio-’Physical’ 3rd: Club Dance Studio-’Bassline’

Junior Ballet

1st: Club Dance Studio-’Swan Lake’ 2nd: Danceology-’Paquita’ 3rd: Danceology-’Passarinjo’

Junior Hip-Hop

1st: Club Dance Studio-’A La Cardi’ 2nd: Danceology-’Level Up’ 3rd: The Platform Dance-’Kingdom Valley High’

Junior Tap

1st: Danceology-’Just Got Paid’ 2nd: Club Dance Studio-’Perm’ 3rd: Spisak Dance Academy-’Trip A Little Light Fantastic’

Junior Contemporary

1st: Danceology-’Blind Faith’ 2nd: Dance Connection 2-’Dawn’ 3rd: Club Dance Studio-’Let My Touch’

Junior Lyrical

1st: The Platform Dance-’Wild Hearts’ 2nd: Dance Connection 2-’Light In The Hallway’ 3rd: Dance Connection 2-’Stairway’

Junior Musical Theatre

1st: Dance Connection 2-’All Shook Up’ 2nd: Danceology-’Black Friday Fiasco’ 3rd: The Platform Dance-’Take Off With Us’

Junior Ballroom

1st: Club Dance Studio-’Din Da Da’ 2nd: Dance Connection 2-’RSVP’

Junior Specialty

1st: The Platform Dance-’Adirim’ 2nd: Danceology-’Backbone’ 2nd: Dance Conection 2-’Femme de Paris’ 3rd: Royal Dance Works-’Wherever You Are’

Teen Jazz

1st: Royal Dance Works-’Makeba’ 2nd: Royal Dance Works-’Dance Monkey’ 2nd: Club Dance Studio-’Wavy’ 2nd: Dance Connection 2-’Fastah’ 3rd: Dance Connection 2-’Do You Love Me’

Teen Ballet

Spisak Dance Academy-’Claire de Lune’

Teen Hip-Hop

1st: Club Dance Studio-’Who Da Baby’ 2nd: The Platform Dance-’Eat’ 3rd: Royal Dance Works-’Baby’

Teen Tap

1st: Studio 49-’Shout’ 2nd: The Platform Dance-’Colors Dripping Off’ 3rd: Conservatory of Dance-’Dr. Jazz’

Teen Contemporary

1st: WESTSIDE Dance Project-’One More Cup of Coffee’ 2nd: WESTSIDE Dance Project-’Illusion’ 3rd: Danceology-’My Hands Are Always Cold’ 3rd: WESTSIDE Dance Project-’Strings’

Teen Lyrical

1st: Dance Connection 2-’Silence’ 2nd: Dance Connection 2-’Letting Go’ 3rd: Dance Connection 2-’Confession’ 3rd: The Platform Dance-’Wicked Games’

Teen Musical Theatre

1st: Danceology-’Not Today Satan’ 2nd: Dance Connection 2-’I Gotcha’ 3rd: Spisak Dance Academy-’That Man’

Teen Ballroom

1st: Dance Connection 2-’Be Italian’ 2nd: Dance Connection 2-’Swing Kids’ 3rd: Club Dance Studio-’Pump’

Teen Specialty

1st: The Platform Dance-’B’ 2nd: Club Dance Studio-’Creator’ 3rd: Royal Dance Works-’Eye On Hand’

Senior Jazz

1st: Danceology-’Night Thirst’ 1st: Dance Connection 2-’Come Together’ 2nd: Club Dance Studio-’Impossible’ 3rd: Dance Connection 2-’Destinations’ 3rd: The Platform Dance-’My Lovin’

Senior Ballet

Club Dance Studio-’Paquita’

Senior Hip-Hop

1st: Danceology-’It’s Weezy’ 1st: Club Dance Studio-’Yo’ 2nd: The Platform Dance-’1 Dance’ 3rd: The Platform Dance-’Girl Gang’

Senior Contemporary

1st: Club Dance Studio-’Bamboo Banga’ 1st: Danceology-’Above Below’ 1st: The Platform Dance-’Wash Us’ 2nd: Royal Dance Works-’Exhale’ 3rd: Dance Connection 2-’Quiet Please’

Senior Lyrical

Club Dance Studio-’Vision of Love’

Senior Specialty

1st: The Platform Dance-’Ego Death’ 2nd: The Platform Dance-’Drip’

Senior Ballroom

Club Dance Studio-’Slave For You’

Best of JUMP:

JUMPstart

The Platform Dance-’Get Up’

Spisak Dance Academy-’Choo Choo Cha Boogie’

Danceplex-’Little Wonders’

Dance Connection 2-’Jailhouse Rock’

Club Dance Studio-’The Rose’

Mini

Danceology-’Mary Poppins’

The Platform Dance-’Smash Bros’

Club Dance Studio-’Drum Step’

Dance Connection 2-’Courage’

Junior

Club Dance Studio-’A La Cardi’

The Platform Dance-’Kingdom Valley High’

WESTIDE Dance Project-’Santa Fe’

Dance Connection 2-’Dawn’

Danceology-’Blind Faith’

Teen

Royal Dance Works-’Eye On Hand’

The Platform Dance-’B’

Danceology-’Not Today Satan’

WESTSIDE Dance Project-’One More Cup of Coffee’

Dance Connection 2-’Be Italian’

Danceplex-’Darling’

Club Dance Studio-’Who Da Baby’

Senior

The Platform Dance-’Wash Us’

Danceology-’Above Below’

Club Dance Studio-’Bamboo Banga’

Dance Connection 2-’Come Together’

Royal Dance Works-’Exhale’

Best In Studio:

Conservatory of Dance-’Supercut’

Danceology-’Not Today Satan’

The Platform Dance-’B’

WESTSIDE Dance Project-’One More Cup of Coffee’

Royal Dance Works-’Eye On Hand’

Club Dance Studio-’Who Da Baby’

Dance Studio C-’Power of Love’

Danceplex-’If I Say’

L.A Dance Arizona-’Remember The Day’

Dance Connection 2-’Be Italian’

Spisak Dance Academy-’That Man’

[therappundit]

***The Top 10 Rap Albums/Projects of 2019*** are...

At the end of the decade, the rap music genre finds itself with a more splintered and diverse fanbase than ever before. What did that mean for 2019? A push towards different styles which was balanced out by a strong grassroots revival of jazzy, soul-inspired sounds that echoed back to the heyday of the mid-to-late 90′s underground hip-hop scene. 

In 2019, the lanes that travel more closely to what most would consider “mainstream” rap, struggled to find new inspiration without as much artistic direction to act as a template. This created a bit of a hole for some, as the absence of new material from Kendrick Lamar or Isaiah Rashad, or the disappointing reception to highly anticipated releases from the likes of Chance The Rapper, Schoolboy Q or Kanye West, left the gate open just wide enough to allow more Young Thug disciples, more aspiring Futures, and more cookie cutter “want to be the next Drakes” to flood your streaming platform.

But let us be clear: 2019 was still a great year for rap music because the underground feasted. Scroll further, and you will see that point made by my list of the best rap projects released in 2019 (and in some cases, releases that are amongst the decades best). I used the following criteria for this year’s list:

- the album/mixtape/EP/project/WHATEVER you want to call it had to be released by Dec. 20th, 2019 (arguably still way too soon to craft a well-informed review of an artists’ project)

- the project must have at least 6 songs (arguably still too small of a sample size to compare to lengthier projects)

- these rankings are a *combination* of my own personal preference, overall quality, and how the final product compares to other work from the artists’ peers that occupy the same lane/”sub-genre” of rap music

Regardless of how you feel about this list, I hope that you visit (or re-visit) any one of these pieces of strong work and find the same level of enjoyment that I did. I loved so much rap music this year and I could not be more excited about what the future holds. On a personal note, in 2019 I found myself even more in love with my wife, feeling luckier than I have in a long time, more satisfied with my hobbies and passions, and above all else, more in awe of my child (and anyone that ever raised a child) than ever before. I became a father for the first time in 2019, so as my baby daughter continues to fill my heart, I am beginning to wonder what she will think of her father’s love for this art form that has brought him so much joy over the years...I suppose time will tell.

Salute to these artists below and so many, many others. 🙏🙏🙏

Much love to all,

Jason, THE Rap Pundit

10. It Wasn’t Even Close - Your Old Droog

Your Old Droog is a unique, stand alone artist - I want to make that larger point perfectly clear - but after I finished listening to Droog’s trio of terrific projects in 2019, and sat down to right this blurb, on It Wasn’t Even Close, I thought of three people (and not the one you think I’m going to say!): Royce Da 5′9″, MF DOOM, and Joe Pesci in Goodfellas.

I thought of Royce because more than any other artists, I think Royce and Droog both get dismissed as “punchline rappers” because of their punchline-heavy rhyme styles, but both make incredibly personal, perspective-driven music (not their fault you’re not listening closely enough). I also thought of DOOM because YOD is able to create an insular rap world with his projects that incorporate fantastic production ranging from off-the-wall to bleak as hell, paired with hard rhymes that can be both dope af and laugh out loud funny - but without the gunplay and drug dealer talk. And why Pesci?? Because it’s not always clear when Droog is going to come off with a well crafted joke, or a painful reveal of the dark thoughts behind the man...but that is what makes him such a compelling MC.

Of his three 2019 albums (Jewelry is not being acknowledged here because in the holiday shuffle I haven’t had any time to sit with it yet, but I like what I have heard thus far), the transportation themed and appropriately titled Transportation might show the most range as a song-maker, but it’s the relentless thump of It Wasn’t Even Close that lands a top 10 spot on my list. His recent work with Mach-Hommy seems to foster a free-wielding spirit in Droog, from surprise project releases to unpredictable themes. The bars come in great abundance throughout IWEC, and most of the finest moments from Droog come when he his dropping brilliant one-liners over production that does indeed point to the world being about to end (perhaps all too appropriate for the bizarre news feed that was 2019). 

Your Old Droog has too much to say, too many thoughts to simply dumb down his lyrical content to create a focused song that just addresses one singular idea, so he makes the right choice on It Wasn’t Even Close to touch on as many of his manic thoughts as possible. Droog is like a great stand-up comedian that knows his audience and will do whatever he wants with his material because he knows that is one of the things that keeps his audience coming back, but within each joke is a revealing kernel of truth that should be taken seriously. Because whether you see it on stage or not, working stand-up comedians often dedicate themselves to comedy because there is no other way to harness all of the fast moving, often dark and uncomfortable thoughts in their head. I can’t say if that’s the case with Your Old Droog, but he is certainly an artist that raps with the sense of humor - and unexpectedly deep thinking - of a great stand-up.

9. Guns - Quelle Chris

Circling back to my comment about 2019′s depressing news cycle in the above Your Old Droog post (can’t be a coincidence, given that Quelle, Droog and Hommy are all frequent collaborators), can you think of a more to-the-point and overdue rap album title for this moment in America’s history than Guns?

Quelle Chris can stake a claim as having one of the greatest under-appreciated catalogues in rap history. The gifted rapper and producer has blessed us with many great projects over the years, and he tends to excel at making a point without sacrificing the enjoyment factor of his music. Much like last year’s Everything’s Fine (his brilliant collaboration with fellow dope artist and wife Jean Grae), it’s his use of satire on Guns that prevents the project from dipping a toe too deeply into the gloom of the subject matter.  Guns is a wonderfully scored portrait of how the United States’ connection to violence fosters increasingly more violence, and the symbiotic relationship between violence and the tools that wield it. Quelle is not a gangsta rapper, and he does not support violence, but as a black man in this country and a rapper, he is pulled into a wide set of false assumptions. An artist like Quelle doesn’t avoid false assumptions or challenging subjects, he tackles them with a great deal of thought and care. Sure, Guns has some light-hearted moments, but at the rate that people are being shot and killed by guns in this country (especially the rate of black men and women, as wells as members of other minority groups), a successful satire is often one that leaves the audience sitting in reflective silence rather than uproarious laughter.

8. Hitler Wears Hermes 7 [HWH7] - Westside Gunn

2019 was such a triumph for Griselda Records’ journey of doubling down on their sound rather than adapting, and reaching even higher profile success by doing so. While providing less controversial cover art on the 7th installment of his Hitler Wears Hermes series may be seen as a bit of a (increasingly necessary) compromise, the collective continues to sustain a steadily growing fanbase by keeping their music honest and gritty.

While not as grounded in the traditional as Westside Gunn’s FLYGOD, HWH7 provides a highly satisfying glimpse into the world of Griselda's impresario, the best example since Supreme Blientele. That means an indulgent dose of dusty soul samples, fashion trends, wrestling references, impeccable guest verses, and a general sense of fun-loving mayhem that could only be characterized by a representative of a shining underdog of a city with a scrappy chip on its' shoulder like Buffalo. Anyone that knows Buffalo New York knows that it's a city as filled with love as it is cold during frequently brutal winters. That's the type of town needed to shape a raw diamond like Gunn, who is as unpredictable with his rap cadence as he is respectful of the great MCs around him.

Westside Gunn and the whole Griselda gang provide a vibe that brings the best out of even the most experienced rap veterans (for example, I haven’t heard Fat Joe rap this well in years). Whatever their secret recipe for success has been (besides a relentless hustle and fresh talent), Hitler Wears Hermes 7 is another great example of how the collective’s energy is so contagious that established artists are eager to fall in line with their vision, Griselda doesn’t adapt to their guests. And can we finally end this ridiculous notion that Westside Gunn isn’t a dope MC in his own right? Don’t let the sharp rhyme skills of Conway and Benny distract from the fact that Gunn brings a real outside the box approach to how he attacks a beat, he’s as fly with his word choice as his fashion rep.

7. Eve - Rapsody

Rapsody is a great rapper.

Not a great “female MC”, not a “good for a woman” rapper...so knock off that bullshit right now, it’s 2019 people (well, technically 2020 - but I meant to finish this whole post before the ball dropped, but I dropped the ball). :-/

Rapsody has been an underground darling for so long that I am not sure if you can technically refer to her as underground hip-hop artist anymore? Check the discography and you will see that the North Carolinian has quite an impressive list of good projects to her name - all of which helped build the revere that her peers feel towards her when they say her name. While she did not ask for cult status, she certainly inherited cult status as the MC that snippy underground heads like to point to whenever they feel like Nicki Minaj or Cardi B are receiving too much too soon. Of course this sentiment is completely unwarranted - and almost always driven by angst against a fanbase rather than the more famous artist his/herself - but it doesn’t stop the conversation from coming up again and again...so why doesn’t Rapsody have more mainstream success? Should she be mentioned in more conversations as one of the best rappers in the game? And should she be receiving more credit as a woman in a male-dominated genre of music that managed to build a fanbase without pumping more graphic sexuality into her music, or showing off her body?

Well, all the answers to these questions snake up to the same problem, because apart from gender, Rapsody, Nicki, Cardi, and Megan The Stallion all share something else in common: they’re all just trying to get their piece of the pie in a sexist industry (more like society - but that’s a much larger convo) and it’s 100% not their fault. Please try to understand that Rapsody is going to do what she does on a record, and Nicki will do the same, and to expect either artist to do the same type of record is as absurd as expecting Conway The Machine to make a Drake album. Whatever your gender identity may be, you are entitled to craft your sound to be as mainstream or underground as you want it to be, just do you.

So in a way, it would make sense that Rapsody would drop the best album of her career in a year where the mainstream rap scene was shallow, mostly unremarkable, and full of holes. I’m not at all saying that that’s the reason why she received more press off of Eve than on most of her previous works, but in a rare twist, industry trends did provide a bit of an assist in the publicity department. However, the acclaim for Eve has less to do with industry trends, and a lot to do with just how good the music is on this album. 

Eve is a celebration of black women, but not as a “ladies night at the bar”, one time only rap album gimmick, but as a personal and informative album where every track is named after an influential woman of color, and the star of the album just happens to be a black woman that also hopes to be remembered as an influential woman of color. Eve is as much a braggadocious claim for respect from a dope MC as it is a humble diary of a veteran rap artist that’s still very much in her prime. The production choices range from intentional reinterpretations of the familiar, to fresh takes that successfully ride the line between what we would traditionally call “mainstream” or “underground”. At the end of the day, Rapsody’s Eve manages to start a conversation about the importance of black women in the history of the world, but while filling in the details with reminders that she deserves the respect of being treated as just another great MC.

6. Zuu - Denzel Curry

There may not be a more important album reflecting the sound of a specific city in 2019 than Denzel Curry’s Zuu.

His ode to the Carol City neighborhood of Miami, Florida was a long time coming. Zuu would not have been possible had he not experimented with different approaches in the past. He has dabbled in the same woozy, screaming raves of his fellow Floridian peers, and flirted with expressionism (especially on his previous album, TA13OO), but it all really came together on Zuu. A loose, more casual approach to song crafting on this album built a city on a clean slate. Much in the same way that Juvenile and Mannie Fresh’s “Ha” painted as vivid a picture of the feeling of being in the Magnolia projects of New Orelans as any city homage in rap history, Denzel Curry deserves a ton of credit for collaborating with perfectly selected producers to capture a sound that feels as sweltering as Curry’s place of origin.

While Zuu could stand on atmosphere alone, Curry is also at his best as a MC on this album. His pen is hard at work here (even though he claimed this album did not come with much actual writing), and he showcases a control over his flow and a charisma that proves that he is a stand alone artist to stay glued to moving forward. While the production aesthetic may be providing the broad strokes of color, his lyrics are adding the finer details throughout, discussing his father’s life and in general, the anxiety of growing up in a Miami neighborhood where sunny days are never promised. Zuu is a great album start to finish.

5. Marcielago - Roc Marciano

Roc didn't technically *need* to drop an album this year. His 2018 was one of the most prolific in his career, and for his increasingly less niche core fanbase, the impact on his respective lane is crystal clear, be it by open shout-out from his peers, to more subliminal homages. But it's that last point that inspires Roc Marciano to suit up and dramatically emerge from the gate every year or two. He has that Jordan/Jay-Z gene that suggests that no matter how many accolades are racked up over the years, any internet troll has the potential to get Roc's blood up. Which is why it should come as no surprise by this point that the man that gave us Marcberg, Reloaded and a stack of other revered projects, still felt the need to remind his "sons" that he is one of the Masters of his art form.

As an exercise in word choice and turn of phrase, Marcielago is more of a flex than an attempt to push new boundaries. But as a display of Roc Marci's (somehow) still understated skill as a producer, it's so much more - possibly his best work behind the boards. While less experimental with his production choices than on his acclaimed Rosebudd projects, Marcielago finds Roc doubling down on his ability to color within the lines of a gritty, soulful soundtrack to a world of seductive criminal activity, occasionally swerving outside of the lines with great intention, like a record skip, reminding the listener that this world is part autobiography, part fantasy - but the imagination of the man at the center is scary real. The piano sample alone on "I.G.W.T." is enough to provoke a smokey zone out, and the beat switches on that track as well as others (such as "Tom Chambers") are captivating because the switch-ups drive focus, not a choice derived from an overindulgence in production or onset boredom.

Many rap artists can claim to have made a great impact on their respective lane of traffic, but not many can claim that they paved their own. Roc did not invent the New York underground sound by any means, but when most of the New York crew abandoned ship, the captain stuck with it. ✊

4. The Plugs I Met - Benny The Butcher

Let's make this perfectly clear: Griselda Records has been dope af for years now, and nothing changed about their game plan in 2019 except that they had significantly more press to help continue pushing their brand forward. That press helped them put a ribbon around a tremendous year of music for them, along with a rapidly growing bandwagon of websites and online influencers that were previously asleep at the wheel.

That all being said...in 2019, the rap world really learned about Benny The Butcher. The Buffalo lyricist and Griselda & BSF rap capo has been spitting for years now, but word has finally reached his peers that he is pretty close to untouchable when it comes to this game called rap. Benny took things to another level with his short but potent dose of an album, The Plugs I Met.  Much like Pusha T (an appropriate guest here on “18 Wheeler”), please do not dismiss Benny as just another street hustler rapping about cocaine dealing. It’s not the subject matter that’s special here, it’s the attention to detail. Benny’s ability to describe the life he leads/has lead, and what he has been through with his writing is nothing short of brilliant, and he is able to rattle off astute observations/descriptions with his rhymes about the world he knows at a level that I would only compare to B.I.G., Nas, Jay-Z, Kool G Rap, Push, Beanie Sigel, and other legendary MC’s that have a unique way with words when it comes to tales of crime life.

But what more can I say about Benny the rapper/warrior poet that I haven’t been saying for years?  ¯\_(ツ)_/¯

https://therappundit.tumblr.com/post/143774514306/neighborhood-watch-benny

3. We Grown Now - Tree

Tree is a legend. If he’s not a legend in the conversations you are currently having about the best rap projects of 2019, then you need to remedy that. Perhaps you can downgrade him to “just” a Chicago legend, but I would disagree on the grounds that musically, he’s a legend when it comes to who he is as a rap artist, and I don’t really care that this album isn’t on anyone else’s top best of lists, it’s AOTY worthy material...

Tree is a veteran rapper/producer that seems to have a love-hate relationship with the rap business (well, maybe it’s strictly hate when it comes to rap as a business, but he raps with too much conviction for me to believe that he doesn’t love rapping - even when he’s jaded by it all). Why he isn’t heralded as an icon across every rap website today isn’t exactly clear to me (and I have already made too many assumptions on the intents of the artists on this list), but after being in a bit of a slumber, the purveyor of “soul trap” seemed to rise high once again in 2019, striking his fanbase with numerous projects that read as autobiographical diaries, including a dope collaboration with Vic Spencer, producer Parallel Thought, and this amazing album, We Grown Now.

Whether it’s attempting to find closure from fallen friendships, an ode to his sons, a declaration of his love for travel, or an olive branch to the past loves of his life, Tree touched on so many personal moments on his work in 2019 that it’s hard not to think that it’s all part of his final victory lap. It feels that way because Tree comes across as an old Blues man at heart, his greatest works of art often his most painful ones. While he may travel outside of music to get away from it all, put a mic, beat and writing pad in front of him, and he puts himself out there, warts and all. Give this one a spin in the New Year if you missed out:

https://soundcloud.com/mctreeg/sets/wegrownnow

2. Retropolitan - Skyzoo & Pete Rock

The definition of a dope New York album with no skips. Skyzoo shows that one can revel in nostalgia and positivity at the same time, that reflecting on how your home has changed can be a loving experience, even when it's clear that you would love to turn back the clock to an older, impactful time of your life. 

Retropolitan is the sound of a music Mecca that thrives today because of its' past, and even when you don't hear that sound of the city within the city walls as often as you used to, it’s that sound that still propels it forward every day. By all means, you can criticize the sounds coming from "these kids today", but know that new sounds still trace back to their source material (whether you can hear it or not, the influence exists), and there will always be enough room for different rap styles to to co-exist, just as Classical music and Rock 'n Roll continue to inspire the world around us without any genre/sub-genre diluting the pool...in fact, the pool only continues to expand because of it.

Like Roc Marciano, Skyzoo is on a short list of NYC-based MC’s that kept developing a traditional east coast underground sound in their music for years, long after it was en vogue. As one of the genre’s most naturally gifted writers and storytellers, I don’t know if any MC working today is as fit to write this album as Skyzoo, a relic that survived a purging of the old guard in NYC only to emerge as part of a resurgence of underground hip-hop, sounding as spry as ever (if not, even stronger). With Retropolitan, every bit of this ode to growing up in a culture capitol feels like a child’s observation from a Brooklyn apartment window rather than a forced exaltation of times gone by.

This pairing may be the most natural for Pete Rock since CL Smooth, and no doubt the music on this album would not exist if it wasn't for timeless records like "T.R.O.Y." that continue to breathe and sound as refreshing as the day it dropped. Right now I doubt many expect Retropolitan to have the same cultural impact (as the material clearly points out, both the world and the genre are so different nowadays), but the music that derived from these two NYC legends certainly packs a wallop of quality that belongs in rotation for years to come.

1. Bandana - Freddie Gibbs & Madlib

By now it's hard to imagine that folks were skeptical of the musical union between Freddie Gibbs and Madlib. But back in 2010/2011, prior to the release of "Thuggin" (the first single to be released from the fantastic project that would eventually become Pinata) the notion of Gangsta Gibbs finding a happy union with the man that was behind classic projects alongside underground icons the likes of MF DOOM and Jay Dilla, sounded more like a fish out of water tale. Today, it would be like hearing news of 21 Savage and DJ Premier dropping.

By the time Bandana finally dropped - the much anticipated follow-up to the Pinata collaboration that many consider a modern classic - the hype had long since buried the initial questions that fans had about what the chemistry would be like between the respected artists, who once climbed the rankings within two very separate lanes. What Pinata proved was that the hard rhymes from Gibbs, when paired with Madlib's chopped up jazzy soulscapes, yield a sound that feels as beautifully organic as many of the genre's purist classic records. The biggest difference between Bandana and its' predecessor is that their chemistry has only improved.

What 'MadGibbs' achieved here was a more intimate and diverse album than Pinata, and arguably a superior one. Bandana may lack the layers of dusty underground grit which came in abundance on Pinata, but Gibbs' flow and pen game are so sharp on this album that it gave Madlib a bit more room to experiment with some sounds that don't instantly point to Madlib as the orchestrator on first listen. Lurking behind the making of this project were Gibbs' very real legal troubles, and the threat of extended prison time that not only jeopardized the completion of this project, but Freddie Gibbs' own freedom. Throughout the amazing Bandana, Gibbs does not hesitate to remind fans of how his life could very well have gone in a different direction, and that's exactly what elevates an album of bars & beats to a gripping, album of the year experience. Even with Bandana still in heavy rotation for the foreseeable future, it's hard not to salivate over what the duo could accomplish next...

***AND THE REST OF THE BEST***...

11. Emergency Raps, Vol. 4 - Tuamie feat. Fly Anakin & the Mutant Academy

12. Let The Sun Talk - MAVI

13. Wap Konn Jòj! - Mach-Hommy

14. W.W.C.D. [What Would Chine Do]? - Griselda (Westside Gunn, Conway & Benny)

15. SPORTEE - Nolan The Ninja

16. El Capo - Jim Jones (and The Heatmakerz)

17. Hiding Places - Billy Woods & Kenny Segal

18. Oofie - Wiki

19. Feet of Clay - Earl Sweatshirt

20. Hell’s Roof - Eto & DJ Muggs

21. Brandon Banks - Maxo Kream

22. 4wurd - Jay Bel

23. Revenge of the Dreamers 3 - J. Cole & the Dreamville roster

24. Sli’merre - Young Nudy & Pi’erre Bourne

25. The Wild End - Tree & Parallel Thought

26. Holly Water - Fly Anakin & Big Kahuna OG

27. Kirk - DaBaby

28. Boss Sauce - Mooch & Futurewave

29. Port of Miami 2 - Rick Ross

30. So Much Fun - Young Thug

31. Own Pace - Medhane

32. Drip or Drown 2 - Gunna

33. You Can’t Sit With Us - Pivot Gang

34. GREY Area - Little Simz

35. Transportation - Your Old Droog

36. Tuez-Les Tous - Mach-Hommy & DJ Muggs

37. May The Lord Watch - Little Brother

38. Drum Machine Tape Cassette - Kev Brown & J Scienide

39. Lil Big Man - Maxo

40. Statue of Limitations - Smoke DZA & Benny The Butcher

Honorable Mention:

Bullies - Denmark Vessey, DrxQuinnx & Azarias

[erikahenningsen]

My 15 favorite theater experiences of 2019

In no particular order:

1. Choir Boy (Samuel Friedman Theatre, New York, NY): I say in no particular order, but if you know anything about me, you know that Choir Boy is my number-one show of the year. I saw it four times on Broadway and twice in Boston. Tarell Alvin McCraney’s writing is so beautiful, human, and fearless. He puts works of art on stages, television, and film that nobody else does. Jeremy Pope’s performance as Pharus is easily in the top three greatest performances I’ve seen on a Broadway stage. If your local regional theater is doing this show, I cannot encourage you enough to go and see it.

2. What the Constitution Means to Me (Helen Hayes Theater, New York, NY): This show was unlike any other play I’ve seen before. Heidi Schreck, who wrote and starred in WTCMTM, wrote a deeply human, poignant, and timely play about a document written by a bunch of rich, white men a few centuries ago and made it gripping, engaging, and relevant. It’s a show I believe every American should see. As an added bonus, Heidi is genuinely one of the kindest people I’ve met.

3. The Wrong Man (MCC Theater, New York, NY): I saw The Wrong Man for the first time three weeks before it closed, and I immediately fell in love with it and went back several more times in those three weeks. The Wrong Man is only ninety minutes long and has only three main characters, but it presents an engaging story about forgiveness, mercy, justice, guilt, and innocence. Ross Golan, the composer/lyricist, began performing The Wrong Man as a concept album thirteen years ago and turned it into a full musical. The score is beautiful and has some really great bops, and the choreography is probably the best I’ve ever seen.

4. Waitress with Sara Bareilles and Gavin Creel (Brooks Atkinson Theatre, New York, NY): I’m personally not the biggest fan of Waitress, but this was one of the most fun nights I had in a theater this year. Sara and Gavin had amazing chemistry, and I have never laughed so much at Waitress before. 

5. A Strange Loop (Playwrights Horizons, New York, NY): A Strange Loop is unlike any show I’ve ever seen before. It’s unlike anything anyone has seen before. How many shows center around a fat, black, queer character? I can’t think of any. Michael R. Jackson, the book writer/composer/lyricist, has an incredible ability to write satire that has you laughing at the same time you’re being punched in the face emotionally. A Strange Loop grapples with the intersections of racism, homophobia, and fatphobia. It’s meta at the same time it’s grounded, and gets more and more intense as the show progresses. I walked out of the theater in a daze after I saw it. My fingers are crossed it comes to Broadway.

5. Mean Girls, Taylor Louderman’s last show (August Wilson Theatre, New York, NY): Going to Mean Girls is a routine thing for me, and I’ve seen the show dozens of times, but every once in awhile something special happens that reignites my love for this show. Taylor’s last show was obviously incredibly sad for me, the cast, and everyone who loves this show, but I also laughed more and harder on this evening than I have in a very long time at Mean Girls. Everyone, especially Taylor, was giving this performance their all, and I’ll never forget it.

6. The Secret Life of Bees (Atlantic Theater Company, New York, NY): I had suspicions I was really going to love this show before I saw it, but I absolutely fell in love with it. The music is gorgeous (thank you, Duncan Sheik), the performances are stellar, and the story, though set decades ago, is as timely and relevant as ever. I do cry at shows pretty often, but rarely do I tear up because of how overwhelmingly beautiful a show is—but I did that at Secret Life of Bees. I’m still impatiently waiting on that Broadway transfer announcement.

7. Beetlejuice (Winter Garden Theatre, New York, NY): Despite all its flaws, I love this crazy, loud, obnoxious, wild show so much. I had seen it in DC and counted down the days until first preview on Broadway. I rushed first preview and ended up with front-row tickets, and I had one of the most fun nights in a theater I’ve ever had. The performances really make the show, and I’ve been very vocal about how I strongly believe Leslie Kritzer was snubbed by the Tonys. Beetlejuice also has my favorite scenic design for any show. I also have a uniquely personal connection to this showL Beetlejuice used to have a joke in the show I felt was offensive, so I reached out to Eddie Perfect and Alex Timbers and explained to them why I was hurt by it, and they actually listened to my feedback and removed the joke. I’m hoping Beetlejuice can find another home after June, because I’m not ready to say goodbye yet.

8. Next to Normal (Ground Floor Theatre/Deaf Austin Theatre, Austin, TX): For years I had been wanting an ASL production of Next to Normal with Sandra Mae Frank as Natalie, so when it actually happened I knew I had to fly to Texas to see it. I don’t think I’ve ever cried more at a show. Sandy made me look at Natalie in a whole new way, and the ASL interpretations of the lyrics added so many new layers to the show. Megg Rose, the Deaf actor who played Diana, gave one of the best performances I’ve seen, and I want her to be on Broadway immediately. This production really was a dream come true for me. 

9. Six (Chicago Shakespeare Theater, Chicago, IL): We drove to Chicago from NYC to see Six, and it was definitely worth it. I was in the front row for the first time I saw it, which was a terrifying but incredibly fun experience. This cast is so incredibly talented, and the show is so much fun, and being there with almost all of my closest friends was such a memorable experience. I’m so excited to see it again when it comes to Broadway.

10. Little Shop of Horrors (Westside Theatre, New York, NY): This was my first experience seeing LSOH, and I had an absolute blast. The performances were incredible, with Christian Borle being just off-the-wall crazy. I haven’t laughed that much at a show in awhile. The Audrey II puppets are fantastic, and what they’ve done with the scenic design in such a small space is amazing. I’m excited to see it again with Gideon Glick.

11. Indecent (Huntington Theatre Company, Boston, MA): Indecent is and always will be my favorite play, and I’m so incredibly grateful I got to see it again in Boston. Huntington recreated the Broadway production with many of the original cast members, and it was such a special show. I never thought I’d see that production again live, and Huntington gave me such an incredible gift with this play. 

12. Freestyle Love Supreme (Booth Theatre, New York, NY): FLS is just fun from start to finish. It’s completely improvised with special unannounced guests every night, so it’s different every time you see it. I loved seeing how they made the show more inclusive between Off-Broadway and Broadway (by asking people their pronouns, for example), and I have a blast every time. 

13. Ain’t Too Proud - The Life and Times of the Temptations (Imperial Theatre, New York, NY): I saw Ain’t Too Proud mostly for Jeremy Pope, and I was so pleasantly surprised by how much I genuinely loved the show. Derrick Baskin is one of the most hardworking performers on Broadway—he literally does not leave the stage. The choreography is so much fun, and each person in the cast is so incredibly talented. It’s also one of the most pleasant stage doors I’ve ever experienced; everyone at the stage door just really genuinely wants to congratulate and thank the performers, and the actors are so kind. 

14. Teeth (National Alliance for Musical Theatre Festival, New York, NY): It’s wild even to me that I’m putting a staged partial reading on this list, but that’s how good Teeth was. I spent the entire time laughing, and the songs are constantly stuck in my head. Everyone at the festival was talking about how much they loved the show, so I’m hopeful there will be a full production of it sometime soon.

15. Slave Play (John Golden Theatre, New York, NY): It’s hard to talk about Slave Play because it transcends descriptors like “good” or “bad.” Slave Play is important. It’s complex. It’s necessarily provocative. And it’s shaken up Broadway like no show has in recent memory. It’s a show I think every American adult should see. I haven’t stopped thinking about it since I saw it. It only runs for a couple more weeks, and if you haven’t seen it, you need to. 

[lyrics-code]

Superstar (Double Murder = Double Platinum) Lyrics - Westside Connection

Superstar (Double Murder = Double Platinum) Lyrics – Westside Connection

[Chorus] While your shuckin’ and jivin’ howdy drivin’ Rollin’ in my SUV (Westside Nigga) All my plus three thugs on the way to the club And when I come you got love for me Cause I’m a super super star (Staaaar) You know we’re super super star (Staaaar) [Ice Cube] Everybody know jail records sell records Imma catch a case come to court nigga bail naked I got the formula double murder equal double…

[thefreshfinds]

Pretty Pape$: 
On the surface Pretty Pape$ is an all around fun, laid-back, confident guy. He even said once in a verse off of Professional Rapper ft Eaux that he’s the type of rapper that can make a flip (& no guys..he wasn’t referring to gymnastics), but the question that still lingers in the air is “Who is he?”
To be frank, Pretty Pape$ is an artist that reflects his personality into a wave of ruminating lyrics everytime he spits. He adds his own flair by throwing in a macho tone with playfully mixed metaphors & bluntful, comical rhymes (that sometimes may be percieved as outlandish). 
Yet this is the reason most admire him. He isn’t boastful or showoffish about his pride in appearance or skill. In fact Pretty Pape$ is chill about it & doesn’t need the approval of others. 
He has a diehard passion & just wants to keep his eyes on the prize. 
Considered the person who always rolled the joints or had the papers to do so in his group of friends, Pretty Pape$ referred to himself as Pape$ first for that very reason. Four years ago the rap-ster added Pretty to his stage name because he considered himself very vain since childhood. “My mom told me ever since I was a child I’d pass by a mirror & would always do a double take just to check myself out.” Pretty Pape$ adds “Til’ this day I still do & F.Y.I I’m as handsome as ever so yeah.” 
For Pretty Pape$, music is his world. “It’s basically my wife. It’s my therapy, my release, my joy, my pain.” he says “I’m willing to die for my dream to the point that a lot of artists wouldn’t. It’s no shade towards anyone but literally everything I do goes towards moving my music career forward in the right direction.”
On Pretty Pape$ five year timeline, he sees himself lined up as a household name in the hip-hop community. “I want to have a cult following & achieve commercial success. I just want to be heard on a larger scale.” Pretty Pape$ says “The goal is to create a fan base that will not only inspire my everyday life but also support me with an intense passion. I would love to be on tour & do international shows in this time as well, especially in Asia. I want my spot in people’s hearts, minds & playlists. I truly believe I have the ability & work ethic to achieve all of the above & more. I refuse to fail.” 
In his songs Pretty Pape$ hopes that listeners are advised to do what they want & to just have brash confidence in any situation that they’re put into. “I consider myself a fun guy so I do my best to make fun records to listen to.” Pretty Pape$ says “My name is a symbol of self-love (if you can understand that). It’s like me saying I know I’m a beautiful person inside & out. For that reason I know anything I say on any of my records will reflect my bright personality whether it’s something that you relate with or something witty that only I would say. I started rapping for sport in hotbox cyphers & we all worshipped Lil Wayne so I do resonate with that punch line style a lot. I use a lot of off the wall metaphors but I always try to tie my verses together to the point where one line is related to the next and so on.” 
Although he doesn’t see an issue with the music that’s spreading like wildfire, Pretty Pape$ would like to see artist who get into the industry because of their craft not because of their bad ways. “If you really dig there’s great music dropping everyday from every direction. But one thing I would like to see change is artists blowing up for problematic reasons. I know image is a huge part of this game & it has been since mainstream music was first introduced, but sometimes it makes me upset because I know so many talented artists who would murder someone for the same type of exposure.” Pretty Pape$ goes on to say. Basically I wish more artist got attention for their art but I’m not sure if it will change anytime soon.“
Still, Pretty Pape$ believes that their are individuals who share the same intense love he has for music. “For anyone starting up if you don’t love music then don’t even start. It’s a lot of work.” he adds “If you do love it be prepared for a long road of trials and errors. Be as self sufficient as possible, find people to build with that believe in you & just make dope sh*t that only YOU would be able to make. If somebody has already made something you’re working on, scrap it. Be original.” 
To conclude, Pretty Pape$ is a hard working artist who is use to the mean mugs & sly comments but that doesn’t stop him from flaunting his good looks or tactless bars.
Pretty Pape$ about that bread, he’s on a roll. 
By: Natalee Gilbert 
Fun Facts: 
1. If Pretty Pape$ could work with anyone, it would be his main producer Mixx. “We just have a certain chemistry anytime we’re in the lab or even if he just sends me something. He always knows what I want. Mixx is consistent & everything he makes has this signature bounce that’s fun to write & listen to. 
2. Pretty Pape$ first found inspiration from “Enter the Wu-Tang (36 Chambers)” by Wu-Tang. “It was the first hip hop album I ever heard & I was just so drawn to the intensity of their voices mixed with the witty wordplay & extensive vocabulary. I wanted to be just like them.“ 
Growing up he was obsessed with 90s golden era rap. “As I started expanding my library I really fell in love with everything hip-hop. From west coast heavy hitters like 2Pac, Dr. Dre, Snoop Dogg, Dogg Pound, & Westside Connection etc. to east coast sounds like Big Pun, Nas, Mobb Deep, The Fugees, Notorious B.I.G, Cam'ron etc. & Dirty South artists like Outkast, UGK, 3 6 Mafia, Geto Boyz, Master P, Lil Wayne etc. 
But he also loves current hip-hop because he believes it pushes the envelope in a way that’s really expanded the sound & the infinite possibilities of what one can do with a hip-hop record. "Artists like Kendrick Lamar, Drake, Young Thug , Future, Travis Scott, Kodak Black, XXXTentacion, Ski-Mask The Slump God, J. Cole, J.I.D. , Lil Uzi Vert & more are true innovators when it comes to song structure. They have created their own unique sound which is something I can truly appreciate. It’s very inspiring & makes me want to continue to push forward with continuing to develop my own sound; my own voice. I really do believe that being your true self when it comes the music is the key to making something timeless.” Pretty Pape$ says. 
Links: 
1. Spotify: Pretty Pape$ 
2. YouTube: https://www.youtube.com/watch?v=2IgRNBArcDc 
3. Instagram: @prettypapes 
4. Soundcloud: https://soundcloud.com/pretty-papes

[fastlanestreetcredentials]

New Post has been published on FLSC

New Post has been published on http://fastlanestreetcredentials.com/music-2/208274/

Westside Gunn & Armani Caesar Connect For "Liz Loves Luger"

Though 2020 was a typically prolific year for Westside Gunn, there was something especially interesting about his Shady Records debut Who Made The Sunshine, an album that featured appearances from Benny The Butcher, Conway The Machine, Armani Caesar, Just Blaze, The Alchemist, and more. And while there were plenty of highlights found throughout, no track sparked more discussion than the sexually-charged and strangely haunting “Liz Loves Luger,” a duet between Gunn and new Griselda signee Armani Caesar.

A love song at its core, Gunn brings his own take on romance as he and Caesar proceed to deal with a dead body, all the while donning the extravagant high fashion items you’ve come to expect. Though the lyrics may point to an X-rated romp, complete with some hilarious boasts from a thoroughly libido-charged Gunn, the accompanying visuals for “Liz Loves Luger” are far more surreal than one might expect. But then again, this is Westside Gunn we’re talking about, one of the game’s most innovative visionaries.  Give the clip a watch and be sure to give Who Made The Sunshine a quick spin — where do you think the project ranks in Gunn’s extensive catalog?

Westside Gunn - Liz Loves Luger ft. Armani Caesar

Watch this video on YouTube

[kaboommagazine]

Listen Up: Gangsta of The Comrads ft. Big Dutch – “Solid”

Listen Up: Gangsta of The Comrads ft. Big Dutch – “Solid”

The one-and-only Gangsta of The Comrades and Westside Connection returns with a brand new single, titled “Solid,” featuring Big Dutch. The song sees Gangsta in tip-top lyrical shape, delivering A1 bars while taking listeners on a journey through Lynwood, California over classic West Coast production, assisted by a soulful chorus performed by Big Dutch. Stream and/or download the single below…

[djskewbeezy]

Gangsta of The Comrads ft. Big Dutch – “Solid”

Gangsta of The Comrads ft. Big Dutch – “Solid”

The one-and-only Gangsta of The Comrades and Westside Connection returns with a brand new single, titled “Solid,” featuring Big Dutch. The song sees Gangsta in tip-top lyrical shape, delivering A1 bars while taking listeners on a journey through Lynwood, California over classic West Coast production, assisted by a soulful chorus performed by Big Dutch. Stream and/or download the single below and…

[mrjellybeanz]

Gangsta of The Comrads ft. Big Dutch – “Solid”

Gangsta of The Comrads ft. Big Dutch – “Solid”

The one-and-only Gangsta of The Comrades and Westside Connection returns with a brand new single, titled “Solid,” featuring Big Dutch. The song sees Gangsta in tip-top lyrical shape, delivering A1 bars while taking listeners on a journey through Lynwood, California over classic West Coast production, assisted by a soulful chorus performed by Big Dutch. Stream and/or download the single below and…

[therappundit]

December 2017 - *PlayLi$t of the Month*

With only a few days remaining in 2017, I have spent the last few days tearing through as much new music as possible for this month’s playlist. The last few days alone proved to be stacked with new releases, which certainly made an impact on the final version of my list. As I continue to work on THE Rap Pundit’s list of the best rap songs of the year, please enjoy this super-sized edition of my PlayLi$t of the Month for December....

1. “Rivi” - Benny

https://soundcloud.com/gxfr/2-rivi-prod-by-daringer?in=gxfr/sets/benny-x-dj-green-lantern-butcher-on-steroids

(While his fellow Buffalo brethren and Griselda solider blessed the world with G.O.A.T just about 48 hours ago, Benny The Butcher had one of the hottest projects out with Butcher On Steroids. I’m glad that folks are starting to appreciate Benny, because he really is one of the finest writers of raw street tales I can recall since Beanie Sigel. “Rivi” is one of many standouts off the mixtape, but it’s that second verse that helped it land the #1 spot this month: “they tell us to stay in school, but nah, that don’t pay electric / it’s funny how we say we trap, just to make an exit.” Damn, Benny’s...got...BARS.)

2. “G.O.A.T.” - Conway

https://soundcloud.com/gxfr/01-g-o-a-t-produced-by-1?in=gxfr/sets/conway-goat-1

(Finally...the G.O.A.T. has arrived. Call it a mixtape, call it an album, call it whatever you want, but no matter how you look at it, Conway’s new project is as grimy as advertised. I’m not sure if it’s a stronger project than Conway’s previous two 2017 projects - Reject On Steroids & More Steroids - but that’s a testament to how prolific Con has been this year. The titular track makes for an attention grabbing intro, with Daringer providing Conway The Machine with sparse drums that serve to heighten anticipation for the ominous music to follow. And Con doesn’t disappoint. If you have never heard a song from anyone associated with Griselda Records, consider this cut the perfect intro to the resurgence of gritty hip-hop that has been coming out of upstate New York over the last few years.)

3. “Facts” - Royalz feat. Roc Marciano

https://www.youtube.com/watch?v=ETKBFEbGzBI

(I don’t know where this track came from, or anything about Royalz’ production, but this thing is a straight thumper. Roc really sounds like he’s in the pocket on this one...notice who amazing he sounds over samples that lean on a reggae vibe? I’m still bumping Rosebudd’s Revenge on a regular basis, as you should.)

4. “Th3rd F” - Conway feat. Raekwon

https://soundcloud.com/gxfr/03-th3rd-f-featuring-raekwon?in=gxfr/sets/conway-goat-1

(Possibly the most Wu-esque non-Wu track I’ve ever heard. So damn raw and soulful Conway had to get someone from the Wu-Tang Clan to jump on board, and boy does Rae jump in. After you start to wonder, “oh no, is Rae just speaking on the outro to this one?”, he comes through with a verse that stands with any of his classics. Of all the grimy cuts on Grimiest Of All Time, this one is a contender for the grimiest.)

5. “Mandatory” - Conway feat. Royce Da 5′9

https://soundcloud.com/gxfr/08-mandatory-featuring-royce?in=gxfr/sets/conway-goat-1

(The whole G.O.A.T. project bangs, but when The Machine and Royce join forces, what follows is a bloodbath of bars. “Mandatory” is no different.)

6. “I Pray” - Fabolous & Jadakiss feat. Swizz Beatz

https://www.youtube.com/watch?v=cKnwDRbu4Cw

(Not gonna lie...I was pretty disappointed by this Freddy Vs. Jason/Friday On Elm Street project. After a lengthy delay, it finally dropped, but long after Halloween, and long after Fab’s resurgence about two years ago. Both F-A-B-O and Jada have some strong moments on the tape, but most of the tracks lack the teeth of the project’s intro, or this moody gem. Probably the finest hook work on the whole tape, too - thanks Swizz.)

7. “The Delegation” - DaVillins feat. Roc Marciano, Rim, Rock Monsta, Foul Monday & Sean Price

https://soundcloud.com/da-villins/the-delegation

(This is a CRAZY collaboration that just dropped earlier today. Fans may recognize this from a snippet of Roc’s opening verse that was posted on IG last month. I originally thought it was a tease for Roc’s upcoming sequel to Rosebudd’s Revenge, but that remains to be seen. Wherever this track ends up, it’s tough as nails and belongs on this list.)

8. “Stir Fry” - Migos

https://pitchfork.com/reviews/tracks/migos-stir-fry/

(Pharrell blessed the Migos with this one. The unstoppable trio of Offset, Quavo and Takeoff sound as energized as ever, twisting some contagious flows over this bouncy and melodic instrumental that harkens back to some of The Neptunes’ finest work.)

9. “Been Down” - Nipsey Hustle feat. Swizz Beatz

http://uproxx.com/realtalk/nipsey-hussle-swizz-beats-been-down-surprise-single/

(It’s really starting to sound like Nipsey is preparing us for something special in early 2018, doesn’t it? Musically, I think Nipsey has grown a lot since he arrived on the seen. He and Swizz cruise along on this one, riding the horns of an instrumental that serves both east and west coast sensibilities. I’m really look forward to his Victory Lap album this Feb.)

10. “Slept To Death” - Statik Selektah feat. Curren$y & Cousin Stizz

https://www.youtube.com/watch?v=w11nuulV5GI

(Always glad to hear a new compilation from Statik Selektah. Curren$y and Cousin Stizz sound so slick over this instrumental, it’s hard to believe these guys aren’t all part of the same collective. Makes sense, because whatever Spitta or Stizz lack in lyrical complexity they make up for in making consistently good music.)

11. “Trump” - Conway

https://soundcloud.com/gxfr/02-trump-produced-by?in=gxfr/sets/conway-goat-1

(Fans knew that Alchemist would cook up something dark for Conway’s G.O.A.T. It seems that a lot of their work that was previously allocated to the album might now appear on Conway, Westside Gunn & Alc’s Hall & Nash 2 tape in the future. If any more of their collaborations sound like this one, then 2018 is going to be another year that belongs to Griselda..)

12. “You The Type” - Your Old Droog

https://soundcloud.com/adultswimsingles/your-old-droog

(I typically like to keep comedy and rap music separate...but Your Old Droog has some legit hilarious lines on this one. One of the few MC’s that can pen a funny line that’s also dope as hell, this is the Droog I have been missing. He’s still one of the best lyricists of the modern generation, go back and listen to his projects if you’re somehow still sleeping on Droog.)

13. “Only Difference” - Taylor Bennett & Bianca Shaw

https://www.fakeshoredrive.com/2017/12/taylor-bennett-bianca-shaw-connect-for-only-difference.html/

(It’s great to hear new bars from Chance The Rapper’s younger brother, because I know Taylor can spit! I’m less familiar with Bianca Shaw, but both of the young MC’s go in, and I am loving the vibe on this one.)

14. “Modern Slavery” - Travis Scott & Quavo

http://www.xxlmag.com/news/2017/12/quavo-travis-scott-huncho-jack-jack-huncho-album-stream/

(I didn’t expect much from this collaboration. I knew there would likely be a few catchy joints off of Trav & Quavo’s Huncho Jack, Jack Huncho project...but my gut told me this would be a lazy union of two of auto-tune’s finest auto-tuners, and little more than a collection of throwaways. Well...sometimes my gut is just *straight-up* stupid. The chemistry between these guys is immediately apparent. They flow their asses off, hooks are well constructed, and the production could not be more polished for a surprise tape like this. And kicking off the project with a dope soul sample? I did not expect that at all. Shame on me for doubting the knack for musicality that both of these artists possess.)

15. “Satriale’s - Benny feat. El Camino and Conway

https://shadyrecords.com/2017/11/27/listen-now-benny-x-dj-green-lantern-butcher-on-steroids/

(Three of Griselda’s mic assassins going in on one record, why not name it after the infamous Sopranos hangout? Take your pick of who takes this one, but I would have to say that not many are writing tight verses like The Butcher right now - and that includes the might Machine.)

16. “Two 16′s” - Z Money & ChaseTheMoney feat. Valee

https://soundcloud.com/user-421658681/two-16s-feat-valee

(This one dropped a few months back but it has been garnering considerable attention as of late. Low key, I have been a Z Money fan for a while, and I dig Valee too...but Valee’s flow on this one...the dude leaves the planet on “Two 16′s”. Take a listen and see for yourself - and remember the name Valee, because rumor has it he is now signed to G.O.O.D Music, which means even bigger things to follow....)

17. “Theme Music” - Fabolous & Jadakiss feat. Swizz Beatz

https://www.youtube.com/watch?v=5gdWI4C3Am4

(Wow, busy month for Swizz, eh? I remember when I first heard this sample used on U-God’s “Bizarre”, and I’m glad it was put to good use again. While Fabolous is no Styles P., he sounds pretty good going back and forth with Jadakiss on this soulful standout off Friday On Elm Street.)

18. “Space Cadet” - Kollision (Quality Control album)

https://www.youtube.com/watch?v=IbBLJCYyo2E

(I don’t use the term “wavy” often...or ever...but if I did, I would use it to describe this song. The appropriately titled track has a spacey beat, and Kollision cruises over it in a way that I would describe as “casual Quavo”. I don’t know who you are Kollision but after hearing this flow, you just made yourself a fan. I look forward to hearing more from the previously off-the-radar Atlanta rapper.)

19. “Go For Yours” - Rigz

https://soundcloud.com/rigz-585/go-for-yours-prod-by-5th?in=rigz-585/sets/i-got-samples-hosted-by-statik-selektah

(Continuing with the trend of great rap music from upstate NY, leave Buffalo for a moment and head to Rochester to check out Rigz. Rigz can flat-out rap, and this joint is just a taste of how strong he is on his new album, I Got Samples.)

20. “Dear Eastside” - Kidz In The Hall

https://www.youtube.com/watch?v=ffuXZOheq1Y

(What year is it again? No matter, the point is Kidz In The Hall are back!? Double-O and Naledge return to deliver a sound that could have easily dropped during the Native Tongue heyday. Just a beautiful homage to their home of Chicago, this is top down in the winter music. Welcome back, Kidz - and thanks for the new album!)

Merry Christmas and a happy & healthy holidays to all!! Salute.

[ICYMI: Last month’s list below]

https://therappundit.tumblr.com/post/167678957361/november-2017-playli-t-of-the-month

[lyrics-code]

Terrorist Threats Lyrics - Westside Connection

Terrorist Threats Lyrics – Westside Connection

“an open microphone can be dangerous” [chorus: Ice Cube (WC)] (duck nigga, westcoast) I can make a promise now to take your life (westside, bustin’ that janky..) I can be that threat that make you change your life (duck nigga, westcoast) I can make a promise now to take your life (westside, bustin’ that janky..) [verse 1: WC] It’s about fuckin’ time niggaz ta came up with some real shit and start…

[acehotel]

Interview: Justin Strauss with Nancy Whang and Nick Millhiser

DFA Records set the stage for a new kind of incendiary punk-dance music in New York over a decade and a half ago, releasing records from artists that were smart, DJ-driven and simultaneously referential and avant-garde. Two of these artists, LCD Soundsystem’s Nancy Whang and Holy Ghost!’s Nick Millhiser, have become icons for dance music with teeth, shifting the perception of the genre to encompass a delightful brand of irreverence. They make dance music to levitate to. 

The two have become a pair, doing traditional couple things like finishing each others’ sentences — except the sentences are about playing a sold out show at Madison Square Garden and the complications of dating a touring musician when you yourself are a touring musician. For this edition of Just/Talk, Nancy and Nick talk with legendary DJ and longtime Ace friend Justin Strauss about the highs and lows of the Internet, City Hall weddings and the fight against boring music.  

Justin Strauss: Nancy and Nick, you’re the first couple I’ve interviewed.

Nick Millhiser: Oh, really? We’ve been duped.

JS: How did you guys meet? How does this story start?

Nick: We’ve had to tell this story many times this week.

Nancy Whang: It’s true. We were at a wedding and there were a lot of questions about our origin story…

Nick: …and when we would get married.

Nancy: Well, we met at Plantain Studios which was James Murphy and Tim Goldsworthy’s recording studio, the DFA recording studio.

Nick: Still technically James’ for the moment.

JS: It’s still in there?

Nick: It’s still in there, yeah. I mean it could go at any minute, he’s renting it from the new owner of the building.

Nancy: This was 2000?

Nick: No, 2002…

JS:15 years, that’s a long time.

Nick: Yes!

Nancy: Right, it was 2002. Nick’s band in high school got signed to a major label.

Nick: It was called Automato.

JS: Oh yes. I have your record.

Nick: Oh, you’re the guy. You’re the guy who has our record.

JS: And Andrew Raposo, bass player in Midnight Magic and previously Hercules and Love Affair, was in that. I remember bought it at Virgin Megastore.

Nancy: Oh, wow.

Nick: I worked at the HMV record store on 42nd.

Nancy: Yeah, but that was at the ascendance of DFA.

JS: And Nancy, what were you doing at that time?

Nancy: I was just hanging out.

JS: Were you in the band yet, working with The Juan MacLean?

Nancy: We had done The Juan MacLean stuff. I think that was it.

Nick: That was the first one, “You can’t have it both ways.”

Nancy: I had recorded vocals for The Juan MacLean, and I think LCD. The first LCD 12” was out by then.

Nick: No it wasn’t. I remember…

Nancy: It wasn’t?

JS: Just LCD’s “Losing My Edge,” right?

Nancy: Yeah, and “Beat Connection” on the b-side.

Nick: I was living in Bushwick at the time and James was dating a girl who lived in Williamsburg — he would drive me home some nights — I remember one night he came downstairs and he was like, “look what I got, this is a thing I made.” I remember he said “you’re probably not gonna like it.”

JS: So this is a really exciting time in New York with DFA Records starting to come out and make some noise. For me, dance music had stagnated, and after DJing and making records for sometime, I was bored to tears with what was happening. I started getting very excited again because of things like DFA, Output Records and Relish Records, the Gomma label, and all these cool new labels, artists and producers.

Nick: Does Relish Records still exist?

JS: It does, very much so. Robi Headman’s label is putting out some great new stuff. So how did you meet James Murphy?

Nancy: I met James randomly at a party, we had a mutual friend who introduced us and then we just became fast friends.

JS: You were doing music on your own?

Nancy: No, nothing.

JS: What were you doing?

Nancy: I was working for an artist when I first met James. I was working for this artist who published Index Magazine and we met at an Index party. After that I was just doing various art worldly jobs. The office where I worked was like a block away from Plantain so I’d just always be there hanging out. And that was before the label really began.

JS: There was the Plant Bar scene happening then too. A lot of the DFA crew was hanging and working there.

Nancy: The office where the recording studio was was just this hangout, nobody was really doing any work or anything.

Nick: It was a very cool building. It felt very much (and I really don’t mean this in a bad way) like people were almost pretending to have real jobs in hopes that they would turn into real jobs. People would come in at noon because we have a record label. There wasn’t much to do, there was a lot of playing video games.

Nancy: It was very “behavioral psychology.”

JS: The Rapture was the first record released on DFA?

Nick: Rapture was the first, and that definitely wasn’t out yet because I remember them giving us CDs the first time we met with James and Tim. They gave us CDs that had rough mixes of stuff on it and I still have it somewhere, it’s a different version of “House of Jealous Lovers.”

JS: And you knew James because he produced the Automato stuff?

Nick: We met them through that. They hadn’t really done anything yet and we met them after we had signed to Capitol Records when we were 18 in 2000. We basically spent a year plus trying to find producers to work with and we had a really hard time. Honestly I remember meeting them and it’s not like we were blown away by them; in some ways we were way more impressed with Tim because Tim had done all the Mo Wax Records stuff and I was, in particular, a huge Mo Wax fan. The only record I knew that James had worked on at the time was a June of 44 record — weird New York indie rock stuff. And I remember very clearly the day after we met with him and we thought he seemed pretty cool. Alex was like, “well Tim seems cool. James just seems like a kid with a lot of toys. I don’t know what he does.” And then the first day working with him it became very clear that James is maybe the best engineer, also a great producer, but James has very clear talents.

But I don’t think anything was really out. I remember stuff coming out as we were making the record and seeing things happen for them very quickly. The reaction to that stuff was pretty immediate.

JS: You two met around this time at the label? And you met Juan MacLean through James?

Nancy: Yes, because I was just around all the time. Juan was working on this track and he wanted someone to do vocals, he wanted a female vocal, and James was like, “well I have a friend who has a female voice.”

JS: He hadn’t heard you sing at all?

Nancy: No.

JS: Just figured you could…

Nick: — and the defining voice of electro clash was born.

JS: Did you write the lyrics for that first single you did with Juan?

Nancy: No I didn’t. James wrote those lyrics. 

JS: And once the record was out did you guys start playing live?

Nancy: No, it just came out and I don’t think Juan had considered playing live for a while.

Nick: See, this was all happening around the same time. The Rapture’s “House of Jealous Lovers” was March 2002. We started making the Automato record in April 2002. Don’t ask me how I remember that. And I think at the DFA party at Warsaw Juan played one song. I think was just before we went into the studio. I have some recollection of going to that party and seeing James and Tim and being like “alright we’re going to start work next week.”

JS: And how long after you met did you guys become a couple?

Nancy: Seven years. Eight years.

Nick: A long time. We met then, but we really didn’t even hang out until much later.

Nancy: No, he was just a kid, fresh out of high school, still in his short pants.

Nick: I was a young man. We were the babies. I couldn’t legally drink when I met those guys.

Nancy: I like to say that we met when he was still a teenager, which technically is not true, I don’t think.

Nick: I think I was 20.

Nancy: But he had only just turned 20. And I was…

Nick: …older than that.

Nancy: Older than that. 

JS: And you grew up in New York?

Nick: Yeah, everybody in the band that I was in grew up together.

JS: In Brooklyn?

Nick: No, Upper Westside Manhattan.

JS: And where did you grow up?

Nancy: Portland, Oregon.

JS: And when did you come to the New York ?

Nancy: 1995.

JS: And what brought you here then?

Nancy: To go to school. I went to NYU.

JS: What were you studying?

Nancy: Visual art. I had some notion of becoming a painter.

JS: Do you still do that?

Nancy: No I don’t. I haven’t done it in a long time. Those aspirations quickly dissolved as soon as I got out of school because it was just heartbreak. The New York art world is brutal. I just don’t have the personality for it. 

JS: When DFA was in its early stages did you feel like something special and new was happening?

Nancy: It was for me. It did feel like something. But it was less like “we’re in a watershed moment,” and more a sense of self importance, that this is cool. What we’re doing is cool.

JS: What music did you listen to growing up?

Nancy: I grew up listening to punk and indie rock, just garage rock and stuff like that. So James and I had very similar musical backgrounds as far as what we listened to. And then we both had the same sort of fatigue about indie rock and how boring and joyless it was.

JS: And how about for you Nick?

Nick: I think there was a similar feeling. I’m a child of the 90s — I was born in the 80s, but my musical taste as a kid were for the most part, until the end of high school, very much just the music of the time.

JS: MTV?

Nick: MTV, Nas, Biggie. But what was happening in New York at the time was a lot of great underground hip hop, and that was very exciting for a moment, and then it got very boring right around the time that James et al were getting bored with indie rock. I very clearly remember meeting those guys and the way they ran the label, the way that they were just making music — the aesthetic of the music they were making seemed inherently more joyful and lighthearted. I remember James and Tim always had this thing: it’s important to have girls like the music you make.

If you make music for boys, that’s all who will ever like it. If you make music for girls, guys will also like it because they want to be with girls. And I never thought about it like that. I suddenly became very aware of all those shows in that world of Rawkus Records and Def Jux who were putting out really great music, but it seemed it was just all boys. It was all boys wearing backpacks, holding their backpack straps and, at most, kind of nodding their head.

Nancy: I mean it was the same in indie rock.

Nick: It was the exact same thing. There’s something that felt very cool and fun about going to early DFA parties and thinking, “oh I’m doing everything wrong. I want to do this.” And seeing those guys play was really inspiring, to see people make music that was so immediately gratifying. I remember them playing “House of Jealous Lovers” and James had a white label of “Killing” by the Rapture, which nobody had ever heard before, but every time he played it people went fucking crazy. And there’s something really inspiring about seeing something that was anonymous. It was before people were looking at the DJ or anything, and you could just see if it was good. You put it on, it worked. You had this very immediate visceral answer of good/bad.

JS: Did either one of you have a connection to dance music at this time?

Nancy: I did not at all. Not even a little bit. I remember watching a movie that came out in the 90s about dance music…

Nick: About going to a rave?

Nancy: It was either like Trainspotting or 24 Hour Party People or something like that. But it was more about techno and I remember my friends and I were so baffled…

JS: Baffled, meaning didn’t like it?

Nancy: No, I just didn’t understand it as a “thing.” I understood going out and listening to dance music so that you could dance, but then in this movie there were people who would buy the records, go home and listen to it. It didn’t make any sense to me why someone would listen to it at home. It still kind of doesn’t. But yes, I had no connection to it. I never even really heard of house music until I met James and Tim.

JS: And did they play you stuff and take you to clubs?

Nancy: Yeah, I didn’t understand because of the context of how I was listening. And because when James would DJ he’d play rock records but then he’d also play dance records — it all kind of melded into this one thing.

JS: It started to make sense.

Nancy: Yes, it was like, “okay that was fun.” This is gonna be fun to listen to and to dance to. DFA was sharing an office with Plant Records at the time, which was Marcus (Shit Robot) and Dom Keegan, and Marcus was DJing at Centro Fly every week so we would go there just to hang out with Marcus and drink for free. It was just what we did Saturday nights. But then, eventually, I started recognizing songs and absorbing it more, appreciating it.

JS: How about for you?

Nick: I bought Homework by Daft Punk when it came out. I had some sense of contemporary dance music, but it wasn’t until I was 18 and I moved out of my parents’ house to Cobble Hill, and there was a really great record store by my house called Dom’s. It was tiny, but he had awesome dollar bins. Alex and I would go shopping there, honestly almost every day because I didn’t have anything else to do, looking for samples. At the time every dollar bin’s basically like ELO records, Billy Joel Records and disco records. And as with anything you’re buying, with that mindset of looking for samples, you eventually start to like the stuff you got because of the weird record cover.

But it really wasn’t until — and I remember very clearly Alex and I having developed this very sincere love of it — finding the Loose Joints 12” Is It All Over My Face.

JS: Well that’s a good one.

Nick: I remember meeting James and Tim, the first two days we were in the studio with them, they were like “we’re not going to work, we’re just going to play each other records and talk about what we like about them.” I remember very clearly in the studio they had that first compilation of Larry Levan classics with the black and white photo of him on the cover. It had the Loose Joints track it. He played it to us and Alex and I were both just like “yeah, I know this song. I love it. Is it cool, is that okay to love this song?” I didn’t know because everybody else in the band sort of made fun of us. But Alex and I were getting into finding post-disco, very early hip hop, but still disco stuff. Some of the breaks on those records are awesome.

JS: Enjoy Records, early Sugarhill Records.

Nick: Yeah, I love it. By modern rap standards, it sounded amateurish and fun, but I love it.

JS: That’s how hip hop started, people rapping over disco records and breaks.

Nick: I remember the other guys in the band didn’t get it. There’s always this kind of “wink wink, you guys don’t really like this.” I remember being like “no, of course not.” And yet, if I want to listen to it all the time, it must mean it has a legitimate redeeming quality. James and Tim were the first people I had ever met who listened to that music in that context. Just played that music without a smile on their face. I had a realization that “right, if you like something, that’s just as valid as whether it’s fun or…” The 90s was such a funny time. If it wasn’t super serious and introspective, it wasn’t legitimate. Anything that was just fun was not real music. Everything was a rebellion against the 80s.

JS: There was a time when the 80s wasn’t thought of as cool.

Nick: Yeah I remember that very well.

JS: Now it’s cool, but back then…

Nick: It was the butt of the joke. Everything was just like “sooo 80s.”

JS: When was the change from Automato to Holy Ghost!?

Nick: The six of us had been playing together since we were teenagers and it was just doomed to implode from go. So that band broke up a year after the record came out. At that point Alex and I would write music all together in a room, but there were certain clusters of people who would start things together. Alex and I would always work on stuff together and what we were working on just started to feel dancier and more fun. I think it was even before Automoto played its last show. I started touring with Juan MacLean, filling in as a drummer. I played rough stuff we were working on for Juan, James and Marcus and they were all ready supportive.

JS: And James said “we should do a record?”

Nick: Honestly I think it was Tim first, but James was definitely the one who was the most encouraging at the beginning. There was a point where I was really frustrated with Automoto, I want to say it was New Year’s Eve, and I was venting to him. He was just said, “you should make your own music.” And I said that I didn’t have the equipment to do it and he’s like “well can you play bass?” I was like, yeah, kind of. Kind of a bass player. He was like “oh, do you have a bass?” I was like, no. “Come by the studio, I’ll give you a bass. Do you have a compressor?” I was like, no. He’s like “all right I’ll give you a cheap compressor.” And he gave me a bass and a compressor to do stuff with just drums and bass.

And that was sort of the beginning of Alex and I trying to work on stuff. I did the initial demo for “Hold On,” it was just the drums and the bass and the synth line. I remember playing James a bunch of stuff and James was like, “that one’s really cool.” And it was his ring tone for a while. I remember the rough demo was his ring tone. And he said “you should finish that one.” When we finished it, I remember talking with Tim — it had been done for a while — and Tim matter-of-fact made mention of it coming out. And I was like “what are you talking about?” He’s like “oh, we’re gonna put it out.”

JS: Were they involved in the production or was it just you guys?

Nick: Not until the end. The song was basically finished and then, at the very end when we were basically informed that DFA was going to put it out, Tim was like “if you want it out by this day we should really master it in the next week or two.” At that point James and Tim were sort of already on the outs, but James separately said, “I think you should re-record the vocals.” So we re-recorded the vocals with James, and then James mixed it, but that was all decided and done in a matter of 48 hours.

JS: And Nancy, what’s happening with you around this time?

Nancy: I guess this is around the time that Sound of Silver came out. In 2007 I was in LCD, but was still just a weekend warrior, I still had a job and we were just playing a couple weekends a month, a couple weeks a year. It was like ROTC.

It didn’t take up enough time for it to be something that I could do exclusively, but it took up enough time that I couldn’t hold down a normal job. I started working at this wood shop where we built displays for shop windows or store windows. It was very erratic. We’d be out for a year, and then we’d be home for a year while James worked on a new record or whatever.

JS: Were you involved in the first album?

Nancy: No, the first record James did all by himself. Pat might have played some drums and stuff, but it was really James in the studio alone. Because he started working on it before we even had formed as a band, and then when the second record came around after we had been playing together for like a year, Sound of Silver was a little more collaborative.

I think us playing together on the stage changed his ideas about how to record music. Having other people play at the same time rather than have him play one instrument, record that, and then go back to the next instrument etc, etc. 

JS: More of a band vibe.

Nancy: Yeah.

JS: Did you get involved in writing?

Nancy: No. No one’s ever involved in the writing.

JS: Still, to this day?

Nancy: Yes.

JS: So what’s the process? James presents you guys with a song?

Nancy: James generally has pretty clear ideas of what he wants to record so it’s like, “play this.” And then you play it. And then he takes it and does something to it.

JS: Right. And while this is going on, Holy Ghost! is in the studio making the first record album?

Nick: Yes, it was around the same time. Our first record took a really long time.

JS: And were you recording at DFA studios?

Nick: Some. That record we sort of did everywhere. At some point, we were able to quit our jobs. We were DJing so much, which was awesome, but it’s not like we were making enough money that we could take months off from touring. I remember when Hold On came out we had a Myspace page, and got our first out-of-state DJ gig.

JS: Had you DJ’d? Both of you guys DJj regularly now.

Nick: I had a little bit. I had turntables in high school, like a bedroom DJ. DJ’d a few things here and there; Alex never had. But it was always something I’d wanted, DJing was such a dark art pre-internet, it never occurred to me to pursue it professionally in any way.

JS: No one wanted to be a DJ when I started.

Nick: Right. And again, I think it was meeting James and Tim and that larger circle of people like Tim Sweeney, Trevor Jackson, or Maurice Fulton. All these different people were so interesting. It was a pretty awesome time, you go to see somebody and they were just playing whatever they wanted. That’s pretty great.

JS: And for you Nancy, what was your entree into the DJ world?

Nancy: Basically my first DJ gig was in 2010. It was when This is Happening came out and we were touring that record. I knew that it was going be it for LCD, at least for the foreseeable future, and this is what I do and I don’t have any other skills anymore. I’m gonna have to make a living when this band is done so I better start DJing.

JS: Did James came to you guys and said “It’s over,” or you just knew it?

Nancy: Oh no, he announced it in the press. “This is the last record.” He had said it privately about Sound of Silver, but I was like “that’s not true.” But with This is Happening, we knew that this is the last record. It was the last record while he was making it, and as soon as it came out, we knew that that was it. Our last hurrah.

Nick: And people had been asking you to DJ for years and you had always sort of…

Nancy: Yeah it terrified me. It still does. I’m like, “I have no idea what I’m doing up here.” I remember my first DJ gig was with a friend of mine at Tribeca Grand and we showed up with records and no headphones. I got there like, “how are you supposed to listen to this stuff?”

JS: Did somebody show you how to DJ or you just figured it out?

Nancy: Well, a couple of friends had showed me, “this is what you do with the turntable” and “this is how it works with the mixer,” but it was still beyond me. The first year of DJing was just me playing a record and then playing another song after that song was finished, and playing another song after that one was finished.

JS: And you were also doing shows and records with Juan MacLean at this time.

Nancy: Yes. While James was making This is Happening, I was on tour with Juan. We had just done that record The Future Will Come.

JS: Was that a more collaborative process?

Nancy: Yeah, with me and Juan it’s more of a partnership.

JS: Is that still something that’s on going?

Nancy: Yes, in fact I might record with him tomorrow.

JS: And at this time you guys are a couple?

Nancy: No. This was 2010, beginning of that tour. We played Coachella, we had been to Europe, and then we came back and were going to go on a U.S. tour. We did a run of shows at Terminal 5 before we left and we took Holy Ghost! with us on tour; they also did all the Terminal 5 shows with us. We did that, we went on tour, and then the tour was over, and…

Nick: And we missed each other.

Nancy: And we missed each other. A couple months later we got together. 

JS: DFA is a very incestuous family.

Nancy: Yeah.

JS: There’s a lot of cross pollination with bands, and it’s great.

Nancy: Totally. Andrew Raposo (Hercules and Love Affair’s original bass player) played in LCD for a couple shows because we needed somebody to fill in.

JS: You two both have very busy lives between your bands, your DJing, working on your new house, your dog. I’m impressed with how you manage it.

Nancy: I think it’s actually because we both do the same thing, we understand the life.

Nick: I think there are things about dating a touring musician that’s just inherently difficult. But when you’re in a relationship with somebody else who does that too, a few of those things they understand. They know that you’re going to have to go away and it’s not because you don’t want to be at home.

JS: It’s your job.

Nick: Yes. And when you come home you might be a little fried and might not be able to just jump back into life-as-usual. I see friends who are in a relationship and they fight about touring or it becomes a source of tension in the relationship…that tension isn’t in ours. That being said, it’s still tough because there are times when you’re both busy at the same time. There was one time two years ago when she was away for two weeks, got home the day that I left for two weeks, and the day I got back she left again for two weeks.

JS: So you didn’t see each other for a month or something.

Nick: More. And that sucks, there’s no way around it. I think we make it work better than most people, but it’s not always easy.

JS: Being in a band is like a relationship, and then there is being in a relationship.

Nick: I think that’s the hardest part for people who aren’t musicians or touring musicians to understand. That this something else in your life isn’t more important than you.

Nancy: But sometimes it is.

Nick: But sometimes it is. Or maybe it’s just as important as you.

Nancy: Or today it’s more important than you. Tomorrow you’ll be more important than this, but today this is what’s important.

Nick: It’s a very hard thing to explain to somebody, understandably. It sort of defies the logical brain’s common understanding of what a relationship should be.

Nancy: I always said that the key to dating somebody who’s a musician or an artist or anybody who does something creative, is that you just have to accept that you’re going to be number two, always. If you can be okay with that, then you’re fine. But it takes work regardless, relationships take work.

JS: Yes, just different work.

Nancy: You always have to put in an effort otherwise…

JS: So, you’ve figured it out sort of?

Nick: I don’t know that we’ve figured it out. It’s a work in progress. I think it’s great.

Nancy: That’s the thing, it’s not like you’ve figured it out, not like you’ve solved it and you’re like “okay, cool, we’re good” and you just glide along.

Nick: It certainly comes up.

Nancy: You’re always taking care of it. It requires constant maintenance.

JS: And so Nancy, you’re about to go on a long tour. Were you expecting LCD to get back together at some point?

Nancy: Yes and no. I was expecting it but I didn’t expect it to happen so soon.

JS: Was there ever a moment where you were thinking about it? Did you know that you wanted to jump back in?

Nancy: I’m still thinking about it. Everyday I reconsider. Is this really what I want to be doing? It’s complicated, but those five years between the last show and us playing again, that was a long five years. It was a long time for me to figure out who I was outside of LCD. I had spent so much time being in LCD and never really gave much thought into what I would do or who I was outside of the band, but all of a sudden I had to face this identity crisis.

JS: You won an award like best DJ in New York City?

Nancy: You know what, that’s just because I was in attendance.

JS: That’s great. Must’ve made you feel good?

Nancy: It was very sweet. 

But just figuring out what to do, DJing, making music. Whatever. Just on my own with other people. It was a very long journey.

Nick: It’s a long five years of forming an identity outside of that band.

JS: And then one day James calls and says “hey let’s get the band back?”

Nancy: Yes.

JS: But the nice thing is, at that point, you have each other too, you were together. And that was cool.

Nancy: Right.

Nick: But having to put in all this work of figuring out what your life would be outside of the band and then all of a sudden — and you missed it — but you could have all your time occupied again. 

Nancy: Yeah.

JS: So did you find you have a lot of free time during those five years and could do some things you weren’t able to do?

Nancy: No, but I did actually, at the end of last year, had amazing free time. I didn’t have anything to do, and I didn’t have to do anything. It was fabulous. But now that free time is going away.

JS: And when you guys got back together and played those first shows at Webster Hall, did it feel like “oh yes, this was the right thing to do?”

Nancy: It was fun. It was really fun. As much time had passed, it felt familiar and like no time had passed. Just back doing this again and it feels good, it’s fun, we like it, and we like each other, and we’re good at it, and we seem to be making other people happy.

JS: When some people were commenting that you guys should not have gotten back together after such a public end, did that affect you?

Nancy: It doesn’t really affect me, I don’t really give a shit. I mean I get it, it seemed like a strategy. But it wasn’t. I mean, I personally thought it was a little too soon, but now we’re here and it’s fine.

JS: How did you feel when you heard that that Nancy was going to go back to her job?

Nick: On one hand, I think I sensed it coming sooner than they did. On the other hand, I was very happy for her, and Pat in particular, because as much as I think the time off was really productive for them, there’s an obvious pride in being a member of that band. There was a certain spring lost from their step when the band went away. 

JS: During the break, Pat formed his own band, Museum Of Love.

Nick: Yeah, which was great. I love that record. 

Nancy was concerned about other things and I was concerned with whether or not she’d be happy. I think having some distance from a band allows you to focus on what you really want from being in the band. What do I need this to be? I think everybody in that band, James included, is better equipped to articulate and actualize what they want this to be. They’re also a bigger band now, so they have the power to manifest this thing.

JS: Can you have imagined that the band would become so big?

Nancy: No. Music was never anything that I aspired to do in any capacity, so everything from the very first thing until now — it’s all just like wow.

JS: When you get on stage in front of many thousands of people at these festivals, are you like “what am I doing here?”

Nancy: Sometimes. I feel very very lucky to be in this, particularly because it’s not something that I worked very hard to achieve. I mean, I worked hard, but it’s not like I was aspiring toward…

Nick: Unlike Al or James or Pat, who always wanted to be in bands.

Nancy: Yeah, since they were kids and picked up instruments, played in bands in their garages, I never did any of that. LCD’s my first band. So I feel very lucky. But I’m not fulfilling any premeditated goals that I had, so I can recognize that everything I do is an achievement. I would be just as satisfied had this thing never happened. Whatever this big show that we did.

Nick: And it was never your dream to play Madison Square Garden in the first place. Had that never happened you wouldn’t have…

Nancy: I wouldn’t have missed it. Having done it now, I’m like “that was amazing,” I’m really glad we did that.

JS: What’s happening with Holy Ghost! right now? Are you working on a new record?

Nick: We’re working on our retirement. We’re going to announce our break up.

JS: And then come back in a few years.

Nick: Yeah, we’re working on a new record very slowly but surely. 

JS: And you two have recorded together here and there?

Nick: Yes.

Nancy: Do I appear on every Holy Ghost! album?

Nick: Not the new one. I don’t think you sang anything on any new stuff. But you’ve been on every other.

JS: And you DJ together?

Nick: Yep, DJ together quite a bit.

JS: Will there ever be a Nancy Whang solo record?

Nancy: That is the question for the ages.

JS: Is that something that you would like to do?

Nancy: I don’t know. On the one hand, yes, now that I’ve sort of grown accustomed to this life of being a musician and having musical aspirations, I like the idea of making my own stuff. But what happens after that is terrifying to me. And I’m not sure I want that.

Nick: That’s certainly terrifying to everybody for what it’s worth.

Nancy: Exactly.

JS: And you guys worked on a record by yourself, just the two of you?

Nick: We’ve talked about it.

Nancy: Family band.

Nick: Family band, we were talking about it this morning. Doris would play a horn in every song. We talked about it, but no more so than half joking. Making weird ambient synth records. Which is basically what we listen to at home.

JS: With so much going on in this country and the world right now, how do you feel about artists speaking their minds on these things? Artists making their feelings known?

Nancy: I do think it’s important. If you have something to say, you should say it. LCD isn’t necessarily a very political band, but there are things that we talk about amongst ourselves and if you have an opportunity, if you have a voice and a platform, then you should use it. Always, but especially now because shit’s gotten so bad. It’s really important to realize that we wouldn’t necessarily be at this place if people had been more engaged before.

JS: What are your feelings on it Nick, as far as Holy Ghost! goes?

Nick: I agree. But it’s not something Alex and I have talked about formally.

JS: He’s been pretty vocal on the internet.

Nick: He has been, but it’s not something that’s come up in the music we make. Is it insensitive to not address it? It’s just the nature of the music we make. It’s just kind of like fun. If it came about organically, Alex wouldn’t censor himself if he felt like he had something to say. But I also think there’s a place for music to be a relief from all that. And right now it’s coming from all sides. I spent a day not watching the news because my sister got married and it felt like I missed the entire war. “Oh you didn’t want the news today?”

Everybody has an obligation to speak out and shouldn’t censor themselves. If I’m most frustrated with anybody, it’s our side politically. Alex and I were talking about this yesterday, why there isn’t somebody on the left to come out and, in strong language, just be like “fuck these people, fuck anybody who is at this rally.” We don’t need to censor ourselves or be inclusive because we’re unequivocally “fuck these people, if you’re on this side you’re on the wrong side of history.” Trump made up this term yesterday, “alt left.” I wish there was an alt left, it doesn’t fucking exist. It’s the first time in my life I really felt a sincere rage on behalf of my family. Both sides have been in this country a really long time, but both my grandfathers fought in the second world war, neither of whom I would say are particularly liberal men, but they fucking fought in this war. If either of them were still alive today to see their commander in chief essentially playing nice with nazis…it’s fucking insane.

JS: How do you feel about how the internet has changed our lives so much?

Nick: Nancy and I are in a really unique position, we’re not on Facebook, we’re relatively…

Nancy: …disconnected.

Nick: It’s weird. In some ways I don’t have any great insights like “it’s made everybody’s lives better” In some ways, I think it’s made people shitty and entitled.

JS: As a DJ and producer, it can be pretty helpful?

Nick: It’s amazing. I don’t think I would have a career if it weren’t for the internet. The avenue for a niche thing to reach people directly didn’t exist when I was in high school. We were talking about it to our friend Jay, saying the first time I ever heard “Liquid Liquid” was on a Grand Royal record sampler that I got at a Beastie Boys show in high school. Then something happened with their reissue of it and I remember trying to find it but I couldn’t find anything about them, I couldn’t find those records anywhere, and it just sort of disappeared from my mind until later when the Mo Wax reissue came out. I missed that aspect of music being mysterious and having to search for things.

JS: Is there anything you guys are listening to now that you’re finding inspiring or just fun?

Nick: Coming back to a lot of music from my peripheral past, listening to a lot of Sonic Youth which was always a band that I really liked but was never my favorite band.

Nancy: Speaking of the 90s, Nick and I watch a lot of MTV classics now, which show a lot of videos from the late 80s early 90s.

Nick: Moderate pop hits.

Nancy: Early rap records, but then also like…

JS: Beastie Boys?

Nancy: There’s some Beastie Boys, but also Pebbles and that kind of dancey R&B that came out of the 80s

Nick: It’s been really fun to be reminded of them. The fact that it made it on MTV made it pretty successful, but somehow history has forgotten, it’s not as celebrated.

Nancy: Pebbles’ “Mercedes Boy.”

Nick: And some weird English stuff too. Post shoe gaze but all very electronic production.

Nancy: We saw this video of this band called Curve, and I’d never heard this song, but it sounded very much like that.

Nick: We were both like “Oh this is from Manchester in 1992.” And they were from Manchester and this song came out 1992.

Nancy: Yeah, just had a very…

Nick: …defined aesthetic.

Nancy: Jesus Jones, EMF kind of sound. 

Nick: Baggy beats. Chorus of guitars.

Nancy: When I started listening to punk and indie, I rejected all that stuff at the time because I thought it was popular corporate music. But it’s good music.

JS: Do you feel a lot of pressure with this new LCD Soundsystem album coming out and how it will be received?

Nancy: Me, no. I feel no pressure. People are going to like it or they’re not going to like it.

JS: Are you really happy with it?

Nancy: I am. It’s weird. It’s different. Not wildly different, but different. It’s dark.

JS: Heavier record for a heavier time.

Nancy: I hope people like it so that we can continue to be a band.

JS: So there will be another one.

Nancy: Probably.

Nick: So not a good time to talk about the Shea Stadium retirement show.

Nancy: Exactly.

JS: Do you think it’s funny that with everything going on in the world that people are up in arms about the cover of your record, people not liking it or upset about it?

Nancy:  This is one of the cons about the internet and what it’s becoming. People just have all kinds of free time to form all kinds of opinions and share all those opinions with everybody.

And again, I would prefer it if people liked stuff that we did and put out, but also “It’s done, sorry.” What am I supposed to do about it? That’s what it is. Take it or leave it.

Nick: One of the things I always admired about LCD is that there was always this sense that the band is never bigger than James. When bands get big there’s always this, “oh it’s out of my hands” and I felt, from an outsider’s perspective, that James really tried to not fall into that way of thinking. This band is only as big as me, no decision gets made without me being close to it. There’s a point where things just grow and they’re sort of out of your control and you kind of have to let them go. The band does become the idea not within your control anymore. That’s true of your band now, you put stuff out there, you put this cover out into the world, and it becomes an article on Newsweek. That’s just the way of the world now.

JS: Are you guys planning to get married?

Nick: We’re for it.

Nancy: We’re for marriage.

Nick: I don’t think we’ll have a wedding.

Nancy: I know we will not have a wedding. I know for a fact.

Nick: We’ve been through enough weddings.

Nancy: This last weekend was a wonderful event, but it drew a line under the fact that we don’t want to have a wedding. I don’t want to participate in that at all.

Nick: There’s been a lot of talk this week, “so what are we gonna do?” Justin, have you been to City Hall for a wedding?

JS: Yes, I was a witness a few times for friends.

Nick: It is really cool.

JS: It’s easy, you stand in front of that little painted sky they have. And then walk over to Chinatown and have a nice lunch.

Nancy: My brother got married at City Hall and we went to Joe’s Shanghai for dinner after they got married.

Nick: There’s something nice about being in this room, everybody’s experiencing the exact same thing, everybody’s in a pretty good mood, it’s nice.

Nancy: It was pointed out a few times that, for being in a government office, the mood was really good. Everyone was really happy, people were excited, people were being nice to each other.

Nick: Everybody’s dressed pretty nice.

JS: People get spiffed up.

Nick: I really like that aspect of it.

JS: Well if you need a witness you know who to call. I’ve got it down now.

Nick: We’ll let you know.

[wknc881]

Tobi Lou - Live on Ice

By far, the most creative album I’ve heard in a long time.

I’m not going to lie, I’ve been listening to Tobi Lou for a while now, but how I discovered Tobi Lou is actually quite interesting. A producer that I was extremely fond of named YOG$ had just got done doing a collaboration project with another artist I thoroughly enjoy, and upon finishing that project, did a track with Tobi, and I hated it. It took me about around 3 months and 15 listens to actually come around on the song, and I was still pessimistic listening to the rest Tobi’s music. I finally started coming around to Tobi’s music because of the dichotomy between lighthearted fun and melancholy teenage emotions within his songs. Not to mention his incredible lyrical creativity, singing ability, and downright fantastic production, mixed with actual interesting ad libs. Tobi Lou quickly became one of my favorite artists to follow, and Live on Ice does not disappoint. 

Something that makes this album truly interesting and separate from other hip-hop/r&b/pop albums is that many of the songs can be thrown into any of those genres, and possibly others. From the first track on the album, 100 Degrees, it would appear to be a hip-hop album, but as you head down the track list, you find songs like Sometimes I Ignore You Too and That Old Nu-Nu that are so far from hip-hop in a traditional sense, and that argument can be made for just about every song on the album. Tobi even collaborated with K-Pop artist Vernon on the track Looped Up, arguably making for one of the most creative and ambitious songs on the album. 

I have been trying to think of a good comparison for Live on Ice, and from a musical perspective, I haven’t been able to find one. It’s just that unique and creative. But, I believe an argument can be made that Acid Rap by Chance the Rapper and Tobi Lou’s Live on Ice have very similar impacts on the audience it reaches, essentially accomplishing the same goal, connectivity. Acid Rap, is arguably one of the most influential factors for the type of music I listen to, and many others my age. Live on Ice accomplishes the same effect, but for a slightly different audience. Acid Rap was influenced by extremely prevalent themes being love, friends, following your dreams, with the biggest theme being heavily based around drugs. All of these elements combine for one of the most successful mixtapes ever made, as well as being responsible for Chance the Rapper’s massive popularity. Live on Ice is similar to Acid Rap in a way, due to how Tobi effectively connects the themes of the album to the listener. While it might not be as successful as Acid Rap, Tobi Lou has created a project that will touch the lives of many people in the same way Acid Rap did. Themes like finding love, dealing with depression, being comfortable with who you are, and heartbreak are expressed throughout the album extremely effectively through fantastic production, Tobi’s ambitious vocal layering/editing, and lyrical creativity. Personally, I love happy music, and when I heard tracks like Favorite Substitute, Like My Mom, and Ice Cream Girl, I immediately fell in love with them because they connected with me in a personal and interesting way. The use of non-traditional hip-hop instruments, catchy choruses, unique vocals, and actually interesting ad libs (seriously no one ever has good ad libs) make songs more lively, and help to set a mood for the album overall.

Live on Ice is genuinely in a league of its own, and I think it should be treated as such. It took me almost a month to fully understand and interpret this album, and I hope others get as much out of this project as I did. I truly haven’t listened to an album this interesting since Healy’s Subluxe in 2017. I highly suggest you give this album a shot, even if you don’t like hip-hop/r&b/pop because it is such a different experience. 

Suggested Tracks:

-100 Degrees

-Sometimes I Ignore You Too

-Berlin/Westside

-Cheap Vacations

-Looped Up

-Favorite Substitute

-Ice Cream Girl

-Jaye