#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? 

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#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. 

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[frecords]

Valentines special mix

This song is about feeling guilty for what happened in past relationships and feeling disconnected even when you are close to someone. But it gradually makes the narrator come to terms with their flaws and feel a deeper connection in the end.

The intro is a choir from Westside story followed by Hand of Blood by Bullet for my Valentine. The track list in the description lists all the other songs, most of them by BfmV, except for Everlong (30 seconds to mars) and the outro Paper over the cracks by Idle Class.

The lyrics are:

There's a time for us, someday a time for us

time together with time to spare, time to learn, time to share, someday…

Oh my god have I done it again?

There's a pulse and it's deafening.

I can't help what I hear in my head

It's a switch that I flick they said.

Hand of Blood, I don't want to feel my body's breaking

Hand of Blood, I don't want to see my life is burning

I saw you look away, is what you've seen to much to take or are you blind and seeing nothing?

I saw you run! I saw you run away. Is what I've done too much to take or are you scared of being with me?

There's a stain on my hand and it's red, oh my god am I losing it?!

I can't help what I've done, what I've said, it's the button I push.

Hand of Blood, I don't want to feel my heart is breaking

Hand of Blood, I don't want to see my life is burning!

I never saw you look away, are you the one to stay with me and tame the beast that's lurking in me?

You saw my pain! You saw my pain right away, is what I've done too much to take or will you take care of me?

[solo]

No!

I never wasted breath trying to prove my innocence.

I know just what I live with: another lie I buried in me

I know you don't want to see me hurt, make me suffer

but all that's left are all the broken shattered pieces of our lives.

I wish that I could tell you so you know (wooho) those things I'm hiding deep beneath my skin, beneath my skin

I wanna tell you so you know (wooho) those things I'm hiding deep beneath my skin, beneath my skin

So come and take my heart, make me feel your love.

I know I've made mistakes so come and watche me fall from grace

I know you don't want to see me hurt, make me suffer

I have nothing left, so I'll just sacrifice myself to make it right, to make it right!

I wish that I could tell you so you know (wooho) those things I'm hiding deep beneath my skin, beneath my skin

I wanna tell you so you know (wooho) those things I'm hiding deep beneath my skin, beneath my skin

I wanna tell you so you know, I wanna tell you!

I guess I fucked things up! I know it's all my fault

I'm pretty sure that this will be the death of me

But you saw them right away, it might be all okay

If you are the one to see me underneath!

Dragged into a world with voices unheard and silent screams

Forced into this hell where evil compells and shatters your dreams!

Trapped in this underworld confused on how this came to be

The path you walked has led you on a trail of misery

Unsure of your fate, uncertainty waits, your struggle within

No end and no beginning, is this the afterlife?

There's no escape, and time is running out.

Heaven can wait come hell or high water

There's no escape, and time is running out.

Can't look away tho hell I wanna go

Sitting here alone with nothing left to say

staring at the walls won't make them go away

I need to show the world that I'm alive!

I have to break this silence, empty out my lungs,

I will be heard! Don't hold me back, don't try to pacify!

This might be hard to hear:

Don't try and heal me when I'm broken,

I need to hurt for me to feel, feel anything!

Don't try to fix me when I'm broken,

I need to hurt for me to feel, feel anything!

I need a darker place to go and find myself.

I don't want to hate or live with my regrets!

I have to show I'm strong and I'll survive!

I need to break this silence, better mark my words:

I will be heard! Don't hold me back, don't try to pacify!

This might be hard to hear:

Don't try and heal me when I'm broken,

I need to hurt for me to feel, feel anything!

Don't try to fix me when I'm broken,

I need to hurt for me to feel, feel anything!

I'm coming home, I've been gone for far too long!

Do you remember me at all?

I'm leaving, have I fucked things up again?

I'm screaming, too much time without you spent!

It hurts! wounds so sore

now I'm torn, now I'm torn!

I've been far away, but when I see your face

my heart bursts into fire, hearts burst into fire.

You're not alone, you know I'm far from you

but there is no place like home.

I'm leaving, will you wait for me again?

I'm screaming, no more days without you spent!

It hurts! wounds so sore

now I'm torn, now I'm torn!

I've been far away.

How much longing can a heart withstand before it bursts into fire?

My bed's so cold so lonely, no arms just sheets to hold me,

has this world stopped turning? Arew we forever to be apart?

Forever to be apart, forever, forever!

It hurts! wounds so sore

now I'm torn, now I'm torn!

I've been far away, but when I see your face my heart bursts into fire,

my heart bursts into fire!

And I wonder when I sing along with you

if everything could ever feel this real forever,

if anything could ever be this good again.

The only thing I'll ever ask of you is just to hold me close to you.

Breathe out so I can breathe you in, hold you in and now

I know, I know you've always been out of your head.

Out of my head I sing:

And I wonder when I sing along with you

if anything could ever feel this real forever,

if anything could ever be this good again.

The only thing I'll ever ask of you is just to hold me close to you.

Would you?

And I'll see you then, and we'll wait for the sun after the storm,

Open up your eyes!

I'll keep walking over water if all our bridges have burned down

and the hardest part is over, it might get worse, but work out

you know where I can be found when our last straw has burned down.

It might get worse but work out.

[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’

[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…

[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…

[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.

[newwaveshxt-blog]

10 for 10: Gang$ta L

in a city where most of the big acts have molded their sound within the traditional west coast vein of rap, Gang$ta L stands out. He relies on more latin-infused west coast production, but his gravelly, sandpaper-like voice coupled with his laid back delivery are what make him completely stand out. on tracks like “colombiana” and “growth”, he effortlessly glides over the beat and his melodic rapping makes you pay attention to what he is saying. though he may not be the biggest act in the city, the clear potential is apparent. he has recently been preparing for “Showtime”, a full-length EP that features spots from artists such as Lil Weirdo and producers such as DJ on tha Track. While L lacks some of the name recognition that other peers of his command, his talent level is clear to anyone who listens to a track or two. his flow and unique voice make him shine, and his relatable lyrics paint pictures of troubles with women and personal growth that most of us can relate to. recently we interviewed L to get to know him better before the release of “Showtime”, this is what went down:

1. let’s start with your name, Gang$ta L. How did you finally settle on this name and were there any names before it?

My original rap name was Logan Tarantino but I decided to change my name to Gang$ta L in 2017. I used to make sci-fi style music but i changed my name after feeling depressed with just life and not being content with the music i was making. Gang$ta L represents me as a person. I always try to keep it G mellow and cool on my regular day to day. growing up as a kid i was always getting into trouble, fights and had a smart mouth, so the gang$ta aspect to my name is just not having fear and not being afraid to express myself. i’m a man of integrity and i never hold back what i gotta say.

2. what part of daygo are you from and how has this influenced you?

I’m from south bay san diego. grew up in otay ranch, san ysidro, na$ty city, and paradise hills in my lifetime. i grew up in majority Latino communities so growing up i never learned fluent spanish but i learned the culture and honestly it’s apart of me and my rap style. i didn’t grow up in blood or crip hoods but i definitely was raised around the varrio.

3. describe your style of rapping. in your words, how does it make you unique?

my style of rappin is story tellin. i like to talk about my past experiences with women, taking a drive to the beach even when you in sticky situations with the law. what makes me unique to me is my tone of my voice. i feel like my voice just naturally serenades the beat and just makes me feel like everything is going to be okay. i like to kill with simplicity.

4. How long have you been rapping now, and what inspired you to start? what inspires you to keep going now?

I have been rapping since 2015 and honestly even sonically i wasn’t even where i wanted to be at. I was able to find peers that respected my talent and wanted me to keep going. kory winter is the only reason i started to make music in the first place. At one point i had never rapped on anybody’s beats except his. we made a lot of music during 2015-2016. i went through some depression and self-confidence issues back in 2016 but what kept me going was when i took a step back from music and having random people i never met in my life tell me they wanted me to keep making music. i do it for the people that believed in me when i didn’t believe in myself.

5. Describe how you started to get managed by TMI and how you feel about the rest of your camp. who do you feel you have the most compatible style with?

So TMI [Tastemakers Inc.] started as a group chat. we would just share music jokes and roasts that’s literally all we do. The thing about TMI was that we were all friends but not everybody was connected as one. the group chat grew and we started linking together and at one point i decided to let my childhood friend Sly manage me. once he started managing me everyone else got on board and we decided to all network and start making music together. what i like about TMI is that we are all individuals and we don’t have to worry about the woes of a group. Style wise i would probably say Larry June. My peers always give me that comparison even though i don’t hear it myself.

6. Tell us a little bit about showtime, what was your inspiration behind the project, and what are some standouts listeners should look out for?

Showtime was a project that started with Akrite Radio’s production. He was the first producer to really believe in me and gave me the jump start on the album. I was inspired by classic west coast albums like Dom Kennedy’s “Westside With Love 2”, “Street Gospel” by Suga Free, and etc. Standout wise i’m really feeling Lil Weirdo’s verse on my album. He really gave me some cold bars and i fuck with him as a person. if chicano rap died i honestly could say lil weirdo could resurrect it himself. DJ on tha Track believed in my vision as well and he supplied some epic production to this album but honestly all the producers gave me some original sounds. shout-out to AK, FoeDeeoz DJ, Archie, 50K, and Ecclectic.

7. As an artist, what do you prefer to do with your music in terms of release? do you prefer to drop it as often as you can or do you prefer spacing out your releases? do you prefer tapes and albums or single releases?

Curren$y is a big inspiration for how i release my music. he’s always working but he’s always releasing bodies of music. Even though i released 3 songs, 2 singles and one visual i wanted to make a 15 track album so that people could find something on the album that they enjoy. nowadays everyone wants to drop singles but i love listening to cohesive projects that slap from beginning to end. I already started working on my second EP and i already got some content finished and ready to go for the TMI collab tape. My goal is to release 4 projects and multiple visuals. strategy wise i always pay mind to other artists from my section because i don’t want to compete with others artists. everybody needs to shine.

8. who in the city right now would be your dream collab to make a song or project with?

my dream collaboration in the city right now is Marty Mcphly. He so cold with his lyrics and beat choices. been listening to him since i was 17. he’s a positive dude and he rep daygo to the fullest.

9. You’ve just moved to Georgia. how do you plan to continue your career now that you’re located in a new city? what does the future have in-store for Gang$ta L?

What i love about moving to ATL is that music just got even more easier to record and showcase. it’s like black hollywood out here so it’s fun to me that i could meet so many hungry artists, producers, and engineers in this city. san diego can be limited at times but i already met 6 engineers in a 5 mile radius from me. the music won’t stop and i have a vision that i wanna hear more southern rappers on San Diego style production. i feel like the sonics will be unmatched. the challenge is to get the ATL scene to respect my west coast roots and style. i’m up for the challenge though.

10. shameless promotional plug.

this is Gang$ta L, daygo raised, made, and paid. follow my ig @logan_tarantino showtime will be released very soon and it will be hosted by Running Digits, an LA platform. “What’s The Move” visual on the way directed and shot by @trigaaru productions. thank you to everybody that read this and thank you to thenewwave for conducting this interview with me. keep it player don’t save her and always be about yo paper.

[mizaracwc-blog]

Evaluation of the Assessment.

Little shop of horrors.

I believe the dance went well  as my group and I managed to get through the whole dance. I managed to go without messing up on the dance moves. I also managed to maintain my concentration and I was really confidant with the movements.

I know I could of improved by showing more facial expression and characterization.

Westside story.

What went well was I  managed to showed a lot of emotion and I tried to show connection towards my partner and even though I got a line mixed up I managed to continue without coming out of my character.

I could of improved by taking my time whilst speaking as well as articulating my words properly so I would be even more clear and not sound like I am rushing my lines.

Rent.

whilst I was singing managed to get all the lyrics correct and done my best to connect with the song and maintained my focus.

I know I could of improved by showing more emotions and characterization. 

[sheilacwall]

hip hop isn’t dead.: Ice Cube

Somehow War & Peace Vol. 2 (The Peace Disc) is only the sixth solo album from rapper-slash-actor-slash-professional basketball league founder O’Shea “Ice Cube” Jackson. It feels like we’ve been discussing this motherfucker forever, or at least since 2007, right? Obviously the man has been doing a lot since his entrance into our chosen genre via N.W.A.: aside from his whole actor/writer/director side gig, he’s released compilations, been a part of multiple soundtrack releases, and even found time to create an entirely separate group, Westside Connection (alongside his protégée Mack 10 and his friend WC). But the man hasn’t ever truly stepped away from his solo career, which is part of the reason we’re talking about today’s subject.

War & Peace Vol. 2 (The Peace Album) is the second half of a project that Cube conceived way back in the previous century (read: 1998). War & Peace, curiously named after the soft drink and not the Tolstoy doorstop, served as our host’s excuse to deliver the gangsta rap and social commentary he was best known for post-Jerry Heller, along with some attempts to construct a much broader audience through radio airplay, club bangers, cautionary tales, and skinny-dipping in the waters of different musical genres. Although for some reason I’m remembering this being announced as a double-disc effort, Ice Cube released the first volume, subtitled The War Disc, close to the Thanksgiving holiday in 1998, with The Peace Disc scheduled to follow soon after, as they were recorded and compiled at the same time.

The War Disc was met with mixed reviews, as Cube rested on his laurels a bit too much: there’s one song that is a direct sequel to one of his classic tracks, “Once Upon a Time In The Projects 2”; he leaned heavily on a younger artist signed to his label, Mr. Short Khop (who, interestingly enough, doesn’t appear on The Peace Disc at all); there’s a collaboration with motherfucking Korn called “Fuck Dying”. (Cube also appeared on Korn’s 1998 album Follow the Leader: both songs helped cue up the inaugural Family Values tour, which they were both headliners on.) But aside from a couple of tracks that played into his storytelling skills, The War Disc quietly vanished from rotation, leaving our host to retool the planned follow-up in an effort to course-correct.

War & Peace Vol. 2 (The Peace Disc), the final album released under Cube’s deal with Priority Records, is definitely not what was already completed when The War Disc was released. For one, the very first track, “Hello”, is a collaboration with former N.W.A. bandmates MC Ren and Dr. Dre, a move which wouldn’t have happened in 1998, but made more sense in 2000 after N.W.A. officially reunited for a song off of the soundtrack for Cube’s Next Friday (and also after Dre released 2001, a blockbuster project that put him back on the map). In addition, the first single, “You Can Do It”, came from that same soundtrack and was Cube’s most popular radio hit since 1997’s “We Be Clubbin’”. So I get why he’d want to retool the project to capitalize on those strengths.

The Peace Disc vanished seemingly quicker than its predecessor, possibly due to the chart dominance of his friend Dr. Dre and Dre’s artist Eminem at the time. It did manage to sell over five hundred thousand units in the United States, but find me somebody who proudly has this one displayed in their collection. I dare you. I double dog dare you, motherfucker. Nobody gives a fuck about War & Peace Vol. 2 (The Peace Disc), and I include Ice Cube in that description. But that doesn’t necessarily mean that the album is entirely bad, so let’s peek under the hood and review this sucker.

1. HELLO (FEAT. DR. DRE & MC REN)

O’Shea hits the ground running, commissioning an N.W.A. reunion that is much more successful than their official comeback on the Next Friday soundtrack (“Chin Check”, for those of you keeping score). A simplistic Dr. Dre. prescription, which bangs, lays the groundwork for Dre, MC Ren, and our host Ice Cube to… complain about the current (as of 2000, anyway) state of hip hop like the elder statesmen they are: they have a specific grievance regarding not being credited for “start[ing] this gangsta shit” (which absolutely isn’t true, but regardless of who you think kicked off the sub-genre, the various members of N.W.A. are cited as influences all. The. Goddamn. Time. Maybe not Yella). As far as old dudes talking shit as though evolution in language and culture hadn’t ever occurred, Ren comes across as alright (his comment about lesbians not exactly homophobic but still iffy nevertheless), while Andre sticks with his “I’m rich, I don’t have to do shit” mentality. Thankfully, O’Shea tears through his verse with a ferocity he hasn’t displayed since Westside Connection’s Bow Down, and I say that even though the phase of his career where he insisted on nicknaming himself the “Don Dada” is still represented on here. So yeah, this was a success overall. Thank God, right? I mean, can you imagine two subpar late-period N.W.A. reunion tracks in a row?

2. PIMP HOMEO (SKIT)

I know Cube’s trying to be funny here, but this was bad. At least it wasn’t homophobic, though, as the title may have implied. Absolutely misogynistic, though.

3. YOU AIN’T GOTTA LIE (TA KICK IT) (FEAT. CHRIS ROCK)

Fairly confusing, as “You Ain’t Gotta Lie (Ta Kick It”) isn’t really the love rap sort-of promised by the preceding skit. O’Shea spits his boasts-n-bullshit, which, interestingly enough, include proclamations of being a great father, while guest Chris Rock threatens to undermine the entire operation with his contributions to the hook. The concept isn’t set up well enough for this three-man production (this was credited to former Bad Boy Hitman Chucky Thompson along with Rich Nice and Loren Hill) to make any fucking sense, as Cube isn’t really hitting on anyone as much as he’s offering up facts about himself as though he recorded his bars while standing behind a podium, while Rock tries to come up with the most ridiculous lies during the hook. Dude is kind of amusing toward the end, but overall this shit was a misfire. It was good while it lasted, though.

4. THE GUTTER SHIT (FEAT. JAYO FELONY, GANGSTA, & SQUEAK RU)

LOL there’s a rapper named Gangsta? Have we officially used up all of the words? Anywhoozle, our host envisioned “The Gutter Shit” as a collaboration with like-minded West Coast artists, but could only convince Jayo Felony and two other no-names to commit, and my Lord does this Cube- and T-Bone-produced aural interpretation of a sad face emoji suuuuuuuuuck. The two artists on here that you’ve never heard of before or since seem excited enough for the opportunity but flounder when called upon, while Jayo is terrible as always. But the true loser here is our host, who somehow found the time to contribute two awful verses that wouldn’t even be stocked in the same type of store as the gutter shit he was once capable of. And what the fuck is with that reference to the previous track?

5. SUPREME HUSTLE

There is no planet within our galaxy where Ice Cube could have honestly believed that “Supreme Hustle” was a song good enough to make War & Peace Vol. 2 (The Peace Disc). My guess is that the production trio from “You Ain’t Gotta Lie (Ta Kick It)” had called in a collective Make-A-Wish, as this elementary excursion into simplistic rap boasting is embarrassing as shit to listen to. At least our host sticks with his theme: each of the three verses places emphasis on “I”, “you”, and “we”, respectively. But there is no hustle to be found on here, and O’Shea’s hand-waving about what he considers to be the cause of domestic violence was puzzling as hell. I cannot stress enough how fucking godawful this shit was.

6. MENTAL WARFARE (SKIT)

…

7. 24 MO’ HOURS

When critics mention older rappers struggling to sound relevant with their newer songs, “24 Mo’ Hours” is what they’re referring to. If War & Peace Vol. 2 (The Peace Disc) were released today, the Battlecat instrumental, which both sucks and doesn’t fit our host’s general aesthetic, which is a strange critique given Battlecat’s history of producing Cali-based bangers, would almost certainly be swapped out for something from the likes of Metro Boomin’ or Zaytoven, and it would still sound terrible. Ugh.

8. UNTIL WE RICH (FEAT. KRAYZIE BONE)

I heard “Until We Rich” on the radio once probably in 2000 or so, and then have apparently never thought of it again until right now, which I believe is an accurate representation of how forgettable this Chucky & the Thompsons production was. Guest star Krayzie Bone, still riding a Bone Thugs-N-Harmony career wave at the time, circles and underlines Slick Rick’s “Hey Young World” with his performance, which is dull, while O’Shea tries his darnedest to give listeners an optimistic, motivational speech, even going so far as to censor his own cursing, so as to reach as wide an audience as possible. Sure, “Until We Rich” fits the ‘peace’ requirement of this project, but at what cost?

9. YOU CAN DO IT (FEAT. MACK 10 & MS. TOI)

You two already know this song, which first appeared on the soundtrack for Next Friday in 1999 but was popular enough to justify Priority Records placing it on as many projects as possible, I suppose. For the handful of readers who somehow missed this footnote in popular culture, “You Can Do It”, a spiritual follow-up to “We Be Clubbin’”, the hit single from our host’s directorial debut The Players Club, finds Cube, Ms. Toi, and his boy Mack 10 putting their asses into a One Eye-produced club effort that is slight on lyrics, but is rather catchy otherwise. It sounds so fucking absurd today that it somehow shifts from “corny” to “entertainingly corny” during Cube’s opening verse and never once budges again. At least our host sounded engaged on here, unlike most everything else on War & Peace Vol. 2 (The Peace Disc) thus far, and having Mack 1-0 perform over a fast-paced beat forces him to match that energy or die trying. Inessential, but it brings the pretty girls at the club out onto the floor, in case that helps you in any way.

10. MACKIN’ & DRIVING (SKIT)

Playing War & Peace Vol. 1 (The War Disc)’s first single, “Pushin’ Weight”, in the background of this interlude only reminded me of rapper Mr. Short Khop, whose career was abruptly halted after Cube stopped giving a shit about his young charge. I mean, why else would he not have been a good enough performer to make it to the second volume? Good call by the way, O’Shea.

11. GOTTA BE INSANITY

Curious, but not entirely out of left field when you remember “You Can Do It” was a hit, so why wouldn’t O’Shea go back to that well? The funky-ish guitar loop on this Mario Winans (!) production reminded me of Jermaine Dupri’s “Going Home With Me”, except I like that song and found this one to be middling at best, as Cube panders to the lowest common denominator while trying to get back inside the club. I can’t be sure who our host thought his audience was when he recorded “Gotta Be Insanity”, but he’s done enough good work and has earned the ability to record and release whatever he wants. Still doesn’t mean we’re all required to listen to any of it, however.

12. ROLL ALL DAY

As we all know and agree with every third Wednesday at our meetings, the best storytelling raps are the ones where you don’t realize the artist is even telling a story until the third verse. That’s what happens on “Roll All Day”, anyway. Over a One Eye beat that doesn’t entirely gel but has its moments, Ice Cube boasts about having purchased a full tank of gas (a fact repeated throughout, with a humorous callback toward the end) and offering to cruise around with a woman he just met in exchange for sexual intercourse. You know, standard-issue rap-type shit, but it begs the question: why is she so interested in the car? Has the woman in question never been inside an automobile before? Cube could have probably rolled up on a pedal bike and worked out a similar proposition just because he’s Ice Cube, but I suppose there’s no vehicle for a story there (pun intended). Regardless, he never gets that far, as by the third verse she’s [SPOILER ALERT FOR A NINETEEN-YEAR-OLD SONG] broken the car’s windows and, later, stolen it outright. His flow is strictly boasts-n-bullshit until the ending, where he reveals some of that sense of humor he tapped into while writing Friday. “Roll All Day” is meh, but the effort was appreciated, at least.

13. CAN YOU BOUNCE?

This was fucking terrible, and that’s without O’Shea making a Pokemon reference, which he absolutely does on here. So that happened. (Also, Younglord apparently produced the beat. Was War & Peace Vol. 2 (The Peace Disc) designed as Ice Cube’s covert demo reel to hopefully snag a label deal with Bad Boy Records? Because the gambit hasn’t paid off yet.)

14. DINNER WITH THE CEO (SKIT)

…

15. RECORD COMPANY PIMPIN’

The flip side of EPMD’s “Please Listen To My Demo”, down to the same Faze-O “Riding High” sample being used, as Ice Cube and producer Bud’da urge the youth not to get involved in the rap game without learning the business side of the industry first. Advice such as this can only come from someone who was famously jerked around by their label in the past, as Cube was during his short stint with Ruthless Records, but while the man clearly knows of what he speaks, that doesn’t mean “Record Company Pimpin’” (a topic many artists have tackled before and since O’Shea put pen to paper) is an entertaining song to actually listen to. Our host should have taken these ideas and given a TED Talk instead. That’s not a joke: imagine how many people he could help in the process. But you can skip this track outright.

16. WAITIN’ TA HATE

So it turns out that War & Peace Vol. 2 (The Peace Disc) is a stealth EPMD tribute album filtered through a Puff Daddy lens. That’s a lie, obviously, but “Waitin’ Ta Hate” is the second song in a row to pay homage to Erick and Parish specifically, although this time around producers One Eye and DJ Joe Rodriguez (that name gets to the point, can’t be mad at that) get lazy by choosing to just sample “So Wat Cha Sayin’” directly. For his part, O’Shea sounds downright angry on here, which informs an entertaining performance that isn’t reminiscent of his finest work, but let’s be real, it’s the best we’ll get at this point. The production doesn’t do much to differentiate itself from the EPMD standard, but maybe, this time around, it isn’t such a bad thing. (Side note to E-Double: you should give Cube a shout for a future collaboration, as the man is clearly a fan.)

17. N—A OF THE CENTURY

Accompanied by someone that could be that Pain In Da Ass dude whose entire shtick was aping flicks such as Scarface and Goodfellas to open up early Roc-A-Fella Records projects but likely isn’t, which means there were two of these guys in our chosen genre at some point, which seems wasteful somehow, our host caps off the evening lobbying for an award that doesn’t exist. Charley Chap’s production is too dull to properly reward Ice Cube as a winner of any competition, and O’Shea’s own bars aren’t worth wasting a paragraph on. At least we’re done here.

FINAL THOUGHTS: War & Peace Vol. 2 (The Peace Disc) approaches self-parody at points, as Ice Cube genuinely seems to not understand just what it was about his work that listeners connected with back in the early 1990s. It certainly wasn’t this shit: nobody ever wanted to hear what it would have sounded like had Cube signed with Bad Boy Records twelve years after his prime. The O’Shea Jackson found on this project is a man who is content with his station in life: the only time he ever really comes across as passionate about anything is when he’s schooling younger artists on the inner workings of the music industry, a topic that obviously resonates with him. Even his generic threats on “Hello”, a song I fucking liked his performance on, sound more like amiable suggestions than anything. When Cube gets in his storytelling bag, he seems to at least be having some fun with this shit (not that it always translates for the listener), but when he’s simply talking shit, the momentum on War & Peace Vol. 2 (The Peace Disc), or whatever little momentum exists, halts immediately. Twenty years removed from his debut solo project, this album proved that Ice Cube was no longer vital to the ongoing health of the local hip hop concern. He has all of his other ventures to fall back on, and of course he’ll always be welcomed at the barbecues, but unless he’s laser-focused on targets (we’ll always have the first Westside Connection effort), he loses the plot very quickly, and one can only coast on charm and the acclaim derived from your prior work for so long.  I won’t go so far as to say that War & Peace Vol. 2 (The Peace Disc) is a “peace” of shit, because that pun is beneath me, but it’s plenty awful.

BUY OR BURN? Neither. If you absolutely must, stream the tracks listed below, but, you know, life is short.

BEST TRACKS: “Hello”; “Waitin’ Ta Hate”

-Max

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