#poppy def convinced him to wear it one day

[brotherlessorphan]

I found a new hobby and it’s editing Branch to have eyeshadow, he just looks so pretty 😭

[motherfuckingbrad]

I’m pretty sure David took psychology or family psychology or something as a minor to his business degree in uni because he projects his childhood trauma into Ian and Poppy and kinda psychoanalyses others (most of it being bullshhht) kinda reminds me of Britta “as a licensed psychology major” Perry

Also def took a bunch of philosophy/sociology courses because 🌟 brene brown 🌟

ok YES DAVID AND BRITTA WOULD BE BFFS IM CALLING IT

omg now i NEED a fic where the entire mq gang meets the entire community gang because could you IMAGINE like

britta and david just psychoanalyze each other but neither is rlly listening to what the other says because they’re too focused on their own epiphanies so they just go on and on without ever actually coming to any conclusions and both feeling super satisfied about themselves

and troy and poppy would get along so well because they’re both immature as anything so they’d just play video games and eat candy in the basement and every once and a while troy would get mad that poppy was winning and ask how she knew so much and poppy would say “u know i made this entire game right?” and then troy would fangirl so hard because omfg she MADE THE GAME and can she make him an inspector spacetime game to play w abed or a kickpuncher game to beat jeff at or a levar burton reading rainbow game just for himself or-

and then obv jeff and ian would hang out but both would be too cool to actually get to know the other so they’d stand around all day trying to prove that they’re better than the other one and literally no one would give a single shit as they try to prove who’s taller than who and who wears sunglasses better or has better abs or has worse father trauma

(the dean would just follow them around and feed into it, telling each of them that the other still thinks they’re better because it means they’ll take their shirts off or try harder to convince the dean they’re better <3 and he’s never seen jeff jealous and vying for his attention before)

and then shirley would go hang out with sue because she would want a tour of the place and sue seems very nice but also has some sweetly worded insults/gossip about everyone in the office that shirley loves to hear and shirley would fill her in on all the drama with her study group and somehow michelle would eventually also be there and shirley and michelle and sue can all trade advice/experience on what it’s like to be a hardworking woman in business

and cw and pierce can be racist and out of touch together

and annie would float around because at first dana and rachel want to show her around and get to know her but annie catches sight of brad (mean official man in some position of authority so kind of her type) and flirts w him, which then leads jo to yell “BACK OFF HE HAS NO NEED FOR GOODY-TWO-SHOES GIRLS, HES A SHARK HE WILL RIP YOUR PERFECT LIP GLOSSED FACE APART” and then annie spends the rest of the afternoon showing jo how she can be a strong woman without yelling and threatening everyone all the time

abed films everything because it’s a crossover episode what else is he supposed to do

anyway i’m literally obsessed with this idea now thank you op i love you

[evilradmedieval]

Logic - “Everybody” Review

It’s 2017, and we’ve entered an era of hip-hop where a lot of popular artists are opting to choose two different routes: drugged-out turn up music or socially conscious heady music. Logic is a rapper that happens to be caught between both of those paths. Hailing from Gaithersburg, Maryland, Logic grew up living in poverty with parents who suffered from alcoholism and drug addiction. As a half-black and half-white young teen, he had trouble really connecting with anyone and coming to terms with his identity at a young age, a trait which would become a major topic of his albums, including Everybody. He then became enamored with hip-hop, which then led to the release of several acclaimed mixtapes in Young, Broke and Infamous and Young Sinatra. With those projects, he showcased his very technical skill in rapping, having a flow that was distinctly his and being able to rap with great intensity. As his popularity great, he was subsequently featured on the XXL Freshmen cover in 2013, around which this was an era in his life where he starts wearing his contemporaries’ styles like a glove. Opting for less jazzy, 1990′s Jay-Z-esque instrumentation, he starts utilizing more trap-flavored, accessible beats. He also starts using similar flows to other artists, in which people have even compared it to rappers Kendrick Lamar and Big Sean. This was a slight problem with his debut album Under Pressure, in which his attempt to appeal to a wider audience was the ultimate flaw of the project. At times he would attempt the Drake route with a sung-rap performance, and other times he would emulate the same flow as Kendrick Lamar on the next track. Despite this, there was a noticeable improvement on his sophomore album, which was a conceptual project featuring characters in search of a new planet to inhabit due to the uninhabitable environment of the earth in the future. He improved on all fronts production-wise, lyrically and topically, despite the silly claim that said album is to be deemed “a classic”. Regardless, I thoroughly enjoyed it, despite it’s flaws. However with this album Everybody, Logic continues that conceptual theme, however this time with the narrative of a man named Atom who dies and encounters God (played by the one and only Neil Degrasse Tyson) and comes to find that his existence is due to constant reincarnation and that he is the only living person on the planet, meant to live as every human being ever and move onto the afterlife. Although heady in its concept, the musical aspects have little to do with the actual narrative and instead addresses topics of being both black and white and seeing life through two sides. 

The intro in “Hallelujah” is a triumphant start to the album, with an upbeat house-y vibe throughout, which then breaks down into a subtle trap-flavored banger. Logic has no problem lyrically going into the track, giving his take on the world and ultimately reflecting on where he sees himself as a person in the world. We then follow his verse with a pretty reflective take on his view of everybody in the world, how everyone is equal when it comes down to it, which then transitions into a sung verse by Logic himself, setting up for the scene in which Atom dies in the car crash and meets God. Musically, the track is grandiose with its choir backing vocals and lush violin sections. I don’t think he says anything that’s incredibly mindblowing, but is still a decent track.

“Everybody” happens to be the title track of the album, as well as the lead single. With it, Logic comes through again with sheer technical ability and bar after bar regarding race relations between blacks and whites. He also delves into what it’s like being half and half, as he struggles with dealing with acceptance of his privilege and vice versa. There are no struggle bars to be found here, and I especially love the R&B-esque vocal sample looming in the background.

The title track is then followed up by “Confess”, which was a letdown to me given the Killer Mike feature. Instead of giving a hard-hitting verse, he gives us this spoken word section, which was fine, but I felt that it could have been more impactful if it were actually rapped. But maybe it will grow on me, as he does deliver a profound message. The track again plays with more hip-house as it builds up, then drops into a trap-flavored boom bap-hybrid of an instrumental. The instrumentation here too is lavished with guitars, piano keys and soulful vocal samples, giving it a really clean and crisp sound. Logic again comes through with a hard-hitting verse, however comes through with some struggle bars when talking about being an imperfect human being (which may actually not be intentional) yet can be easily overlooked. 

Logic then comments on the heavy use of technology and misuse of social media in this day and age on the track “Killing Spree”. The insight he gives makes sense, as he delivers this with some hard hitting bars with his trademark flow. Unfortunately, the quality of the song goes downhill with the random inclusion of that actor from The Fault in Our Stars to sing this unnecessary sung verse on the latter half of the album. Out of everyone else, Logic opted for a half-assed sung verse which contributed little to the track. Not one of my favorites, but I get what he was attempting to say with this track.

“Take It Back” is a recollection of Logic’s childhood and growing up, being subjected to racism and growing up in a negative environment. Most of those negative connotations come from being mistaken for white and/or black and always being let down. The flow is great until he starts randomly talking in this weird spoken word flow, trying to emulate people that talked down on him, which really ruins the momentum of the track. He then would change back to his rapping, which really left me in a daze. To me, it felt like he had no way of creatively incorporating this entire message into a rapped verse and therefore had to just straight up say it with a regular voice. The instrumental is trap-flavored and is a lowkey banger, but is ultimately ruined with his unnecessary change-up in flow. 

The next track “America” is an absolute posse cut banger, which also happens to be Logic’s first straight up political tracks. With big name features like Public Enemy’s Chuck D and The Roots’ Black Thought, there’s bound to be some heady bars after bars on this track. Additionally, Logic definitely holds his own on this track, going in and openly criticizing the current state of America amidst a Donald Trump presidency. The inclusion of longtime collaborator Big Lenbo was unnecessary, yet still puts up a decent verse. Definitely one of my favorite tracks on the album despite the random appearance from Big Lenbo and No I.D. at the end with a short verse. 

Juicy J makes an appearance on the next track “Ink Blot”, who was brought in the contribute his own perspective on materialistic rappers. The song starts off with a passionately sung verse by Logic himself, which is surprising in the sense that he actually does a good job harmonizing towards the middle section of the track. I wouldn’t necessarily want Logic to sing on a track necessarily, but he still holds his own and actually sings better than most rappers who attempt to (I’m looking at you Big Sean and J. Cole). Anyways, Juicy J actually doesn’t contribute too much to the track, but makes his presence known with his adlibs throughout, as well as an outro that tells your bitch to “slob on his knob”. Kinda over the top, yet still a totally Juicy J thing to do.

“Mos Definitely” is a more upbeat track that parallel’s the tempo of Madcon’s “Beggin’”. Logic holds his own, flawlessly flowing all over this track and commenting on how everyone has the power to fight for what’s right. Deemed an ode to the great Mos Def, Logic makes various other references the struggle and societal expectations. The song sounds like a mere filler track however, in which he commented on such topics already earlier on the tracklisting.

The next track happens to be an interlude, which continues the narrative of Atom meeting God and being explained the concept of reincarnation and how he’s everyone else, a concept that was illustrated by Andy Weir in the work The Egg. Definitely an interesting exchange, however it doesn’t completely tie into the musical aspects of the album. Neil Degrasse Tyson and 90′s radio personality Bigvon put on convincing performances as their respective characters, however. The inclusion of a heady narrative really ties into Logic’s interest in movies, which was also prevalent on his previous album. 

The next track, which happens to be the National Suicide Prevention Hotline means well, however I thought was a lousy attempt at making a crossover radio hit. You have rappers Chuck D and Black Thought on the same album where you have pop singers Alessia Cara and Khalid, which cohesively doesn’t fit in well within the tracklisting. Despite this message of anti-suicide, the track reads to me as out of place and desperately tries to tug at those heart strings. 

The next track “Anziety” comments on... well anxiety. Logic comes through with a pretty reflective take on anxiety and how it affects him and how it affects everyone else. The flow and lyrics are there, I just couldn’t really get into the overblown and poppy hook sung by singer Lucy Rose. Logic comes through with a spoken word piece towards the latter end of the track, which was better than randomly switching between rapping and doing spoken word similar to the shit he pulled on “Take It Back”. Not one of my favorite tracks, but still equally heartfelt topically.

“Black SpiderMan” was also one of the lead singles of the album, which I initially didn’t like due to the corniness of the references of wanting a black Spiderman, yet the more and more I listened to the track it really grew on me. The sentiment is definitely there, which is reinforced by these sweet piano keys and choir-esque backing vocals. The track also happens to be one of the more “feel good” tracks, and the feature with Damian Hudson is passionate and full of soul. This is definitely one of my favorite cuts on the album. The ending skit was pretty funny too. 

The outro track “AfricAryan” happens to be one of the more personal tracks on the album, in which Logic discusses biracial background even further and how it impacts his life. Although he has rapped about this before on past tracks, he tends to go a little deeper lyrically. The track is jazzy and lowkey, with these sweet-sounding piano keys and saxophone sections. The track initially was supposed to be the title of the album, however was changed to avoid controversy and preconceived assumptions. The latter verse happens to be one of his most impassioned deliveries yet, leaving the listener with a lot to take in. We then get a random phoned-in verse from J. Cole at the end, which wasn’t horrible or detrimental to the track, but just a little extra regarding context. 

Overall, the album takes a more political and socially conscious turn in comparison to his previous works. However, with the inclusion of the heady concept of reincarnation with the story of Atom, there was little allusion to the actual songs musically which threw me off a little bit. Despite there being reference to the mistakes of Atom and his overall conception of the world, it would have been logical (no pun intended) if Logic tied in this story more to Atom’s actual view of his own political and social view of the world. The concept is still interesting, however. Lyrically and delivery-wise, Logic doesn’t disappoint, despite a couple struggle bar mishaps here and there. Some features were either misused or completely out of place. Killer Mike could have made a better contribution, as well as J. Cole’s phoned in verse on the outro song. Khalid, Alessia Cara and that other random Lucy girl had no business being on this album. But overall with the message of this album, I felt it seemed a little wishy-washy and disjointed for him to make a cohesive statement. Amidst this trend of being politically conscious, the focus isn’t entirely here on this album, yet he still makes a somewhat decent follow-up to his past two LPs.

RATING: 6/10