#pusha t said you the one make music for whites

[xo-tough-love-xo]

Talking about someone is a fake activist well we know you ain’t an activist.How Meek Mill talking about the FlintWatercrisis and you not. You come to tour here in Michigan with 2 dates but gave nothing around here.

[religion-is-a-mental-illness]

By: Thomas Chatterton Williams

Published: May 19, 2024

We’d gathered that day at the cafeteria’s “Black” table, cracking jokes and philosophizing during the free period that was our perk as upperclassmen. We came in different shades: bone white, tan and brownish, dark as a silhouette. One of my classmates, who fancied himself a lyricist, was insisting that Redman, a witty emcee from nearby Newark, New Jersey, was the greatest rapper ever. This was the late ’90s, and for my money, no one could compete with Jay-Z. I said so, and the debate, good-natured at first, soon escalated in intensity, touching on feelings and resentments that ran far deeper than diverging claims about artistic merit.

“How can you even weigh in?” I still remember the kid fuming. “You ain’t even the pure breed!”

With that, there was nothing left to say. Friends separated us, the bell rang, and I headed home. A short time later, I went off to college, where I would meet a wider assortment of Americans than I had realized existed. But over the years, I have been reminded of that boy’s slicing racism, the lazy habit of mind that required no white people to be present but would nonetheless please the most virulent white supremacist.

Recently, two public controversies spirited me back to the suspicion and confusion of my high-school cafeteria. All spring long, an unusually nasty feud between the rappers Drake and Kendrick Lamar has been captivating audiences, both for the quality of the music it has engendered and for the personal and malicious dimensions of the attacks it has countenanced. Much has been written about the fight, in particular about the two men’s treatment of women, which I won’t rehash here except to point out that it’s a little funny that they both portray themselves as enlightened allies while also acting as if the ultimate disparagement is to call another man feminine. Less has been said about the potency of the racial dimension, which feels like a throwback to a time before Drake’s pop-culture dominance—indeed, to a time before the historic hybridity of the Obama era—and like a distillation of the skin-deep racialism of the current social-justice movement.

Drake, who grew up in Toronto, is the son of a white Jewish mother from Canada and a Black father from Memphis. Since the release of his 2009 mixtape, So Far Gone, he has been not only the most successful visibly mixed-race rapper—and arguably pop star—but also the most visible Black male musician for some time now. Anyone at the top will attract criticism. But not even a white rapper like Eminem has been subject to the kind of racial derogation that has been hurled at Drake.

Back in 2018, the rapper Pusha T released a diss track about him for which the cover art was an old photograph of Drake performing in a cartoonish blackface. The image makes you cringe, but—as Drake explained—that was the point. Drake began his career as an actor, and he wrote that the photograph was part of a “project that was about young black actors struggling to get roles, being stereotyped and typecast … The photos represented how African Americans were once wrongfully portrayed in entertainment.” But presented without context, it appeared to be a self-evident statement of inauthenticity.

Another rapper, Rick Ross, calls Drake “white boy” again and again in his song “Champagne Moments,” released in April. In an op-ed for The Grio, the music journalist Touré explains why the insult is so effective: “We know Drake is biracial. He’s never hidden that, but many of us think of him as Black or at least as a part of the culture … On this record, Ross is out to change that.” Touré calls this “hyperproblematic,” but his tone is approving—he admires the track. “We shouldn’t be excluding biracial people from the Black community, but in a rap beef where all is fair as a way of attacking someone and undermining their credibility and their identity, it’s a powerful message.”

In a series of more high-profile records, Lamar has built on Ross’s theme, both implying and stating directly that racial categories are real, that behaviors and circumstances (like Drake’s suburban upbringing) correlate with race, and that the very mixedness of Drake’s background renders him suspect. It is an anachronistic line of ad hominem attack that is depressing to encounter a quarter of the way into the 21st century.

Lamar’s most recent Drake diss is called “Not Like Us,” and reached No. 1 on Billboard Hot 100. It goes after Drake’s cultural affiliations with the American South. “No, you not a colleague,” Lamar taunts. “You a fucking colonizer!”

It’s hard to hear that and not remember that Drake’s mother is Jewish, and that this is the same invective used to undermine Jews’ sense of belonging in Israel. Such racist habits of thought have become potent rhetorical weapons in the progressive arsenal.

The second (if smaller) controversy followed an essay on language and protest published in The New Yorker earlier this month. The novelist Zadie Smith, who is of European and African descent, argued—carefully—that it is too simplistic to regard the world as sortable into categories of oppressor and oppressed. “Practicing our ethics in the real world involves a constant testing of them,” she writes, “a recognition that our zones of ethical interest have no fixed boundaries and may need to widen and shrink moment by moment as the situation demands.” This was an attempt to take seriously the tangible fate of Hamas’s victims on October 7, the broader implications of anti-Semitism that can at times be found in criticism of Israel’s response, and the ongoing tragic loss of Palestinian life.

Despite praising the protests that have engulfed college campuses and describing a cease-fire in Gaza as “an ethical necessity,” Smith was derided on more than intellectual grounds. One widely shared tweet, accompanied by a photo of Smith, stated the criticism plainly: “I feel like Zadie Smith uses black aesthetics to conceal her deeply pedestrian white middle-class politics. People see the head wrap and the earrings made of kente cloth and confuse that for something more substantive.”

This was not the first time Smith had been regarded as a racial interloper. The author Morgan Jerkins once wrote of the emotional “hurt” she felt reading another thoughtful essay Smith published in Harper’s asking “Who owns black pain?” Smith’s transgression here, according to Jerkins, was “intellectualizing blackness” from a distance instead of feeling it. “Do not be surprised,” Jerkins warned, “if a chunk of that essay is used in discussions as to why biracial people need to take a backseat in the movement.”

The retrograde notion that thought and action necessarily flow from racial identities whose borders are definable and whose authority is heritable is both fictitious and counterproductive. “Something is afoot that is the business of every citizen who thought that the racist concepts of a century ago were gone­—and good riddance!” Barbara and Karen Fields write in their 2012 masterpiece, Racecraft: The Soul of Inequality in American Life. “The continued vitality of those concepts stands as a reminder that, however important a historical watershed the election of an African-American president may be, America’s post-racial era has not been born.”

Of course, the first African American president was, like our nation and culture, himself both Black and white. One of the most disappointing—and, I have come to realize—enduring reasons the “post-racial era” continues to elude us is that it is not only the avowed racists who would hold that biographical fact against him.

==

This is why we call it neoracism, not "antiracism."

[spookyspemilyreid]

Happy Anniversary “One More Light”!❤️ (May 19, 2017)

One More Light is the seventh studio album by American rock band Linkin Park. It was released on May 19, 2017, through Warner Records and Machine Shop. It is the last Linkin Park album to feature lead vocalist Chester Bennington before his death on July 20, 2017.

The band recorded the album between September 2015 and February 2017 in multiple studios. Band members Brad Delson and Mike Shinoda served as the album's primary producers. The sound of One More Light has been described as being more pop-focused, departing from the alternative rock and alternative metal sounds of their previous albums. The album features guest vocal appearances from Pusha T, Stormzy, and Kiiara, and production and songwriting collaborations with JR Rotem, Julia Michaels, Justin Tranter, Ross Golan, Andrew Goldstein, blackbear, and Eg White. The album is also the band's first to feature a title track, as they felt that the song "One More Light" was the heart of the album.

The album's lead single, "Heavy", featuring Kiiara, was released on February 16, 2017. "Battle Symphony", "Good Goodbye", and "Invisible" were released as promotional singles prior to the album's release. "Talking to Myself" and "One More Light" were released as radio singles later on. The album performed well commercially, debuting at number one in several countries; it also became the band's fifth number-one album on the Billboard 200 and was certified Gold in five countries. Despite a positive commercial performance, it received mixed reviews from music critics. This, along with accusations of selling out, prompted an angry response from Bennington.

The pre-production of One More Light began in mid-2015 during The Hunting Party Tour by Shinoda on his phone. The main production began as soon as the tour ended. In the process, the band decided to write songs with some external help. They worked with Zayed Hassan, which resulted in his song "Sailing Through the Clouds", Martin Garrix, Hot Karl, Mike Baczor of the band Her0, The Lonely Island, which resulted in "Things in My Jeep", and One Ok Rock. None of these collaborations, however, made the final version of the album. The album marks the second to be self-produced following The Hunting Party.

As a new concept to the band, all the songs featured on the album began with vocals being recorded first. They worked on the story first, then the hook, and finally the music. The albums features collaborations with songwriters and other artists. "Heavy" features vocals by pop singer Kiiara, and "Good Goodbye" features verses by rappers Pusha T and Stormzy. Genre-wise, the album has been described as pop, pop rock and electropop.

The band had been writing and recording mostly in Los Angeles but also had a few sessions in London and Canada where they worked with a few songwriters. In Los Angeles, the band started working at the Larrabee Studios where they had worked for their previous album. After noticing the band needed a bit more space they shifted to Sphere Studios. Starting in the early 2016 the band decided, for the first time, to open up their process to fans through social media by doing live streams, posting pictures and videos of their day by day in the studio, and sending studio updates to their mailing list. 

While working with Justin Parker in London, Mike also learned a different approach to songwriting: to write without any sound in mind and, instead, write with meaning in mind. Instead of writing tracks piece by piece, the band wouldn't leave a session without having a song. It would all start as a conversation, and out of those the songs would build progressively from a chord progression to lyrics. Among the collaborators are Justin Parker, Conner Youngblood, Jon Green, blackbear, Andrew Goldstein, Eg White, Emily Wright, Andrew Bolooki, Andrew Dawson, RAC, Corrin Roddick, and Ross Golan. American singer Kiiara also had a seven-hour session with Linkin Park to record her vocals for "Heavy", and rappers Stormzy and Pusha T contributed to the album with original verses. In the past the band had a different approach to collaborations, as explained by Mike: "Usually it means we’ve finished the song but we'll ask somebody to add something to the top of it." He added: "Generally, here's how it would work: we'd get in the room with someone, and start on something from scratch with them. We worked mostly in the same way we always write songs, but with extra firepower in the room."

Bennington had also reached out to Billy Howerdel of A Perfect Circle to collaborate on a song for the album. The two collaborated on a track titled "Eat the Elephant", but it was ultimately left off the album, not really matching the direction One More Light's sound. Howerdel completely reworked the song musically and lyrically, and recorded it with Maynard James Keenan on vocals for their April 2018 album Eat the Elephant.

In an interview with Kerrang! magazine, Shinoda explained that the children seen on the album cover are those of a friend of the band and represent what the band members feel when their respective families get together. The photo was shot at Venice Beach by Frank Maddocks, who has previously contributed to artworks for Deftones and Green Day's Revolution Radio.

The band, specifically frontman Chester Bennington, lashed out in response to the negative reception of One More Light's material. As documented through Spin magazine, in an interview with Music Week, Bennington, at the accusations that the band had "sold out", suggested that those people should "stab [themselves] in the face" and "move the fuck on" from the band's past sound. Similarly, in a separate interview with Kerrang, Bennington, in response to claims of selling out with the album, said "If you're gonna be the person who says like 'they made a marketing decision to make this kind of record to make money' you can fucking meet me outside and I will punch you in your fucking mouth." In the same interview, Mike Shinoda also rejected the claims that they had made the album "for monetary reasons", responding, "that's not how I operate." Bennington explained that the accusation of "selling out" angered him because he saw it as a personal attack, concluding that "when you make it personal, like a personal attack against who we are as people, like, dude, shut up. That means that I can actually have feelings about it and most of the time my feelings are 'I want to kill you.'" 

In response to the comments, Slipknot and Stone Sour frontman Corey Taylor stated that he understood Bennington's frustrations, but advised him to "be fortunate for what you have, be fortunate for the fact that people are still coming to see you to hear the music. Give it a little time, you have to give it a little time." Bennington later responded that he agreed with Taylor's statements saying:"...I agree with him. I do appreciate our fans... I'm human and sometimes take things too personally. Most of our fans have been very positive lately. Some... not so much. Either way... there is a lot of passion on both sides and I am grateful to all of our fans. Corey is a good dude and I appreciate him too... Time to recalibrate my perspective. So I say to all of our fans... Thank you and I love you all. Peace, love and happiness."

[grimelords]

Best Of 2018

Best Comedy Podcast: Teacher’s Lounge: Teacher's Lounge continues through 2018 being one of my favourite things in the world. I don't think anything else has ever made me laugh harder or more. It is pure insanity each and every week and endlessly relistenable. The first two seasons are out from behind the paywall so please do yourself a favour and listen.

Best Non-Comedy Podcast: The Dream: A really really good and interestingly personal investigation into pyramid schemes and how they shape and reflect the entirety of the American experience, from the poorest parts of the nation to the White House - like a pyramid I suppose.

Best Movie: Museum or Roma: Feels like an odd coincidence that the two best films I saw this year were both Mexican dramas. Roma is incredible, and everything I have to say about it has probably already been said elsewhere and better. Museum however seems to have flown under the radar entirely. I saw it at MIFF and it hasn't gotten a release here otherwise, which is maddening because I am desperate to see it again and have been thinking about it almost non stop since I saw it six months ago. I've been thinking about it and about how we as individuals interact with history and especially indigenous history, national identity and culture. For a movie specifically about a Mexican museum heist feels very universal, which I suppose great movies are.

Best TV Show: Nirvanna The Band The Show: This is the most groundbreaking and hilarious TV show I've seen in a long time and it hasn't really taken off like I thought it would outside of one or two clips going around. An incredible mix of improvised hidden camera comedy and great writing it looks and feels like no other show. If you're in Australia the whole thing is on SBS on Demand so please watch it.

Best Game: Hollow Knight: 2018 was a really really good year for games but nothing sucked me in more than Hollow Knight. This game is amazingly made. It's punishingly hard but never frustrating, labyrinthinely designed but you never feel totally lost. It's a complete world on its own that'll give you back just as much as you put into it.

Best Nonfiction Book: Bad Blood by John Carreyrou: A fantastic dissection of the complete story of Theranos - the silicon valley startup that promised to revolutionise blood testing but never actually produced a product that worked despite a $1 Billion valuation and its deranged CEO Elizabeth Holmes. You really have to read it to believe just how much blind faith and money people will invest in you as long as you have their confidence.

Best Fiction Book: The Mars Room by Rachel Kushner: I'm going to be real with you; not only is The Mars Room the best 2018 fiction book I read last year, it is also the only 2018 fiction book I read last year. So it won by default. BUT, I also loved it. Rachel Kushner is one of my favourite current authors and while I definitely didn't love this as much as The Flamethrowers or Telex From Cuba it is still an incredible book. It exists on a much smaller scale than her other novels, it's about a smaller cast and a smaller timeline which allowed her to really focus down on the minute details of the lives detailed. It's also an extremely brutal read in parts, so just be forewarned going in.

Best Albums

Gwenifer Raymond - You Never Were Much Of A Dancer

This album gives me hope for the future of solo acoustic guitar music. As traditional as it is forward looking it sparked an absolute obsession in me and I cannot stop listening to it over and over again.

Jungle - For Ever

Jungle are one of the best live bands I've ever seen and I've been so eagerly awaiting their second album since 2014 and they didn't disappoint. A total maturation and evolution of their sound, every song is perfectly constructed and flawlessly performed. I just love it.

Deafheaven - Ordinary Corrupt Human Love

I cannot believe just how beautiful this incredibly purposefully abrasive music can get.

Against All Logic - 2012-2017

It feels like Nicolas Jaar's power is limitless. He can do absolutely anything he wants and has total control. Some of the best dance music I've ever heard while also sometimes feeling like a phenomenal dj set you heard over a half-tuned radio.

Kamasi Washington - Heaven And Earth

Honestly thank god for Kamasi Washington. Thanks for getting me into jazz in the first place and thankyou for making the only popular jazz in 2018 that isn't pretending to be from some other time. There's nothing throwback or vintage about it - it's right here right now music on a massive scale.

Pusha T - Daytona

What I love about Pusha T is where other rappers drug dealing braggadocio can normally be dismissed as just that, Pusha T always feels like he's putting a hand on your shoulder and assuring you that he moves drugs in industrial quantities and will have you killed for even slightly inconveniencing him. He's terrifying. I'm still furious this album is 20 minutes long and the idea that this apparently isn't the long awaited masterwork King Push scares the hell out of me because how much better could he get?

Parquet Courts - Wide Awake!

I love this album more every time I listen to it. It's got such a diversity of styles within its framework that it sometimes feels like 13 different writers for the same band which I absolutely love.

Beach House - 7

I am constantly impressed with the way Beach House can continually find something fresh and beautiful in their limited palette. At this point they've absolutely mastered it and the complete control shows.

City Calm Down - Echoes In Blue 

City Calm Down are so good and I'm furious I haven't seen them live yet. This album is a masterpiece front to back and it feels like it definitely didn't get the reception it deserved. It doesn't even have a damn wiki article. Please listen to this album and also write a wiki article for it.

Justice - Woman Worldwide

This feels like Justice's masterwork in a sense - effortlessly bringing their three pretty disparate albums into one immense party. A live album without the crowd noise, it feels like a private arena show.

Overall a very good year. Also I haven't finished writing up my December playlist yet because I've been busy (no I haven't) so look out for that in the next little while.​

[lifebeatsandculture]

Fuck a Grammy (But It’s Fun to Make Predictions)

Here go my predictions and who I want to win - Predictions will be bold. Who I want to win will be italics:

BEST MUSIC VIDEO

The Carters - APESHIT

Childish Gambino- This Is America

Joyner Lucas- I’m Not Racist

Janelle Monae- Pynk

Tierra Whack- Mumbo Jumbo

This one seems pretty obvious, hopefully the academy doesn't fuck this one up, although, Tierra Whack is dope as fuck too.

PRODUCER OF THE YEAR (NON-CLASSICAL)

Boi-1da

Larry Klein

Linda Perry

Kanye West

Pharrell Williams

Seems like it’s not cool to like Kanye anymore but the fact of the matter is that he produced 5 different albums in the span of one month and the production on all of those albums are fucking great. Of course, there’s always Drake and his hits with Boi-1da and God’s Plan was playing everywhere you went for a long time. Also would like to see Pharrell win for his production on the NERD album.

BEST R&B SONG

Ella Mai- Boo’d Up

Miguel- Come Thru & Chill

Childish Gambino- Feels Like Summer

H.E.R.- Focus

Toni Braxton- Long As I Live

I need Gambino to sweep all his categories. Wouldn’t be mad if Miguel won, that song is HOT, even though Come Thru & Chill came out in like 2016...

BEST RAP PERFORMANCE

Cardi B- Be Careful

Drake- Nice For What

Kendrick Lamar- King’s Dead

Anderson .Paak- Bubblin’

Travis Scott- Sicko Mode

Sicko Mode took over and extended the summer, I even like Drake on this song and I fucking hate Drake’s music. BUT, I feel like since Nice For What is for the women, the academy is gonna try to win over the #MeToo movement or some shit (which would make no sense since you're giving the award to a male artist - perhaps Cardi B could take it too, but I hope not). Big fan of Anderson .Paak and Kendrick so I would love to see one of them or Travis take this one.

BEST RAP/SUNG PERFORMANCE

Christina Aguilera featuring Goldlink- Like I Do

6lack featuring J. Cole- Pretty Little Fears

Childish Gambino- This Is America

Kendrick Lamar & SZA- All The Stars

Post Malone featuring 21 Savage- Rockstar

I think the only song that comes close to Gambino on this one is All The Stars and maaaybe Rockstar. I say Rockstar because we know how the academy loves to give awards to white people (i.e Macklemore winning over Kendrick) and also would appeal to immigration reform crowd with the recent news of 21 Savage. All The Stars is a close runner up though because of how big the Black Panther movie is.

BEST RAP SONG

Drake- God’s Plan

Kendrick Lamar- King’s Dead

Eminem- Lucky You

Travis Scott- Sicko Mode

Jay Rock- WIN

Again, Sicko Mode is just too dope. I swear Drake’s part is better than anything he did on Scorpion. I would like to see King’s Dead win too but I think Sicko Mode and God’s Plan were just too big of hits to ignore.

BEST RAP ALBUM

Cardi B- Invasion of Privacy

Mac Miller- Swimming

Nipsey Hussle- Victory Lap

Pusha T- DAYTONA

Travis Scott- ASTROWORLD

RIP MAC MILLER. I LOVE YOU. (Honorable mention to Astroworld and Daytona)

SONG OF THE YEAR

Kendrick Lamar- All The Stars

Ella Mai- Boo’d Up

Drake- God’s Plan

Shawn Mendes- In My Blood

Brandi Carlile- The Joke

Zedd- The Middle

Lady Gaga & Bradley Cooper- Shallow

Childish Gambino- This Is America

This is America is so great because there are such minimal lyrics yet he conveys sooooo much message in the song and video. I just think the academy is gonna give awards to white artists, especially in these general categories and that Lady Gaga movie took over Oscar nominations too. Hope I’m wrong.

ALBUM OF THE YEAR

Cardi B- Invasion of Privacy

Brandi Carlile- By the Way, I Forgive You

Drake- Scorpion

H.E.R.- H.E.R.

Post Malone- Beerbongs & Bentleys

Janelle Monae- Dirty Computer

Kacey Musgraves- Golden Hour

Various Artists (Kendrick Lamar)- Black Panther: The Album

Tbh, I don’t really care for this category this year. I feel like there are so many other albums that are way more deserving of this award let alone a nomination. Again, I just think they gonna give it to a white artist. Kacey Musgraves won Album of the Year at the country awards for the same album so who knows, very possible she could win it again at the Grammys. Wouldn’t mind seeing Black Panther or H.E.R. take this one, though I think it is highly unlikely for H.E.R. since its rare for a Best New Artist nominee to also take Album of the Year.

RECORD OF THE YEAR

Cardi B- I Like It

Brandi Carlile- The Joke

Childish Gambino- This Is America

Drake- God’s Plan

Lady Gaga & Bradley Cooper- Shallow

Kendrick Lamar & SZA- All The Stars

Post Malone- Rockstar

Zedd- The Middle

If you haven’t realized by now, Childish Gambino is my favorite artist and has been since 2010 and honestly, objectively, when This is America dropped after that SNL performance, that shit was so important and was released at such a perfect time. The song is Gambino’s first number 1 single and knocked Drake out of the top spot after he spent 28 weeks at number 1. I’ve already said what I needed to say about the academy and Lady Gaga winning.

[jonathantaylorthomas]

[excerpt] 15. This Is Why We Can’t Have Nice Things

Does anyone apart from Pusha T relish a good diss track as much as Swift? 2017’s Reputation might have its patchy moments of just-out-of-date beats but it’s also full of deliciously vicious moments. I Did Something Bad was a beautiful middle finger to an ex (Calvin Harris, apparently), Look What You Made Me Do cut down her critics and this track, which is effectively a more bitter Bad Blood, battered Kim and Kanye. “Friends don’t try to trick you/Get you on the phone and mind-twist you” she sings in an apparent swipe at the ‘I made that b**** famous’ controversy, while underneath stuttering electro-pop clashes with tinkling piano. The chorus is Swift at her most bitingly patronising, smiling as she twists the knife in.

14. We Are Never Ever Getting Back Together

Swift managed her first US number one with We Are Never Ever Getting Back Together. The singer’s knack for an earworm is obvious here, with the song one of the simplest but strongest of her career. The rest of Red dabbles with pop but Swift’s country roots are still very visible here. A foot-stomping acoustic guitar riff is right at the heart of the track, which is a much lighter take on the relationship at the heart of All Too Well. The old Taylor might not be able to come the phone right now, but she was on top form here.

13. Our Song

Jaunty violins, talk about God, a Nashville accent that twangs like a banjo string: Our Song is Taylor in full country mode. It’s got all the hallmarks of her early verse-chorus-bridge songwriting, and Swift reportedly put it together in 20 minutes for her ninth grade talent show before the record company nabbed it for her debut album. Built around a colossal chorus, where her delivery cracks like a drum beat, Our Song is a vivid picture of her teenage years and a testament to Swift’s natural songwriting nous – a reminder that, despite the headlines, she’s built a career on talent, not merely hype and controversy. Tim McGraw, which starts the album, has much the same effect.

12. I Knew You Were Trouble

2012 album Red took Swift’s popularity to new levels and the universal appeal of I Knew You Were Trouble was a key part of that success. The song became one of the most parodied tracks of the year but even adding screaming goats into the mix couldn’t the hamper its impact. It’s perhaps surprising that despite the song’s success, the chorus marked one of the singer’s most experimental to date, flirting with dubstep, pop and dance influences. It’s the perfect example of Swift’s early musical experimentations – as was the U2-esque album opener State of Grace – which would eventually pave the way for the reinvention on 1989 two years later.

11. Shake It Off

Shake It Off is perhaps the perfect song to explain Taylor Swift and seems to encapsulate the contradictions which have made her a star. For everything that’s toe-curling and cringeworthy (see: “this sick beat”, the whole “my ex man” riff), it’s also infectious, irresistible and triumphantly confident; Swift knows it’s geeky and doesn’t care. It’s a song to shimmy to – and then to kiss your crush to, when she asks the fella with the hella good hair to shake, shake, shake. Grab the white wine and go be basic – sometimes it’s fun.

10. 22

While Swift can occasionally lean-in on her wry way of seeing the world, she’s also gloriously unafraid of big, dumb pop. 22 is almost comically simplistic: the opening guitar riff is just a watered down Wild Thing, the drum beat is mindlessly insistent – a bass kick on every single beat – and the main hook (“I don’t know about you, but I’m feeling 22”) has all the intelligence of a failed GCSE. None of it matters; the song is a joyous riot, set in a world where there are no pressures, no bills and the sun only goes down so everyone can go to bed together. It is fun, it is silly, it’s happiness is infectiously single-minded and the best lines come right at the end: “You look like bad news, I gotta have you”. There’s even Nile Rodgers-style guitar thrown in on the chorus. Splendid stuff. No wonder it’s said to be Harry Styles’ favourite Swift song.

9. Fifteen

Much has been made of Swift’s big transformation from country singer to pop behemoth but even before she was out of her teens she was flirting with stadium friendly rock. Still, Fifteen had plenty of banjo all over it, while her voice charmingly twangs as she talks boys and cars and heartbreak. Of which, it’s the lyrics that make this one: the song itself is so polished and clean it could have been assembled on a Tennessee production line, but Swift manages to infuse it with a sense of failed teenage romance that feels real – unsurprising, perhaps, given it’s based on her and her best friend Abigail Anderson’s years at Hendersonville High School.

“In your life you’ll do things greater than/Dating the boy on the football team/But I didn’t know it at fifteen” she sings, “Wish you could go back and tell yourself what you know now”. Ain’t that the truth.

8. Love Story

Ten years ago, pre-Kanye-at-the-VMAs, Swift was, in Britain at least, still that country girl with that one catchy song. This was that song; a hopelessly romantic tale of teenage love, Shakespeare’s Romeo & Juliet over pop-punk guitars and key changes and, of course, a happy ending replacing the tragedy. Eight million copies sold, making it the best selling country single of all time and paving the way for the decade of massive success that followed.

7. Blank Space

Blank Space is a minimalist masterpiece that paradoxically is crammed with hooks (something she manages again, like a magic trick, on Clean). The song in itself is actually surprisingly slow-moving; chords are long, drawn-out and the drums snap but are unhurried. The genius here in is Swift’s vocals, which are catchy enough that the whole thing seems to be one long chorus. Blank Space also marks the beginning of Swift sending herself up; in it, she satirises her media image as a man-obsessed, relationship addicted nightmare who serially dates for songwriting material. Hilariously, the key line (“Got a long list of ex-lovers/They’ll tell you I’m insane”) has often been misheard – including by her own mother – as “all the lonely Starbucks lovers”, which rather changes the point somewhat. The video is a work of art too, introducing the world to the ‘new Taylor’ – before the new Taylor became the old, dead Taylor. Oh, and look out for her slip up at 3.40, it’s hilarious.

6. New Year’s Day

The beautiful, reverb soaked piano that flutters through New Year’s Day is a sign of what could be to come for Swift – not now, perhaps, but maybe in 20 years. It could be played then and just as good. If All Too Well is her great grown-up heartbreak track, this is her great grown-up love song. Whereas 1989’s You Are In Love used a similar sound for a rip of Bruce Springsteen’s Street’s of Philadelphia, here it’s more of a James Blake vibe. The beauty is in the simplicity; this is a love as rational as it is passionate. The metaphor is about being there for the good times (the party at midnight) and the bad (cleaning up bottles on New Year’s Day). There is a stroke of brilliance, too: “Please don’t ever become a stranger whose laugh I could recognise anywhere” she sings as a reprise, realising what too few of us do until it’s too late: love is as fragile as it precious.

5. You Belong With Me

Taylor has a long-standing love affair with power chords and pop-punk goodness. On Red, there’s Holy Ground, before that was Speak Now’s girl-breaking-free-to-rule-the-world Long Live and before that was You Belong With Me on Fearless. It’s sometimes criticised for being too similar to her other early hits but in truth, it’s just the best example of them. It’s also wonderfully full Taylor: she plays the self-deprecating dork in love with her best friend, and the video is completely, brilliantly hysterical. There are all the elements needed: crashing guitars, unrequited love, a little teenage angst. It’s far from perfect: the lyrics are her corniest, the premise is cliched and the country embellishments have been tactlessly tacked on as if purely to placate the country audience. But, in the end, it’s catchy, sweetly endearing and you’ll be singing along merrily. If you want another fill of the good stuff, put on Fearless, which is just a little less catchy but with a better guitar solo.

4. Ronan

Little known, not on any albums and barely performed live – to date it’s only been aired twice, with the first version live on a Stand Up to Cancer telethon the one to listen to – Ronan perhaps seems a unlikely entry on the list, but it stands the Swift song that aches the most, and is unlike anything else she’s written. Over the chime of trembling guitar chords, she sings as the voice of Maya Thompson, a mother who lost her four-year-old Ronan to cancer. Written after reading Thompson’s blog, Swift articulates the unsteady, insistent rhythm of grief with painful clarity. In the end, like in life, the loss stings the sharpest in the little things. “And it’s about to be Halloween, you could be anything you wanted” she sings, her voice shaking and her eyes glassy with tears, “If you were still here.”

3. Out Of The Woods

Like the heartbroken logic in All You Had To Do Was Stay (the song Ryan Adams’ did best on his mixed 1989 cover album), it’s the naivety in this one that makes it so damned sad. Jack Antonoff produced a piece of driving rock dressed up as radio-pop, the stuttering drums and Blade Runner synths casting shadows over everything, the choir on the chorus giving it enough size to fill stadiums. It’s one for anyone who’s been wrapped up in a love that’s left them shaky with the uncertainty of it all, who’s gone to sleep and woken up with the same thought, of praying they’re getting as much love as they’re giving.

2. Style

Like a designer parading a new collection down the runway, Swift showcased her new direction perfectly on this aptly titled track. Pulsating synths drive the verses along before a huge sing-along chorus kicks in, marking a dramatic change from her guitar-led earlier compositions. It’s a formula that Swift would return to time and time again in her later work, not least on the similar Getaway Car from 2017 album reputation. The song remains a highlight at Swift’s live shows — after all, pop hooks as good as this will never go out of style.

1. All Too Well

Everyone jokes about the lost scarf, but this is Swift’s most sincere tale of heartbreak and is heartbreaking itself. Though it takes a handful of listens at least to ‘get’ this track, it’s worn out and weary and the hurt goes deep. Swift says it was one of the hardest to write, and it’s one of the hardest to listen to; she sounds like she’s singing right from the bones and it’s searingly, uncomfortably intimate. Having it on doesn’t feel so much like listening as eavesdropping: other ruminations in her back catalogue are broader, relatable, but here we’re hearing her specific turmoil. Nowhere else on record does she sound as cut up the way she does halfway through this one – Jake Gyllenhaal, you realise, really broke her heart.

Plenty of Swift songs are overwrought, but the drama here is sincere: her voice trembles with pain, and the song, which starts sparse, swells and hardens up like a lump in the throat. It’s little surprise the original cut was 10 minutes long; the song is cinematic, with a touch of Raymond Carver in the sparse, classically American lyrics: “'Cause there we are again in the middle of the night/We’re dancing round the kitchen in the refrigerator light”.

When she gets to end of it, there are lines that induce a wince: “You call me up again just to break me like a promise/So casually cruel in the name of being honest” she says. Then you hear her lost to her heartbreak: “Time won’t fly, it’s like I’m paralyzed by it/I’d like to be my old self again/But I’m still trying to find it”. Love – especially when it cools – changes everything.

[inappropriatemusicblog]

20 best/most important music videos of the decade (so far) (2010-2018)

One thing I miss from the 90s was watching MTV -- which still played music videos -- 24/7, waiting for the next great music video.

I remember watching Weezer’s “Buddy Holly” and its brilliant Happy Days mash-up. Sinead O’Connor shedding a tear (”Nothing Compares 2U”). Smashing Pumpkins going to a voyage to the moon (”Tonight, Tonight”). People saying ‘F this traffic’ and walking down a bridge (”Everybody Hurts”). Slash on top of a church (”November Rain”). Trashing a gym (”Smells Like Teen Spirit”). Invisible conveyor belts (”Virtual Insanity”). Christopher Walken dancing it up in a hotel (”Weapon of Choice”). Of course, all the Alicia Silverstone videos (”Crazy,” “Cryin’,” “Amazing”). And Jeremy spoke in class today. And that’s just the 90s -- my favorite music video is still A-Ha’s “Take on Me.”

I’ve always had the impression that music videos nowadays don’t seem to match the glory days of MTV, but after this mental exercise, I guess it’s not so bad after all. Here are my top 20 music videos of the decade -- off the top of my head:

(By the way, I wish I could include Ang Bandang Shirley’s “Umaapaw,” but that’s just being biased. ;) )

20. Drake - “God’s Plan” (2018)

Why it’s great: Drake gives away a total of $1 Million to random people and the reactions are all so genuine.

19. Iggy Azalea ft. Charli XCX - “Fancy” (2014)

Why it’s great: It’s a Clueless send-up. Duh.

18. MGMT - “Me and Michael” (2018)

Why it’s great: The music video features Filipino band True Faith and MGMT concocts a whole plagiarism scandal (against themselves) for kicks.

17. Radiohead - “Burn the Witch” (2016)

Why it’s great: It’s The Wicker Man in creepy claymation.

16. Robin Thicke ft. T.I. and Pharrell Williams - “Blurred Lines” (2013)

Why it’s great: Two words: Emily Ratajkowski.

15. David Bowie - “Lazarus” (2016)

Why it’s great: David Bowie meditates on death, in his last music video. This is painful to watch.

14. Taylor Swift ft. Kendrick Lamar - “Bad Blood” (2015)

Why it’s great: Part Sin City, part Kill Bill, all good fun. And the music video is a who’s-who of it girls -- Selena Gomez, Hailee Steinfeld, Gigi Hadid, Ellie Goulding, Zendaya, Cindy Crawford, and the list goes on.

13. St. Vincent - “Cruel” (2012)

Why it’s great: Annie Clark, queen of crazy, gets stuffed in a trunk and buried alive.

12. Donnie Trumpet and the Social Experiment - “Sunday Candy” (2015)

Why it’s great: It’s a candy-coloured one-take music video set up like a school play, with Chance the Rapper and Jamila Woods playing lead.

11. Beyoncé - “Countdown” (2011)

Why it’s great: Full disclosure: I have not watched the entirety of “Lemonade” so I couldn’t include it here. In any case, “Countdown” is a visual pop-art treat.

10. Maroon 5 - “Sugar” (2014)

Why it’s great: Genuine or not, crashing weddings is a great idea and makes for good visuals.

9. Miley Cyrus - “Wrecking Ball” (2013)

Why it’s great: Now we’re entering iconic territory. And there are few images more iconic than white-clad Miley straddling the titular wrecking ball.

8. Gotye ft. Kimbra - “Somebody that I Used to Know” (2011)

Why it’s great: And another iconic image -- Gotye and Kimbra, broken down into a human pastel mosaic, not even looking at each other: a representation of a relationship gone awry.

7. Rihanna ft. Calvin Harris - “We Found Love” (2011)

Why it’s great: Dangerous, edgy, sexy. Shot in Northern Ireland without permission, the video depicts addiction, abuse, and violence. It’s the Requiem for a Dream of music videos. 

6. Grimes - “Oblivion” (2012)

Why it’s great: Weird pink-haired girl infiltrates the macho space of a football stadium and sings without restraint in front of oblivious fans. What’s not to love?

5. Sia - “Chandelier” (2014)

Why it’s great: Solo interpretative dances are nothing new, but few are more powerful than an 11-year old girl dancing her heart out.

4. Kanye West ft. Pusha T - “Runaway” (2010)

Why it’s great: The less said about Kanye, the better, but his recent antics do not take away from this powerful long-form video on heartbreak. And those ballet dancers, man.

3. Kendrick Lamar - “Alright” (2015)

Why it’s great: The first of two #BlackLivesMatter videos in this list, “Alright” shows how a simple chant (”we gon’ be alright”) captured an entire movement.

2. PSY - “Gangnam Style” (2012)

Why it’s great: There’s a reason why it has 3 Billion views on YouTube. This proves that great music videos don’t have to take themselves way too seriously.

(As an aside -- what are good *fun* music videos apart from Gangnam Style? Three off the top of my head: Thriller, Buddy Holly, and Praise You. Maybe Here it Goes Again.)

1. Childish Gambino - “This is America” (2018)

Why it’s great: Arguably the most talked-about and controversial music video of the past decade. At the same time shocking, compelling, and entertaining, this begs for multiple viewings. I’m at 20 and counting.

[womenofcolor15]

Jill Scott Salutes Drake’s New Project, But Here's Why Folks Question If They Hooked Up + Drizzy Reveals Why He Finally Let The World See His Son

Jill Scott celebrates Drake's new musical offering – Dark Lane Demo – with a throwback flick. See their shot, plus learn why Drizzy decided to share pictures of his son, Adonis Graham, inside…

Drake dropped a new project – Dark Lane Demo – to kick off the weekend. The project mainly features loose tracks that have leaked over the years. In the opening song, “Deep Pockets,” Drizzy gives soulful songstress Jill Scott a shoutout. He raps:

”Back when Jill Scott was the apple of my afrocentric eye/ I had to find a way to get someone's attention.”

Jilly From Philly caught wind of the shoutout and gave him a shoutout on her IG. She shared a throwback pic of herself and Drizzy from a fundraising party she threw in Philly years ago and the cover art to his new project.

"Back when Drake was the wiggle in my giggle-white Lamborghini, Maserati @champagnepapi Respect and congratulations Doc,” she captioned.

Ha!  So for the folks wondering if she has some explaining to do, and if she's hinting at a previous hook up, it sounds like she's just returning the favor with some bars of her own.

Check it:

        View this post on Instagram

                  Back when Drake was the wiggle in my giggle-white Lamborghini, Maserati @champagnepapi Respect and congratulations Doc.

A post shared by Jill Scott (@missjillscott) on May 2, 2020 at 5:33am PDT

  By the way….

        View this post on Instagram

                  My brothers @oliverelkhatib @ovonoel put together alot of the songs people have been asking for (some leaks and some joints from SoundCloud and some new vibes) DARK LANE DEMO TAPES out everywhere at midnight…also my 6th STUDIO ALBUM DROPPING SUMMER 2020!!! Lucky number 6 soon fwd

A post shared by champagnepapi (@champagnepapi) on Apr 30, 2020 at 4:52pm PDT

  Drizzy will be releasing his sixth studio album this summer. It's his lucky No. 6 so expect some heat.

In other news...

          View this post on Instagram

                  What is most important for you right now is to connect to your own inner light. This will create the biggest opening of all. Trust that you have all of the power within to make this happen, and in order to do that connect to the people and things that bring you a lot of joy. When the mind starts to move into overthinking or fear, shift your attention right away to something bright. It doesn’t matter what has happened in the past or what is happening around us now, you can always make the choice to break free of the wheel of suffering and panic and open up to your own light. We are powerful manifestors , so once you make the choice in the moment to shift your awareness to something good, it will show you in your reality. Be conscious, especially right now of fears coming in from others, and recognize that not everything should be held by you. Laughter is your best medicine, but tears can also be a powerful release. Let go of any judgment you may have around that. Remember that you are never alone, and if you need to be reminded of that ask for support and it will show up. Everything comes down to intention, and even though there are conflicting energies circling around us you must KNOW...It will rebuild. But in order for that to happen, you have to do exactly that. Trust. You have the biggest heart and that is your greatest gift. It’s impossible to always control your surroundings, but when you shift the focus to how you want to feel, everything will conspire to assist you. I love and miss my beautiful family and friends and I can’t wait for the joyful day when we are all able to reunite. Until then please keep your lights on.

A post shared by champagnepapi (@champagnepapi) on Mar 30, 2020 at 2:14am PDT

  We've known Drake has been a father since 2018 thanks to his rap beef with Pusha T. However, fans haven't seen pics of mini Drizzy until recently when the Canadian rapper posted pics of his 2-year-old son, Adonis Graham.

"I love and miss my beautiful family and friends and I can’t wait for the joyful day when we are all able to reunite. Until then please keep your lights on," he wrote in the caption of a series of pictures revealing his son for the first time.

Drizzy opened up about why he decided to reveal his son to the masses during an interview on “Young Money Radio” with Lil Wayne. Wayne welcomed Drizzy to fatherhood and said he can't wait to meet his son.

"I posted those pictures, it was great for me. It was great to just share that with the world. I wasn't even anything I talked to anybody about or anything I planned. I just woke up one morning, and I was like, you know what? This is just something that I want to do. I want to be able to go places with my son and share memories with my son. I don't want to feel like just because of a life choice I made to be, you know, a 'celebrity' that I got to make everybody live under this blanket. I just wanted to free myself of that. And you know, I've watched you be a functioning rap father and that's given me a lot of confidence."

Later, Wayne talked about how his sons are using their celebrity to try and pick up popular girls on TikTok. Lord.

You can listen to their segment here.

Or, you can check out the full episode below:

  Photos: Kathy Hutchins/Twocoms/Shutterstock.com

[Read More ...] source http://theybf.com/2020/05/03/jill-scott-salutes-drake%E2%80%99s-new-project-with-a-throwback-pic-drizzy-reveals-why-he-finally

[kyliejennerpoland-kkjpl-blog]

2.    Khalid - Location 

3.    Migos - Pretty Little Lady

4.    Russ - Pull The Trigger

5.    Russ - Losin Control

6.    Gnash - I hate you, I love you

7.    Lyfe Jennings - S.e.x.

8.    Lil Wayne - Drop The World

9.    Rihanna - Consideration

10. Beyonce - All Night

11. Beyonce ft Kendrick Lamar - Freedom

12. Beyonce - Love Drought

13. Drake - Child's play

14. Britney Spears - If U Seek Amy

15. Drake - One Dance

16. Beyonce - Hold Up

17. Jeremih ft Tink - Don't Tell Nobody

18. Dreezy ft. Jeremih - Body

19. Fort Minor - Where'd You Go

20. Harry Hudson - Stop

22. Sorry Not Sorry — Bryson Tiller

23. Come And See Me — PnD ft. Drake

24. Still Brazy — YG

25. One Dance — Drake

26. Work — Rihanna ft. Drake

27. Waves — Kanye West ft. Chris Brown

28. Don't Let Me Down — The Chainsmokers ft. Daya

29. Panda — Desiigner

30. Too Good — Drake ft. Rihanna

31. This Is What You Came For — Calvin Harris ft. Rihanna

32. Sorry — Beyonce

33. Never Be Like You — Flume

34. Needed Me — Rihanna

35. Champions — G.O.O.D Music

36. That Part — ScHoolBoy Q ft. Kanye West

37. LUV — Tory Lanez

38. For Free — DJ Khaled ft. Drake

39. Pick Up the Phone — Travis Scott ft. Young Thug & Quavo

40. All the Way Up"— Fat Joe ft. Remy Ma & French Montana

41. Oui — Jeremiah

42. Born in the USA — Bruce Springsteen

43. American Idiot — Green Day

44. American Woman — Lenny Kravitz

45. Living in America — James Brown

46. American Pie — Don McLean

47. Made in America — Jay Z, Kanye West & Frank Ocean

48. Made in the USA — Demi Lovato

49. Party in the USA — Miley Cyrus

50. American Boy — Estelle ft.Kanye West

51. American Woman — The Guess Who

52. Surfin USA — The Beach Boys

53. American Girl — Bonnie McKee

54. American Girl — Tom Petty & The Heartbreakers

55. Firework — Kate Perry

56. Born to Be Wild — Steppenwolf

57. God Bless America — Lil Wayne

58. Don't Stop Believin' — Journey

59. Summer of 69 — Bryan Adam

60. Summertime — DJ Jazzy Jeff & The Fresh Prince

61. American Badass — Kid Rock

62. "STOP" — HARRY HUDSON

63. "UNTITLED 02" — KENDRICK LAMAR

64. "HOME" — TINK

65. "WHAT THE FUCK RIGHT NOW" — TYLER, THE CREATOR

66. WIZ KHALIFA — "UP"

67. "UBER EVERYWHERE" — MADEINTYO

68. "FADE" — KANYE WEST

69. "BODMON" — RAMRIDDLZ

70. "CIGARETTE SONG" — RAURY

71. "CONSIDERATION" — RIHANNA FEATURING SZA

72. "HOW I FEEL" — ROY WOODS

73. "NO RUSH" — ELLA MAI

74. "MY LOVE (REMIX)" — MAJID JORDAN AND DRAKE

75. "MILEY CYRUS" — FRENCH MONTANA AND FUTURE

76. "REAL ADDRESSES" — TORY LANEZ

78. Kanye West – "Waves"

79. Nicki Minaj – "Truffle Butter"

80. Frank Ocean – "Godspeed"

81. Nicki Minaj – "Save Me"

82. Kanye West – "Famous"

83. Tyga - "Faded"

84. Migos - "Pretty Little Lady"

86. P.I.M.P. - 50 Cent

87. Hard For You - Tyga

88. Rich $ex - Future

89. Do It Again - Pia Mia Feat. Chris Brown, Tyga

90. Fuck Up Some Commas - Future

91. Blow a Bag - Future

92. Watch Me (Whip / Nae Nae) - Silento

93. Cha Cha - D.R.A.M.

94. White Iverson - Post Malone

95. The Worst - Jhene Aiko

96. Fun - Pitbull

97. Stick Talk - Future

98. Exchange - Bryson Tiller

99. Party Favors - Tinashe

100.             Here (Lucian Remix) - Alessia Cara

101.             Ten Nine Fourteen - Bryson Tiller

102.             Overtime - Bryson Tiller

103.             Come Get Her - Rae Sremmurd

104.             No Role Modelz - J. Cole

105.             Let 'Em Know - Bryson Tiller

106.             Superwifey - Tyga

107.             Dope'd Up - Tyga

108.             Again - Fetty Wap (covered by Pia Mia)

109.             My Love - Majid Jordan

110.             How Deep is Your Love - Calvin Harris

111.             Take Ya Tights Off - Problem

112.             Ice Cream Man - Tyga

113.             Drama - Roy Wood$

114.             Liquor - Chris Brown

115.             Jugg -Fetty Wap

116.             Drama - Roy Woods

117.             Come Get Her - Rae Sremmurd

118.             Come Thru - Drake

119.             Thirsty - PARTYNEXTDOOR

120.             If I Can't - 50 Cent

121.             Exchange - Bryson Tiller

122.             Sorry - Justin Bieber

123.             Been That Way - Bryson Tiller

124.             Say It - Tory Lanez

125.             Weekend - Mac Miller

126.             IV. Sweatpants - Childish Gambino

127.             White Iverson - Post Malone

128.             Shot For Me - Drake

129.             Been That Way - Bryson Tiller

130.             Slum Anthem - K Camp

131.             Liquor - Chris Brown

132.             My Driver - Skate

133.             Antidote -Travi$ Scott

134.             F**k The Summer Up by Leikeli47

135.             I Won - Future Feat. Kanye West

136.             Here - Alessia Cara

137.             I'm Yours - Justine Skye

138.             Rack City Bitch - Tyga

139.             Anaconda - Nicki Minaj

140.             I Don't Mind - Usher

141.             Drama - Roy Wood$

142.             Doped up - Tyga

143.             Ice Cream Man - Tyga

144.             Right Now - PARTYNEXTDOOR

145.             On & On - Justine Skye 

146.             Sorry Not Sorry - Bryson Tiller

147.             So Listen - Cody Simpson

148.             Where Ya At - Future Feat. Drake

149.             The Hills - The Weeknd

150.             The Feeling - Justin Bieber

151.             7/11 - Beyoncé

152.             Bartender - T-Pain

153.             Skrt - Kodak Black

154.             In Vein - Rick Ross Feat. The Weeknd

155.             You're A Thot - K.E. ON THE TRACK Understand - Legacy Feat. Tyga

156.             Phone Down - Erykah Badu Woosah - Jeremih Love Yourself - Justin Bieber Workin - Puff Daddy Facts - Kanye West Days In The East - Drake Runnin - Kehlani Panic Cord (Hucci Remix) - Gabrielle Aplin Ratchet - Borgore SKRT - Kodak Black Party At 8 - PARTYNEXTDOOR Slow - Lido Feat. Halsey Addiction - Kanye West Real Friends - Kanye West Bad Boyz - Shyne Top - Lil Uzi Vert Like Dat - Kodak Black  Woosah - Jeremih Party At 8 - PARTYNEXTDOOR Drunk On The Mic - Mickey Shiloh IN2 – WSTRN

157.             Tuscan Leather – Drake

158.             King Wizard - Kid Kudi  Super Rich Kids - Frank Ocean Bodmon - Ramriddlz Uber Everywhere - MADEINTYO Different Hos - Blackbear

159.             Hella Os - Lil Yachty

160.             Top - Lil Uzi Vert

161.             Just Another Interlude - Bryson Tiller

162.             Let 'Em Know - Bryson Tiller

163.             Self Righteous - Bryson Tiller

164.             Girls Like You - Miguel

165.             502 Come Up - Bryson Tiller

166.             Consideration - Rihanna

167.             Needed Me - Rihanna

168.             Hella Os - Lil Yachty

169.             Pilates - DonMonique

170.             1Night - Lil Yachty

171.             PILLOWTALK - ZAYN

172.             Famous - Kanye West Feat. Rihanna

173.             Where Ya At - Future

174.             Potty Mouth - Tyga

175.             FML - Kanye West

176.             Heartburn - Wafia

177.             Worthy - Jeremih

178.             Yeah, I Said It - Rihanna

179.             Ice Cream Man - Tyga

180.             Planez - Jeremih

181.             Pass Dat - Jeremih

182.             Impatient - Jeremih

183.             Famous - Kanye West

184.             Waves - Kanye West

185.             f**k Up Some Commas - Future

186.             Make It Nasty - Tyga

187.             Highlights - Kanye West

188.             Same Ol' Mistake - Rihanna

189.             Ultralight Beam - Kanye West

190.             Feedback - Kanye West

191.             Waves - Kanye West

192.             Highlights - Kanye West

193.             What The F**k Right Now - Tyler The Ceator

194.             Stop - Harry Hudson

195.             Panda - Desiigner

196.             Men - Tink & DJ Dahi

197.             Don't Tell Nobody - Tink Feat. Jeremih

198.             Stimulated - Tyga

199.             Kylie Jenner - YOG$ Feat. Elwood

200.             Come And See Me - PARTYNEXTDOOR

201.             Slow - Lido Feat. Halsey

202.             Minnesota - Lil Yachty

203.             Like A Drug - Ty Dolla $ign

204.             So High - Doja Cat

205.             Candy - PARTYNEXTDOOR

206.             Real Friends - Kanye West

207.             Wolves - Kanye West

208.             I'm Different - 2 Chainz

209.             Drunk on The Mic - Mickey Shiloh

210.             Been That Way - Bryson Tiller

211.             Deja Vu - TWENTY88

212.             Ayy Ladies - Travis Porter Feat. Tyga

213.             Work - Rihanna

214.             One Dance - Drake

215.             Ba-lon - SZA Feat. Kendrick Lamar

216.             Baller Alert - Tyga

217.             Myself - Nav

218.             Birthday Sex - Jeremih

219.             Candy Shop - 50 Cent

220.             I Know - Big Sean

221.             Wrist - Chris Brown

222.             Top - Lil Uzi Vert

223.             Stop B**chin' - Kirko Bangz

224.             Yeah, I Said It - Rihanna

225.             Down In The DM - Yo Gotti Feat. Nicki Minaj

226.             Panda - Desiigner

227.             Drama - Roy Woods

228.             Sorry Not Sorry - Bryson Tiller

229.             Don't - Bryson Tiller

230.             Come And See Me - PARTYNEXTDOOR

231.             Father Stretch My Hands Pt. 1 - Kanye West

232.             6 Inch - Beyoncé

233.             Girls Love Beyoncé - Drake

234.             Drunk On The Mic - Mickey Shiloh

235.             Treat Me Like Something - Tink

236.             Love Drought - Beyoncé

237.             Without U - Spooky Black

238.             Myself - Nav

239.             Feel No Ways - Drake

240.             Controlla - Drake

241.             Shot For Me - Drake

242.             I'm Yours - Justine Skye

243.             Beautiful Day - Burberry Perry

244.             One Dance - Drake

245.             No Rush - Ella Mai

246.             Don't Tell Nobody - Tink

247.             One Dance - Drake

248.             Losin Control - Russ

249.             U With Me? - Drake

250.             Girls Love Beyoncé - Drake

251.             Consideration - Rihanna

252.             Location - Khalid

253.             Heartburn - Wafia

254.             Pull The Trigger - Russ

255.             Too Good - Drake Feat. Rihanna

256.             Pretty Lady - Migos

257.             Talk That Talk - Rihanna feat. Jay-z

258.             You Was Right - Lil Uzi Vert

259.             Mixtape - Chance The Rapper

260.             Love Lockdown - Kanye West

261.             Back To December - Taylor Swift

262.             Boss - Tinashe

263.             Vulnerable - Tinashe

264.             Ecstasy - Tinashe

265.             Too Good - Drake feat. Rihanna

266.             Been That Way - Bryson Tiller

267.             Rambo - Bryson Tiller

268.             Ain't Ready - Tinashe

269.             Hype - Drake

270.             Circles - Pusha T feat. Ty Dolla Sign & Desiigner

271.             Offended - Meek Mill feat. Young Thug & 21 Savage

272.             Litty - Meek Mill feat. Tory Lanez

273.             Make It Work For You - Juelz Satana

274.             Girls & Guitars - Tyga feat. Kirko Bangz

 275.             source: https://www.youtube.com/channel/UCmFnE7p5vkyH9u-5bIz4vQg

276.             ♪ French Montana (ft Quavo) - Migo Montana

277.             ♪ French Montana (ft Future) - No Pressure

278.             ♪ French Montana (ft Travis Scott) - Jump

279.             ♪ Playboi Carti - Magnolia

280.             ♪ Travis Scott - A man

281.             ♪ Rae Sremmurd - Do Yoga

282.             ♪ Belly ft Future - Frozen Water

283.             ♪ SZA - Supermodel

284.             ♪ 2 Chainz ft. Travis Scott - 4 AM

285.             ♪ Amy Winehouse - Tears Dry On Their Own

286.             ♪ Amy Winehouse - You Know I'm No Good

287.             Russ - What They Want

288.             Migos - Slippery (feat. Gucci Mane)

289.             SZA - Normal Girl

290.             Bryson Tiller - Don't 

291.             Bryson Tiller - Rambo

292.             Daniel Caesar - We Find Love 

293.             Migos - Kelly Price (feat. Travis Scott)

294.             Madison Beer - Dead

295.             Travis Scott - Butterfly Effect

296.             GoldLink feat. Brent Faiyaz & Shy Glizzy - Crew

297.             Lana Del Rey feat. The Weeknd - Lust for Life

298.             Bryson Tiller - Somethin Tells Me

299.             DJ Mustard (feat Quavo & YG) - Want Her

[allthingsfuckingconsidered-blog]

Scorpion / One Year Later  

To say that Drake has captured mainstream media attention to heights that only dreams are made of is an understatement.  Born Aubrey Graham to Dennis and Sandra Graham in Ontario Drake’s musical roots can be traced directly to his paternal lineage. It was while performing at Club Bluenote in Toronto that Dennis and Sandi first met.   Flash forward to 2018 Drake is one of the worlds biggest stars and anytime he decides to release new music he moves the needle and stops hip hop and sub genres promptly in their tracks.  January 19, 2018 “Scary Hours” the EP was released to digital platforms confirming what many of us had assumed from photos of him in the studio on his instagram page @champagnepapi that Drake had new music to soon share with the world.  At the stroke of midnight we received two new records “God’s Plan” a light hearted song that would end up charting and earn him his fourth Grammy the following year.  Also on the EP was “Diplomatic Immunity” which was straight bars, no hook.  Drake addressed his rumored quick relationship with Jennifer Lopez as well as his light beef with former rapper turned podcast giant Joe Budden.  The video for God’s Plan took off and was one of the years most viewed videos on YouTube it unfortunately drew the ire of some who felt it was all a publicity stunt namely Peter Rosenberg of Hot 97 (click here) .  Skip to April and Drake releases “Nice For What” a ladies anthem with a New Orleans bounce to it with a video featuring some of Hollywood’s leading ladies (Tracie Ellis Ross, Issa Rae, Rashida Jones, Tiffany Haddish, Zoe Saldana and Tara Shahidi to name a few.  It was officially Drake SZN.  Shortly thereafter via instagram tons of celebrities started posting pictures of satin jackets with the title Scorpion on the back and we had our album title.  Now this story is very much Drake’s but there are so many moving parts we must address to understand the final version of Scorpion that we received on June 29th.  Good Music headed by Kanye West which features Drake’s current number one nemesis and Bar Gawd Pusha T were also slated to release a plethora of music during the month of June.  The first shot fired (double entendres) from the G.O.O.D. camp happened to come from Terrence Thornton aka King Push.  “It was written like Nas but it came from Quentin”  from the song Infrared a direct reference to Drake’s alleged ghostwriter Quentin Miller who was credited as a writer on 4 of the standard version of the albums 17 songs (19 total on the physical cd release).  Now remember Meek throwing the ghostwriter allegation out and DJ Drama’s ex wife exposing him as the leak for the reference tracks do to her alimony payment not arriving in her bank account on time put serious chinks in Drizzy’s armor he had no choice but to step up and go toe to toe with Meek.  In the end Drake came out victorious in his war with Meek but there was an underlying beef that was still lying in the weeds.  Drake and Push have been trading barbs since Pusha released “Exodus 23:1″ on May 23rd 2012.  Drake sent subs and some direct shots Pusha’s way after a botched performance with 2 Chainz that didn’t go over too well Drake brought out Titty Boi and stated “that’s how the fuck you bring 2 Chainz out!” also then giving the crowd an inpromptu freestyle “If you was doin' 16s when I was 16, and your shit flopped and you switched teams, don' t talk to me, my nigga!” Ouch, well let’s do the math Drake was born October of 1986 which means he would’ve been 16 in the year 2002 August of that year the debut album by Virginia brothers and rhyme duo The Clipse “Lord Willin” was released featuring arguably one of the most infectious beats in hip hop history (click here).  Yes the same group that featured Pusha T and his older brother Malice who eventually gave his life to the Lord and now is an ordained minister that goes by No Malice.  The duo was under the label Star Trak which is headed by super producers The Neptunes (Pharrell Williams and Chad Hugo) who happened to be old neighborhood friends of the Thornton brothers.  So if we are paying attention Drake was 16 when Lord Willin was released.  Pusha would eventually end up on G.O.O.D. Music sometime between 2009 or 2010 the dates still aren't clear.  So in this freestyle without saying his name it was a direct shot at King Push not bad for a former child actor from Canada right? (Don’t sleep Degrassi is a good fucking show! you can watch it here) Ok back to current times sorry I got a bit carried away.  I was in the shower with Pusha’s “Daytona” album playing on my beats pill when I heard the shot thrown at Drake also keep in mind the song that directly precedes “Infrared” on the album is titled “What Would Meek Do?” I swear to you this stuff can’t be made up.  I remember getting out the shower drying off, getting dressed for a doctor’s appointment thanks to my employer (bleh).  I remember texting my cousin asking did you listen to the Pusha album and did you hear that direct fucking dart he sent towards Drake.  We both were under the belief that there was no way he could tip toe around the situation he had to come right for him say his name or give direct references.  I’m sure we’ve all heard “Two Birds, One Stone” where Drake threw subtle jabs at Pusha but nothing direct funny thing is Kid Cudi caught the most direct shot “you were the man on the moon now you just go through your phases” which of course are direct innuendos to the title of Cudi’s debut album and his struggles with mental health.  But his El Chapo bar as nice as it was within the cadence just didn’t hit like the Cudi bar did.  Now keep in mind if you’ve been following all of this in real time on your own time you would’ve heard two responses from Pusha about “Two Birds, One Stone”.  His first stance was “he aint talking about me” Pusha would later recant this statement by saying that “Infrared” was a response to Drake throwing the shot on “Two Birds, One Stone”.  Wait what?  Yes rappers are walking, talking, living, breathing contradictions.  So here we go back to May 25th 2018 the release date for Daytona.  I had gotten back from my doctor’s appointment was scrolling my twitter timeline to find out The Boy had dropped a new song on Soundcloud “Duppy Freestyle”  which is by far my favorite Drake diss of his career.  Truth be told I have to admit I can’t really consider this a full diss to Pusha because there was not really anything Drake said that was detrimental to Push most of the heavy lifting came at the expense of Kanye who Drake felt had played him.  Drake had arrived in Montana to help Kanye work on his album that would follow Daytona a week later.  Drake’s right hand man and OVO Sound in house producer and basically the man responsible for Drake’s sound OVO 40 showed up a day early and told Drake the energy was off.  Per Drake’s telling of the events on HBO’s “The Shop” produced by LeBron James and his business partner Maverick Carter; Kanye convinced Drake to tell him the release date of his album Drake also shared some very personal details about having recently learned he had a son by former adult film star Sophie Brussaux .  Now for myself I had heard this rumor on the podcast “The Read” cohosted by Kid Fury and Crissle West as early as May of 2017.  It wasn’t the first time Drake had been accused of fathering a child but this would be the first time his camp didn’t vehemently deny the allegations (where there’s smoke, there’s fire).  Fast forward March 2018 a night that gamers will remember as the night Drake, Tyler “Ninja” Blevins and Pittsburgh Steelers wideout Juju Smith Schuster played Fortnite on Twitch and set a streaming record.  It was during a break in the live stream that Drake had found out via results of a DNA test that was indeed a father.  Ok so this information found it’s way to the ear of Terrence Thornton aka Pusha T, remember where I referenced above that DJ Drama’s wife spilled the beans on Drake’s reference tracks yes pillow talk is a dangerous game guys but we will cover that a bit later.  So Duppy is out and twitter is going crazy as a fan of hip hop and being the chief reason for the song Pusha T heard and it asked Drake to send the invoice over he referenced at the end of the song.  Ok so we wait........ for a response that is, but in the interim we got “I’m Upset’. Keep in mind it’s Memorial Day weekend and we all kept refreshing and in my mind I said to myself Pusha is going to respond after we’ve all had our barbecue and are getting ready to return to work and then...... nothing or so we thought.  Leaving work Tuesday I was sent a link “The Story of Adidon” wait what?  Pillow talking ladies and gentleman, pillow talking Pusha shot back at Drake and brought baby Adonis into the war as well as Dennis and Sandi.  Y’all remember the face y’all made while listening?  I do lol!  So Drake went quiet, we knew Scorpion was coming June 29th.  But what were we getting?  Drake poked his head out to respond to the artwork for Pusha’s response via his iOS notepad and that was it save for him pressing the emergency button.  Wednesday June 13th Drake gathered his Degrassi : The New Generation alumni together on their old stomping grounds for the video to “I’m Upset”  Remember how I referenced Degrassi earlier in this piece? Ding ding this was the video that made me sit in front of the tv for hours watching old episodes.  Drake had survived the coup de grace from Pusha with some help from his adolescent friends just remember whatever it takes, I know I can make it through!  So the two weeks before the album’s release promotion kicks into high gear billboards with lyrics from the forthcoming album also a billboard that referenced “A Side” and “B Side”. If you remember the promotion leading up to the album Views the artwork for the singles, Pop Style and One Dance were similar one in white cursive script on a black background the other in black cursive script on a white background had people thinking Views would be a double album some went as far as to say there was a white disc and a black disc.  Contrary to these thoughts Views was one succinct album though it featured 20 songs they were all part of a single composition, interestingly enough Views is the album that initiated the rift between Drake and Joe Budden but nonetheless let’s continue shall we?  Mal of the Joe Budden podcast dropped the info that Scorpion would in fact be a double album with “A Side” being the more aggressive rap offering whereas “B Side” would be more of Drakes more melodic records.  As I refreshed and refreshed OVO 40′s instagram for more info all we could do is wait.  Eventually we got the album artwork which is very basic if we are being completely honest but its honest just a black and white headshot of Drake with his signature and the word Scorpion which I would assume is in his own handwriting.  Thursday June 28th the track list was revealed and hours later the features - Jay Z, , Ty Dolla $ign, the late great Static Major and the late iconic Michael Jackson (current social climate notwithstanding) also included concert audio from his Young Money family Nicki Minaj, the City Girls, Lil Wayne audio  and an instagram clip of Plies. The trackless resulted in one of the funniest tweets about Michael Jackson considering the fact that the Jackson family patriarch Joseph Jackson had just passed away earlier that week. “How’d Drake get Mike on his album......Joe Jackson died got to heaven and told Mike to get back to work” 

And then 11 PM CST came which meant it was 12 AM EST I went directly to Tidal on my iPad and Apple Music on my phone to refresh and there it was Drakes double album Scorpion.  His power move all of hip hops true legends have done the double disc Jay - Z “The Blueprint 2″, Tupac “All Eyez On Me” , Nas “Streets Disciple”, The Notorious B.I.G. “Life After Death” , Wu-Tang Clan “Wu-Tang Forever”  Clearly the precedent was set in order to consider himself among the greats Drake felt a double disc was necessary hell even his one time nemesis Chris Brown had give us a double disc worth of content albeit in the streaming era it actually broke down to 3 albums worth of content but schematics. 

I HATE WHEN DRAKE RAPS

DRAKE SINGS TOO MUCH

DRAKE IS A POP ARTIST

DRAKE DOESN’T EVEN WRITE HIS OWN SONGS

DRAKE TOOK AN L

DRAKE DIDN’T START FROM THE BOTTOM

DRAKE IS FINISHED

I LIKE DRAKE’S OLDER STUFF

DRAKE MAKES MUSIC FOR GIRLS

DRAKE THINKS HE’S JAMAICAN

DRAKE IS AN ACTOR

DRAKE CHANGED

ANBODY ELSE > DRAKE......

YEAH YEAH WE KNOW

the aforementioned excerpt comes directly from the iTunes / Apple Music page for Scorpion.  Clearly Aubrey and his camp are well aware of the pundits and their feelings toward Drake and everything he represents.  Having said all of that let’s talk about the music side A opens with Survival in which Drake references his previous issues with Meek Mill and Diddy “I’ve had real Philly niggas try to write my ending” “I’ve had scuffles with Bad Boys” I’ve always said Drake’s biggest strength is being able to live in his own truth and Survival is just another track where he excels at this.  The album then goes up a notch where Drake and Taykeith meet again for one of my favorite songs on the project that is still in my heavy rotation to this day “Nonstop” is as self explanatory as you can get the crazy thing is per Drake this wasn’t on the original iteration of the album it was his feud with Pusha T the month before that birthed this and other songs on the album such as the commercial standout of the album that is found on the album’s B Side “In My Feelings”. Drake told LeBron and Maverick that in the  wake of his back and forth with Terrence he got back in the studio and used the energy to create these songs.  Elevate the albums third song is still a skip for me but it’s the albums 4th track “Emotionless” where Drake finally decides to allow us into his personal life on a deeper level when first referencing his son Adonis “I wasn’t hiding my kid from the world, I was hiding the world from my kid” The Mariah Carey sample that 40 flipped is masterful and it serves as the perfect canvas for this moment.  Emotionless is followed by the albums second single and God’s Plan which originally appeared on January’s “Scary Hours” EP. After these we get Drake’s routine hookup with Boi-1da “8 out of 10″ which features the Plies vocals from IG (word to Plies please bring back “Sweet Pwussy Satday).  I would be remised if I didn’t express that this is where A Side takes a dip to me with “Mob Ties” and “Can’t Take a Joke” neither song has grown on me a year later still they don’t grab my attention.  Sandra’s Rose a dedication to Drake’s mother is where the first volume picks back up for a fantastic crescendo.  Finally Drake get’s to rap over a Preemo beat which he had been campaigning for since the early days of Take Care, if this is the end result I’d love to hear what other instrumentals Preme cooked up for The Boy the collaboration had been in talks since the pre production days of Take Care which is widely viewed as Drake’s opus.   “Talk Up” is the next song up with a gritty Memphis 808 supplied by Three Six Mafia alum DJ Paul which also has a verse from the Brooklyn God Sir Shawn Corey of Carter aka Jay Z.  Honestly listen to this song and tune the vocals out just listen to the 808 kick in the background masterful very reminiscent of early Three Six Mafia / Tear The Club Up Thugs real Memphis shit.  One very important moment of note surrounding this track is Jay’s verse music now lives in real time because of the advent of the internet a verse can be recorded emailed and mixed then released in half a days time thanks to the internet.  Jay recorded this verse within weeks of the release of the album and you can tell by his bar “y’all killed X let Zimmerman live, streets is done”  Xxxtentacion was murdered in Florida June 18th 2018, his funeral service was June 28th 2018 the day before Scorpion was released.  The first part of the album finishes with “Is There More” which features a sample of “More Than A Woman” by the late Aaliyah.  On any standard Drake release this would serve as the conclusion to the album but on Scorpion it only closes out the album’s first half.  Post intermission Scorpion opens with “Peak” which couldn’t be more of a 40 creation if it tried.  This is Drake in his bag the Drake everyone came to know and love on So Far Gone (now available on all streaming platforms).  Honestly most of the content on the B Side much like it’s A Side counterpart could’ve been left on the cutting room floor the standout from this side is definitely the Ty Dolla $ign assisted “Jaded” If you haven’t put this song on repeat and slipped into one of those moments Drake is so masterful at crafting then I question if you are even living.  Finesse is another powerful moment but other songs like Ratchet Happy Birthday feel completely out of place here.  The commercial standout “In My Feelings” was created out of complete happenstance if memory serves me correct and it initially wasn’t going to be a single for the album but Shiggy’s dance craze was a moment that Drake and his camp just had to capitalize on.  Blue Tint is another song that feels lost on this particular side of the album not that it fits the A Side either which suggest that maybe Drake and Future leave this in the vault for “What A Time To Be Alive 2″ which is coming at some point.  The other songs like “That’s How You Feel” which features tour banter from Nicki Minaj and her DJ is a great song I often wonder though would the song sound more cohesive if you removed the Nicki vocals and add a hook sung by Drake or someone else.  The album eventually builds to Final Fantasy which I assume would absolutely have some sort of a reference to the Squaresoft turned Square Enix video game franchise and the March 14th in which Drake closes the album having a conversation with himself that he hopes his son will discover as he is older and understand.  Though March 14th officially closes the album it is the closing of Is There More that gives us a glimpse into Drake’s future “soon as the album drop I’m outta the deal”. Many had speculated when Drake’s deal with Young Money/Cash Money would cease to exist even going as far back as If You’re Reading This It’s too Late some thinking the title was a nod to Drake’s original contract coming to an end.  As of late Drake has released new music to celebrate the Toronto Raptors first NBA Championship the music is licensed to Frozen Moments LLC under exclusive license to Republic Records a division of UMG Recordings.  Drake is apparently prepping another full length project which was teased for the end of 2018 by Young Money president Mack Maine.  Oh yea remember earlier where I kept telling you guys how bad pillow talk was. Drake months after Scorpion was released appeared on The Shop with LeBron and Maverick and insinuated it was Kanye who told Pusha about Drake having a son.  Days after the episode aired on HBO Pusha T reached out to Joe Budden of all people to appear on his podcast finally revealing that it was Drake’s producer, business partner and friend Noah “OVO 40″ (click here) who had been involved with a woman who had loose ties to people close to Pusha T.  For sometime 40 had been complaining to this woman about his positioning within the business end of things and how he apparently didn’t think he was being compensated fairly.  Noah also disclosed information about Drake and others flying to meet Adonis and to bring him gifts.  There has been no word from Drake’s camp on these allegations or the fact that Drake offered money to people around Pusha T for information about his personal life.  There was also the fact that Rap A Lot Records founder J Prince that Drake had indeed recorded a response to the story of Adidon but it would’ve potentially been damaging for Pusha T and Kanye.  If hip hop history has taught us anything at some point if this is true the hard drive holding those files will come up missing and that song will leak if it in fact exists.  So here we are a full year later and what have we learned well Drake is as teflon as teflon can get had any other rapper experienced what he did in the lead up to Scorpion it could’ve had long last effects.  Ja Rule was one of if not the most played artist on terrestrial radio until 50 Cent started throwing jabs at him on wax next thing you know everyone was screaming G-G-G-G Unit and Ja was an afterthought.  Drake weathered the storm by staying the course sticking to what he does best and and then jumping on one of the hottest songs of summer 2018 “Sicko Mode”. Pusha T came back to cause a ruckus among the OVO camp because quote “that narrative has to die, Kanye didn’t tell me anything it was 40!” Yet Drake remained unbothered he went across the nation on his Aubrey and the 3 Amigos tour squashed long standing beefs with rivals Meek Mill and Chris Brown.  Patched things up with his son’s mother and came to some sort of a cordial understanding and then toured the UK. In the middle of all of this he told us he had a new album coming, gave Nick Nurse the head coach of the Toronto Raptors a shoulder massage during an NBA Playoff game.  Drake partied and celebrated the Raptors title as if he suited up and played actual minutes and then took a million pics with the Larry O’Brien trophy with his friends no less.  The question I pose for you will the music on Scoprion stand the test of time?  Take Care still sounds as good today as it did in November of 2011.  I admit I like Scorpion but I don’t love the album I have my own condensed version of the album where I’ve removed the filler songs in favor of the standouts in my opinion.  I invite you all as readers to revisit Scorpion this weekend and give it a grade based on its replay value, how it holds up today and if you really love/like the album or if you were a prisoner of the moment.

[pressednpeeled]

5 ways rap has influenced your life.

     “She's dead! She's gone forever, and YOU killed her!” cried out an angry old hip-hop head at a young man cruising by bumping new music labeled “mumble rap.” In This colorful age of constant change, there is no room for ignorance and discrimination of art, it is all after all, art. Leaning on being a sport today, rap and hip hop communities have divided  themselves by confusing themselves with an old school new school divide. Old school considering “good hip hop and rap” to only be music done by the pioneers, new school being more attached to a feel or vibe of the musical context. While many rap veterans did drop the first wave of  influence, nothing will ever go unchanged, especially social expression outlets.That being said we have to understand that the older fans relate so loyally to older music, because it paints memories of a very alive, important time in their lives.

     In this listicle I will cover the significance of raps influence on American culture.  I will go over some history of hip-hop, and its political influence that has influenced the nation culture deeply. We will touch on rap not only being a genre, but a verb as well. We will cover it's subcultures and the competitive side of the art that has kept this genres heart beating.

     The corporate world catalyzed the culture into economical prevalence, in turn officially commercialized rap. With rap on the rise due somewhat to corporate influence, the topics began to degrade and became financially arrogant. The newest artists were getting views based on flashy appearances and being antagonistically controversial, not for honed skills.  Like a blessing in disguise, this allowed bad examples to be displayed and criticized, suddenly,we were able to truly appreciate skilled Artists again. One could understand how the older generations opinions became  judgmental, then stagnant as they fell into the generational cycle and fulfilled their destiny. We must also consider that older listeners are generally less familiar with technological advances and therefore decline to discover newer rhyme that isn't negatively publicized.

     When Nas label the genre “dead” in 2006 many older fans were confused: they simply couldn't accept the fact that culture (and along with culture, music) does not stay the same forever; it outgrows us; it outruns us. Furthermore sub genres that confuse older crowds are what make up a lot of prevalent music today. That being said, rap has had some awful productions in recent years, experimenting with new technology, motivations, styles and of course corporate influence. The record labels saw financial opportunities and began taking over artistic moves and filtering genuine content as if they designed the artists. As time goes on new artists emerge that remind us what great hip hop or rap are.

     Here are 5 reasons Hip-Hop is alive, well, and actually doing better than ever before.

Rap is a verb.                                                                                                           performance, a sport, an activity a past time, rap has been considered all of these things at some point or another. It was a way to express or deliver a message to others that conveys energy intelligence, and creativity. Writer Doran Rosenberg talks about how hip hops basics evolved culturally and organically. People rapped for the love of expression, to explore uncharted artistic depths, and to paint a beautiful portrait with words. Then unfortunately Rap was exploited by corporations seeking financial success over artistic quality. This is the main reason the genre has struggled lyrically over the last few years with the addition of some psycho social implications that began to shift the reason artists began making music in the first place. While people began wanting to do it for the glory, riches and fame,  the love for the craft and unique self expression became unpopular sadly.

           .https://www.elitedaily.com/music/music-news/critics-are-crying-the-                 decline-of-rap-is-hip-hop-really-dead.

     2. Rap is a part of america's political history and a beacon for social issues

     Rap is not only is an artistic venue, but also serves as a political beacon for inner city  communities to express things going on that the rest of the world, doesn't see. On theodysseyonline.com Bailey Marshal speaks on the old rap coming back threw new, rappers like Kendrick Lamar, who proved rap is merely a reflection of society and a true form of art.

https://www.theodysseyonline.com/why-hip-hop-isnt-dead

      Lamar is one of the few rappers in a very very long time to use the power of politics threw his works. Comparable to N.W.A. in the way they reflected on police brutality and social problems when racial injustice in Ghetto communities began to catch attention during the 1980′s. Most of the country had no idea these issues were happening until  N.W.A made The problems public in 1988 with the song “Fuck The Police,” loud, offensive and boisterous but these Hero were actually doing a great job of exposing police racial profiling African and Hispanics Americans in the inner cities. It wasn't until the 1991 police beating of Rodney King that was broadcaster that these issues had gained more attention, later. Hip Hop gave us a voice that we could raise when the racial discrimination was a bigger problem, setting the beginning mark of a revolutionary time in history for many Americans. Americans cultural involvement in rap is deep rooted within freedom of speech and the reform of racial and social injustice. So why how could it die when it has nurtured the american society in so many social ways.

3. Rap will live on because of the social side of it.

      Rappers have not always been the best role models, and beginning in 2000 the confusion of rap started with the transition of the era that affected the sport almost totally. Overly Explicit shock material or irrelevant topics began arising to only receive attention as quickly as possible. While some music did seem outrageous we still must understand that some artist were only attempting to convey intense strong feelings into words, not worried about making the listeners uncomfortable or offended, like Eminem. Many rappers around this time also fueled career off rivalry like Soldier boy, and 50 cent, taking shots at any already successful artist simply to stir up fan bases of the known artist to create controversy about them,  generating free advertisement for them. These rappers seemed desperate for financial success and fame even though some did already have tasteful artistry to them. Angered by the perpetuated success of some of these braggadocios bonafide clowns, slowly, but surely the minds that Tupac Shakur spoke of, began to spark up, into the world. These heroes began checking new foo foo artist, reminding us of the important values of this poetic craft.

     Kendrick Lamar single handedly reignite the passion for hip hop with a message to rappers of today to get up and realize the loss of control within the industry as an artists. Kendrick re raised the bar in the song “Control”. He compares himself to the greats and calls out all the top players in today's hip hop industry and even a few friends on the song with him!. Stating that we must not forget that hip hop is a sport and everyone should know, right now,  hes the king of it.

“I heard the barbershops be in great debates all the time, 'Bout who's the best MC: Kendrick, Jigga, and Nas, Eminem, André 3000; the rest of y'all new n*ggas just new n*ggas, don't get involved! And I ain't rockin' no more designer shit! White T’s and Nike Cortez, this red Corvettes anonymous,I'm usually homeboys with the same n*ggas I’m rhymin' with, But this is hip-hop, and them n*ggas  should know what time it is, And that goes for Jermaine Cole, Big K.R.I.T., Wale, Pusha T, Meek Millz, A$AP Rocky, Drake,Big Sean, Jay Electron', Tyler, Mac Miller, I got love for you all, but I'm tryna murder you n*ggas! Tryna make sure your core fans never heard of you n*ggas They don't wanna hear not one more noun or verb from you n*ggas.

What is competition? I'm tryna raise the bar high!”

       This is important to understand because the craft is still so sought after now by more people than ever. we could never dismiss it because we have grown to love it as a nation just like we love our controversy and sports.

4. Rap is poetry

      Teachers refer to Shakespeare in school to understand language. As time passes we find more monumental lyricist like 2pac. Pacs impact on the world went as far as schools quoting and studying his works to teach,  like we have before with Shakespeare. Colleges around the world offers entire courses on Tupac Shakur's work today. In this article by Micah Mattix, he talks about how rap is not generally considered poetry because it's grammatically incorrect and it “has to have music behind it”. He goes on to say that rap is less serious than poetry and is more profane. All these things said are entirely false and are refuted in the comments by multiple people defending the poetic craft. Comparing other artist like Beck and Bob Dylan to poetry, writing it out in sonnet form to show that it reflections of poetry. Consider the following words from Beck:

Walking to the other side

With the Devil trying to take my mind

And my soul’s just a silhouette

On the ashes of a cigarette

Illusions never fake their lives

Trick cards fool the eyes

Carry zeros over till they add up

Bury tears in the chapters you shut

Sometimes the jail can’t chain the cell

And the rain’s too plain to tell

All alone by a barren well

Scarecrow’s only scaring himself

Consider the following words from Bob Dylan:

In a little hilltop village, they gambled for my clothes

I bargained for salvation an’ they gave me a lethal dose

I offered up my innocence and got repaid with scorn

“Come in,” she said, “I’ll give you shelter from the storm”

https://www.theamericanconservative.com/prufrock/is-rap-poetry/

     5. Rap could never expire because its saved on file

       Hip-hop has been influencing pop culture for years. As lingo becomes more socially accepted, the crossover appeal is inevitable for rap to get the recognition it deserves.

       In 2000 Lil’ Wayne coined the word “bling bling” to the oxford dictionary, forever validating his permanent mark on the rap game. Then the next year Beyonce added the word “bootylicious” to the dictionary. Although Snoop Dogg was the originator of the word in 1992, destiny's child took the term to the top with the release of their song that still is one of their highest selling hits to date. Unless someone can destroy every single copy of the dictionary physical and digital then maybe they can put an end to this rap thing but unless that happens hip hop will be right here just like revolutions in history textbooks are. https://www.xxlmag.com/news/2016/05/hip-hop-words-in-oxford-english-dictionary/

      Rap is an art form and when is put on display its subject to judgment and an interpretation from the side that is appreciative and the side that isn't. Our parents aren't totally wrong about new bad music, but they need to understand hip hop and rap will never die, for it has only began forming major sub genres like rock formed punk, and jazz formed acid. More and more people are becoming involved in the rap culture every day. The culture involves itself within our society more and more everyday . Weather it be politics or social issues, rap ingrains itself into us organically and electronically. The concept is comparable to saying that singing is dying, or comedy is dying, it just doesn't make any sense at all. Hip hop and rap will remain strong in our societies all over the world, continuing to cycle through history as it has since it  began.  Because rap culture is socially tied to us it creates our history, our texts and our lives. it is a self sufficient competitive art and therefore will forever evolve with new topics,  problems, and people. Music is simply a reflection of the high energy human existence.  regardless of its spelling, and bold topics, hip hop and rap will remain abrasive to political foul play, acting as a beacon for untapped issues that the genres people will never let it slide by unnoticed.So to all those embittered old hip hop heads that idolized artist they grew up, please understand that you don't understand, change in inevitable and if it wasn't, everything would be the same. Variety is the spice of life my friend, until you understand that, please go find a cave to cry in, But remember,  “I ain’t mad atcha”-Tupac Shakure. 

[citizenblackresume]

COMMERCIAL / FASHION / INDUSTRIAL

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TELEVISION

Netflix's She's Gotta Have It

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Neon Joe Werewolf Hunter Season 2

At Home With Amy Sedaris

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WEB

Complex: The Blueprint

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FEATURES

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5 Minarets in New York

But Not For Me

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The Den

Bert and Arnie’s Guide to Friendship

I Sell The Dead

Pressure

But Not For Me

Achchamundo! Achchamundo!

Bad Vegan

Erotic Fire Of The Unattainable 

Sugar!

The Big Shot Caller

4 Backyards

Love, Lies and Seeta

One More Time 

Archaeology of a Woman

Love Actually

Wifed Out

Triloquist

CONCERT / LIVE EVENT

Bad Boy Entertainment's 25th Anniversary Concert @ Barclays

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2009 Steve Nash’s Showdown in Chinatown Soccer Charity

Bacardi x VICE: Above The Noise

Hello Beautiful Presents: Interludes Live Featuring John Legend

iHeart Radio Presents:

-LL Cool J

-Carrie Underwood

-The Band Perry

-Alicia Keys

-Bruno Mars

-Cheap Trick

-B.O.B.

-New Kids On The Block

-The Wanted

-Train

-Dee Snider

-Blake Shelton

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-Alannis Morissette

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-5th Harmony

-John Mayer

-J Cole

-The Neighborhood

-Chvrches

-Jake Bugg and Emili Sandé

-Hunter Hayes

-Dierks Bently

-Lumineers

-FUN

-Daughtry

-Rod Stewart

-Jewel

-Brad Paisley

-Interpol

-K’Naan

-Cody Simpson

Stripped Raw and Real:

-Rhianna

-Plain White Tees

-Alicia Keys

-Fabolous

-Colbie Caillat

MUSIC VIDEOS

Michelle Williams, Beyonce and  - When Jesus Says Yes

Romeo Santos x Daddy Yankee x Nicky Jam - Bella y Sensual

THE DIG - Cold Afternoon / You and I

THE DIG - Made My Bed

Wissin y Yandel x 50 Cent - Mujeres en el Club

Marco Polo x Masta Ace - Nostalgia

Pharaoh Monch - Clap

Aloe Blacc - I Need a Dollar

Reggie Watts - Get Ready

Cody Chestnutt - I Am Life

Cody Chessnutt -  Till I met Thee

Mobb Deep x 50 Cent -  The Infamous

Josh Osho x Ghostface Killah - Redemption Days

Bon Jovi - Because We Can

Fantasia - When I See You

G Unit -  Watch Me

Christina Rubino - Godspeed and Guns

Lolo - Hit and Run

Leonard Friend - Serious Music

Teyana Taylor x Pusha T & Yo Gotti - Maybe

Secret Someones - Let You Go

Mary J Blige x Trey Songz -  We Got Hood Love

Kids Bop 35 Promo

Kids Bop 37 Promo

CSS - City Grrrl

OKGO - Writings on the Wall

Body Count - Talk Shit, Get Shot

Prince Malik - So Bad

Lil Niqo - Television Love

Prince Malik - When I get Home

Prince Malik - So Sexy

DJ UNK - 2 Step

Alexa Rae Joel - Notice Me

There For Tomorrow - Deathbed

Roy Hamilton - Invizible Man 

Nyle Emerson - Let the Beat Build

The Bigger Lights - Hey Summer

[opinionatedduck]

2018 Sample Pack Read-along

Here’s a read along guide to the 2018 Sample Pack playlist found here: https://open.spotify.com/playlist/6oCU7Q8EOuxP752UbedA5U

I tried to pick a single track which best represents each of the 40 albums I reviewed from 2018, and here I give a little reasoning for each choice with a line or two about the song and album. The playlist flows from genres broadly definable as;

Rap from ‘Come Back Baby’ to ‘Kevin’s Heart’

Experimental from ‘Alarm Song’ to ‘Tunnels In The Air’

Pop from ‘Something for Your M.I.N.D.’ to ‘High Hopes’

and Rock from ‘Tic Tac Toe’ onward.

Although to label some of these is difficult and to put them all into a cohesive playlist was a little tricky.

Come Back Baby by Pusha T

One of my favourite tracks of 2018, from my most highly rated album topping the playlist. Chosen as it's a great display of Push's lyricism and flow coupled with an undoubtedly Kanye West sounding chorus with the signature stripped back beats on Push's verses. All key things present throughout Daytona.

White Label by Nas

To continue with another one of the album's Kanye produced in 2018, I picked out this track from Nasir as although the album has some drastically different sounding tracks, in my opinion lyrics and production on White Label epitomises what the duo were trying to portrait with this record.

Rose In Harlem by Teyana Taylor

The third Kanye produced track in a row, you can see where this is going. Another top notch production but that shouldn't take anything away from Teyana, who's singing and rapping on this track knock you back if it's your first time hearing her and act as a great introduction if you're unfamiliar.

Ghost Town by Kanye West feat. PARTYNEXTDOOR

Kanye explores a lot of themes on this project but a lot of them stem from his experience with mental health issues, and although I won't agree that bipolar disorder is a superpower (or slavery was a choice) he does get some potent points across on this album. Ghost Town is a great example of this as the song explores abandoning all sense of purpose and the freeing yet numb feels that come from that.

Freeee (Ghost Town Pt. 2) by KIDS SEE GHOSTS feat. Ty Dolla $ign

I couldn't help put these two tracks one after another. Not necessarily the best track on the album and my least favourite of the albums thus far, but it's a decent continuation on the main themes of Ghost Town with added Kudi.

Big Shot (with Travis Scott) by Kendrick Lamar

I tried to pick out a track from the eclectic Black Panther album that was not only a good rap track but also had that Wakanda (not a real place) feel that Kendrick tries to cultivate with this project. I think this one ticks both those boxes, and as a standalone track is very worthy of listens.

Shattered Dreams by Earl Sweatshirt

This album is a bit of a minefield with it's bad mixing, which I feel drowns out Earl a lot with those higher raspier sounds ringing through the mix, and very choice spastic beats. This opener, Shattered Dreams, showcases both of these flaws but without being entirely unenjoyable.

DISTRICT by BROCKHAMPTON

Only picked this one as it's a standout on the album. There isn't really one track that brings together the different parts of the album well, which was one of my issues with it, however this does kind of blend aspects of their boy-band and rap collective personas and as a standalone is memorable.

The Ringer by Eminem

This one opens the album and sums up what Em aims to achieve with the album to me. Which is diss everyone who didn't enjoy his last few lacklustre albums, slam said albums too and try to get back on top. Does an okay job at ticking some of those boxes however much of the album doesn't.

SWITCH IT UP by Denzel Curry

Denzel has two very different styles on this album however he smoothly transitions but usually does so track or tracks at a time. Some of the more trap heavy tracks I suspect aren't as easy accessible but this one has a certain edge balancing a little more than others.

Toy by Young Fathers

Amazing track by an outstandingly consistent group. Toy is not only a spectacular tune but it's a perfect track to sum up their distinct sound not just on this album, but across their career thus far. Might just be my favourite track of 2018.

Tints (feat. Kendrick Lamar) by Anderson .Paak

The sun-drenched vibes of Oxnard are most noticeable on first listen of Tints. This track was teased shortly before the album release and the Kendrick feature blends really well with Paak's style. Wouldn't necessarily say it's the best track on the album but the one that most encapsulates the feel.

Kevin's Heart by J. Cole

Maybe not the track to represent J Cole's usual style but this track is in a league of it's own and still showcases J Cole's lyricism and flow. It deals with a recurring theme on the album of having multiple paths down which you could go. Here Cole is torn between trying clean up his act and kick a difficult habit (drugs & cheating) to better serve his partner and their relationship, but his addiction lures him into temptation of not only the euphoric aspects of drug abuse, but with the validation in being desirable and wanted.

Alarm Song by Littlebabyangel

This was my first run in with Littlebabyangel and this opener really sets you up for an experimental and unsettling RnB experience. I couldn't help draw parallels with The Weeknd, but this track and many other venture into a darker more dissonant territory.

Faceshopping by SOPHIE

SOPHIE's music is really out there and I've been following her for a long time now. Faceshopping, like her breakout hit Lemonade, is probably one of those tracks that tests listeners and takes a very specific palette to enjoy. I won't be offended if you have to skip this one.

In The Next Life by Kim Petras

This album really reminds me of Charlie XCX and specifically work she has done with SOPHIE. It's definitely more accessible however and has more elements of synthwave and electro in than those predecessors.

Adam & The Evil* by Clarence Clarity

Clarence Clarity is a real genre shiftier, but there's always something a little hip-hop about his production style. Maybe it's all in the ear of the beholder but across the album it keeps those vibes, mixed with some glitch.

the green by Ben Khan

Slowing things down a little, Ben Khan's very chilled electronic music is infused with his love of playing the guitar which features prominently on this track. Although the project is quite easy listening there's some very subtle technicalities & great little ditties on this album.

Tunnels In The Air by Louis Cole feat. Thundercat

A very unexpected feature from Thundercat blends seamlessly into Louis Cole's funk synth album here. Louis Cole who you might know from his viral video: Bank Account (https://www.youtube.com/watch?v=dAH4zGd_W1s)

Something For Your M.I.N.D. by Superorganism

The first track of their's I ever heard and one that truly sums up the fun this collective have creating their music and the trippy psychedelic atmosphere they create on the album. Those distinctive bends and slides on the guitar and random 'concrète' soundbites littered throughout are staples of their sound and heavily present throughout this debut.

Don't You Know I'm In a Band by Confidence Man

Clearly another fun project for all those involved. The funny, tongue-in-cheek lyrics here with the utter bopage of their funky pop is a fine example of what to expect on Confident Music for Confident People. I'm confident of that. Get it?

Baby I'm A Queen by Sofi Tukker

Another album favourite makes it into the playlist. This time from Dance Rocker's Sofi Tukker. This one showcases Sofi's vocal ability more than some others and also has a great quiet/loud contrast.

All For You by Years & Years

There's a good chance you've heard most of this album already as it's wall to wall singles. All For You hits somewhere in between their darker sounding Sanctuary, more reminiscent of their first album, and something like If You're Over Me which is super cheesy pop.

She Loves Control by Camila Cabello

Decided not to pick Havana or Never Again as they have been huge singles in the last year. She Loves Control is one of the more fun tracks, as opposed to plethora of ballad-y tracks on here. It's got a bit of dancehall/latin vibe with some underlying Spanish guitar flares.

sex money feelings die by Lykke Li

As described by the album title much of these tracks are sad but sexy. Harnessing elements of pop, rnb and at times hip-hop it features mostly sombre downbeat vocals. I was pleasantly surprised by the album and this is a prime example of what to expect.

Teenage Fantasy by Jorja Smith

I could probably pick almost any track on this album to give as an example of what to expect as it's super consistent and very distinctive. Jorja has a powerful jazzy vocal full of soul and the album has this great RnB backing to amplify it. You could draw comparisons between her sound and Amy Winehouse's and I fully expect this album to launch her into the forefront more than she already is, having already featured on Kendrick's Black Panther project, as well as alongside Drake and Kanye before this debut dropped.

Breathe by Seinabo Sey

I've picked, this time, a track I expect more to showcase Seinabo rather than what this album has to offer. There's a lot of forgettable stuff on here, but this one seems more like something she would have done on her previous release, but does still gel well on this album. Soulful, poppy and a great display of her vocal talent.

Wilson (Expensive Mistakes) by Fall Out Boy

Fall Out Boy lack consistency on this album, I feel like tracks like this one hit a line where they can draw in more fans from a commercially accessible sound without pulling too far from those emo infused pop-punk days. Although this album as a whole does have a lot of misses, not what they once wanted to be known for.

High Hopes by Panic! At The Disco

No surprise to have these two next to each other as both bands are from similar roots looking to do a similar thing, open themselves up to a wider audience and develop their sound into another generation. This track is exactly how to do that, however for me the album as a whole was nowhere near as consistent as this track unfortunately, like other Panic! albums before it.

Tic Tac Toe by Django Django

I probably favoured this track as it's one on Marble Skies that sounds like it would fit as a bonus track on their self-titled debut I fell in love with. Django Django try a few different things on this album but they are best when they sound like this in my opinion.

Everyone Acts Crazy Nowadays by Unknown Mortal Orchestra

A prime example of UMO's lo-fi psychedelic influenced pop-rock. This album sticks in this territory a little more than their previous effort Multi-Love which was a little more varied but is still a great listen.

Warsaw by DMA'S

Australian Britpop isn't something I expected to be talking about in 2018, alas DMA'S here give something that sounds like an instant classic reminiscent of those early Britpop bands I grew up surrounded by.

Golden Trunks by Arctic Monkeys

A big departure from their humble beginnings Arctic Monkeys successfully/unsuccessfully (delete where applicable) attempt to create a desolate deep space John Cooper Clarke themed hotel in which they appear to be the resident David Bowie cover band. This one sounding more like a tribute than some other, does a decent job at evoking that atmosphere they are conjuring.

Daddy's Boy by Electric Six

Electric Six haven't really grown, or grown up much despite accruing at this point 14 albums. It's fun, it's silly, it's formulaic but it works because it's Dick Valentine and crew.  You probably already have an opinion of Electric Six, and this track and album won't change that.

Backseat Driver by White Denim

I could've plucked any track from blues rockers White Denim's Performance and it would be one of my favourites on this list but there's something about Backseat Driver that feels classic but refreshingly new simultaneously.

Ace of Aces by The Fearless Flyers

Anyone who know Vulfpeck would feel The Fearless Flyers are very familiar. And that's because they are almost exactly the same thing, save for a few guest musicians and a lack of vocalist. Ace of Aces is the funky starting point of this tight funk rock EP and it never really looses up, this track is a little stronger than some others which include a few covers/variations.

Almost Had to Start a Fight/In and Out of Patience by Parquet Courts

I couldn't pick a favourite from Wide Awake!, so I picked this two-in-one. Their brand of garage rock is seldom heard anywhere else, with uniquely gritty vocals from lead Savage. So much so I don't really have any comparisons to draw. Just listen to it.

Julia (or, 'Holy to the LORD' on Bells of Horses) by mewithoutYou

mewithoutYou are a post-hardcore outfit I grew up with and probably one of the lesser knowns in this list, even by avid music listeners. As a backdrop; they draw a lot of their lyricism from biblical stories and explore themes like what it means to be a Christian and often about how burdening it can be and the difficulties people in these stories go through rather than the more often heard preachy sides. As a band their sound has changed a lot over their career but this album brings their roots and elements heard on later releases and blends them together well, although this track is more reminiscent of their early works.

Stay Ignorant by DON BROCO

DON BROCO seem to be evolving in a way I didn't expect with Technology. Some of their most heavy moments are seen throughout, hence why I picked this track, with more electronic drums and synths being added into the mix without deviating from their original Pop Rock meets Post-Hardcore sound.

Alchemy | Terra Incognita by Poly-Math

Saving the longest for last. Fans of bands like Mars Volta, whom Poly-Math definitely sound like at times on this track/album, will be familiar with these kinds of epic tracks with huge build-ups between their themes which each last 'regular' track lengths, but not all will. Other than Mars Volta, Poly-Math remind me too of Fall of Troy with Prog/Math Rock elements.

[thefirsttimpressions-blog]

50 Favorite Albums of 2018

Got this done, much, much later than I wanted to, but it’s finished nonetheless. When it comes to my favorite record of 2018, there was really only one choice: Kacey Musgraves’ Golden Hour. It’s by far the record that I listened to the most in 2018 and the record that I had the strongest reaction to. I still have yet to listen to “Space Cowboy” and not get chills. The groove of “High Horse” still boosts my energy level. The sound of “Butterflies” still brightens my mood. And I’m not the only one, as Golden Hour topped many best-of lists and has been nominated for a boatload of Grammys (to the extent that the Grammys actually matter). Beyond Musgraves’ high-water mark to date. 2018 was a very strong year for music IMO, and I think this list demonstrates that. Enjoy.

1. Kacey Musgraves / Golden Hour 2. Beach House / 7 3. IDLES / Joy As an Act of Resistance. 4. Wild Nothing / Indigo 5. Rolling Blackouts Coastal Fever / Hope Downs 6. Soccer Mommy / Clean 7. Amen Dunes / Freedom 8. boygenius / boygenius (EP) 9. Hatchie / Sugar & Spice (EP) 10. Jim James / Uniform Distortion 11. MorMor / Heaven’s Only Wishful (EP) 12. A$AP Rocky / TESTING 13. Starcrawler / Starcrawler 14. Joyce Manor / Million Dollars to Kill Me 15. Snail Mail / Lush 16. Mitski / Be the Cowboy 17. Janelle Monae / Dirty Computer 18. Arctic Monkeys / Tranquility Base Hotel and Casino 19. Father John Misty / God’s Favorite Customer 20. Pusha T / Daytona 21. Kurt Vile / Bottle It In 22. Wild Pink / Yolk in the Fur 23. Lucy Dacus / Historian 24. Brent Cobb / Providence Canyon 25. MGMT / Little Dark Age 26. Jeff Rosenstock / POST- 27. Amanda Shires / To the Sunset 28. Blood Orange / Negro Swan 29. Pale Waves / All the Things I Never Said (EP) + My Mind Makes Noises 30. Troye Sivan / Bloom 31. Public Access TV / Street Safari 32. Robyn / Honey 33. Action Bronson / White Bronco 34. Grapetooth / Grapetooth 35. Vince Staples / FM! 36. Empress Of / Us 37. Courtney Barnett / Tell Me How You Really Feel 38. Parquet Courts / Wide Awake! 39. Bat Fangs / Bat Fangs 40. Unknown Mortal Orchestra / Sex & Food 41. Superorganism / Superorganism 42. Death Cab for Cutie / Thank You for Today 43. Restorations / LP5000 44. Dizzy / Baby Teeth 45. Dilly Dally / Heaven 46. Channel Tres / Channel Tres (EP) 47. Clairo / diary 001 (EP) 48. Shame / Songs of Praise 49. US Girls / In a Poem Unlimited 50. The 1975 / A Brief Inquiry Into Online Relationships

[wearejustvisiting]

HUMANZ review.

Before we begin, now is a good time to talk the politics of the alum. Many of the references to situations may seem outdated or played out, but you have to remember, this album didn't start production until 2014. Some of these songs are seriously YEARS old. So b sure not to judge the album for any recent political messages that you may consider "Outdated" because, technically, they're not.

1: I turned my robot off: Nobody cares, moby...nobody cares.

2: Ascension (Feat. Vince Staples): Good production, though I expect no less from a band like Gorillaz. Uses some unique effects that I haven't heard since Demon days, and Staples' feature is pretty sick. GLAD TO HEAR THAT CHORUS BACK.

3: Stroblite (Feat. Peven Everett): Kinda dull to start off with, sounds kinda like an overproduced track from G Sides. Everett sounds like every other british singer to me, I'm sorry, but it's not super unique. Not saying they're bad, just nothing to write home about. But damn, is that a catchy chorus. Maybe Gorillaz should just do commercials. Damon Albarn doesn't even have to pretend he's in the band at that point

4: Saturn Barz (Feat. Popcaan): Really good sample, strong beat, and I love the keyboard used in the song. But the production is a bit overdone. Autotune CAN be used as a stylistic thing, sure, but that doesn't always mean it sounds good. Popcaan does fine with it, but I would be interested in hearing it without him. And hey, Albarn actually SINGS on this song. CONSISTENTLY. The choir is also good, but I heard them do the same thing on Demon Days.

5: Momentz (Feat. De La Soul): De La Soul is an obvious choice. He's basically IN Gorillaz. The vocal modulation on MOMENTZ is awesome, and got me amped. But the kick drum threw my excitement riiiight off my back. It falls into the 22 DEATHBREAST trap of being too loud and percussive. De La Soul can rap, and i never questioned his ability, so that's obviously not too big of a deal. It's like saying 'hey, that really good mathematician can do MATH!' Other than that really, REALLY fun vocal modulation, it sounds a biit too much like Ke$ha in the first half. But the second half with the chorus reminds me of Dirty Harry. From...you guessed it, Demon Dayz. The final part with the keybard percussion is what the song SHOULD have been.

6: Interlude: The nonconformist Oath: "Ohhhh, you're all claiming to be non-conformists but you're just SHEEP" said every other artist ever.

7: Submission (Feat. Danny Brown & Kelela): This song immediately starts of with a female vocalist (I assume Kelela, correct me if I'm wrong) singing, and reminding me of a little dragon feature. Nice, solid music, as well. THAT CHOIR'S BACK BABY I'M LOVIN IT. This is the first song after Ascension that I can really say is a song from THIS album. It sounds NEW, almost like a different artist. Buuut...Brown ruined it. His voice is obnoxious. Why couldn't you just bring back Vince Staples? Or, I dunno, GET D.R.A.M. TO DO A REAL VERSE (Oh, we'll get to that.)

8: Charger (Feat: Grace Jones): OH MY GOD. DAMON ALBARN SINGS ON THIS SONG AS LIKE...THE MAIN GUY. It's a dirtier track, which I feel matches the earlier aesthetic of Gorillaz. But that's not a bad thing. It doesn't sound like a retread, just a tribute to other, harder songs like White Light or Oh Green World. But, the keyboards do a good job of keeping it fresh, it still sounds NEW. Grace Jones is a good vocalist, though there isn't too much of her on this track.

Interlude: Elevator: Goin Up" ...yep.

9: Andromeda (Feat. D.R.A.M.): YEAH, AS A FREAKING BACKING VOCALIST. GIVE MY BOY D.R.A.M. A REAL VERSE. HE MADE CUTE, DAMON. Anyway, it's a little bass heavy, kinda hurts your ears. One of the few songs I would recommend listening to through laptop speakers. And, to be fair, it's a great song. I actually love it when the bass is brought down and the electronics hit. So play it through laptop speakers, then plug it in after that. And, I do at least HEAR D.R.A.M., so that's something. Good dance track....no, AMAZING dance track. But I feel ripped off, as there was no real D.R.A.M. feature that was worth while. Unlike other songs, it seems to take more from Plastic Beach (which I kiiinda preferred to Demon Dayz anyhow) But it still stands as something from THIS album cycle.

10: Busted and Blue: Starts up with kind of a chillwave/vaporwave feel. Ambient noise and smooth, long, drawn keyboards. Very chilled out vocals from Albarn here. the backing vocals kinda remind me of Redbone or Me and your Mamma from Childish Gambino's"Awaken, My love!" SLIDEWHISTLE WHOOOO

11: Interlude: Talk Radio: um...okay.

12: Carnival (Feat. Anthony Hampton): The intro sucks. But Anthony Hampton is a pretty good voice! Matches with the heavier beat. Sort of trap influenced, almost. Not sure what I would call it. The voices and the layering work superbly, and the strings are great, too. Nice and distorted, but not to the point of being unrecognizable.

14: Let Me Out (Feat. Mavis Staples and Pusha T.): Haven't heard from Pusha T in a while. But I'm a fan of the interrupting keyboard, makes it sound distorted. If only they'd taken it to the next level and messed with the vocal track, but I guess we gotta get what we're given. Catchy percussion, love that snare. Mavis Staples has a fantastic voice, and I'm very glad she's on this record with THAT CHOIR BOOSTER. DAMN. The beat and music are also, again, pretty solid.

15: Interlude: Penthouse: I mean...yeah, I guess.

16: Sex Murder Party (Feat. Jamie Principle & Zebra Katz): The sting of percussion at the beginning is not good. I mean, it sounds fine NOW, but imagine that on a playlist on shuffle, and you have the volume up. Gotta think about everything, man. I feel like I have heard that drumline from somewhere, but I honestly couldn't tell you where. Kind of dull, honestly. Dissonant keyboard and strained vocals don't change a song's quality if all they do is remind you of Micheal Meyers.  Jamie Pirnciple is NOT entertaining to listen to. Maybe in a different setting, his voice would work better, but with this kind of music it just doesn't fit. Zebra Katz, on the other hand...fits quite nicely. His voice and range matches the darker tone of the song. Even if the song is bad, he's fit for it.

17: She's my Collar (Feat. Kali Uchis): The snare hits you like a truck if you aren't expecting it. I don't like the Residents-esque guitar in the back. Shame, because without that, it would be a pretty solid beat. The drawn synth is also annoying, too. Kali Uchis is nothing to write home about, but they aren't terrible. Also,using they/them unless I know the artist's perferred pronouns.

18: Interlude: The Elephant: I mean, whatever, man.

19: Hallelujah Money (Feat. Benjamin Clementine): Now, I love this track. Clementine is an amazing vocalist, who deserves to be more popular than he is. He's one of the best modern singers coming out of Europe, in my opinion. This was the first song released from the new album, and if the rest of the album sounded like this, it would be a perfect ten. The beat is simplistic, but just so that it isn't too overwhelming. The choir is awesome, almost like a full on gospel chorus. The keyboards and synths on this song are also amazing. Favorite track so far on the album.

20: We Got the Power (Feat. Jhenny Beth): DAMN THAT INTRO. HOLY CRAP I THINK I JUST DIED. The vocals are amazing on this track, and the matching keyboards are a perfect match. Beth is an amazing vocalist with a unique voice who can really carry a tune. I wish the percussion was a bit slower, maybe half tempo. It seems a little too fast for this kind of song. Other than that, it's good. And hey, this seems like a good workout song. So, it's not awful. But gooooood, that ending. I hate when songs just STOP. At least Hallelujah Money gave us a build. This just stopped.

21: Interlude: New World: Meh, kinda boring. At least the other interludes were funny.

22: The Apprentice (Feat. Rag'n'Bone Man, Zebra Katz, & RAY BLK): Getting a kind of Homeshake vibe from the beginning of this song. Like the vocals at the beginning as well, but I don't know which artist it was. Their voice is unique enough that I bet I WOULD know, if I listened to them. Loving the chorus. Nice flow to it, and I like that they toned back the music on this one. It's more about the vocalists. The second vocalist (who I ALSO don't know the name of, you can tell I'm so versed in music lol) is pretty good too. Their voice getting the lead on the chorus is also pretty cool, you don't see a lot of bands do that, switching the chorus vocalist. Finally, Zebra Katz. He can rap, and pretty well. He has a nice flow, and keeps track of his words. Also: Laughter was SOOOO Demon Days.

23: Halfway to the Halfway House (Feat. Peven Everett) Peven is back, but first let's talk this intro. A bunch of RADAR sounding noises, followed by an underwater-type synth with a kind of ride in the back? It's not HORRIBLE, but it's not really hooking me. Kinda reminds me of a slowed, chopped, and screwed Doncamatic. Peven Everett has a better pattern on this song, and the chorus is a good match for this song as a smaller group. It sounds pretty good, against the dark and drab music. Not much else to say, honestly. Then the second half hits, and it picks up. More people, louder vocals, it's a really good thing. Sometimes more really is more. I also like how it fades and we get kind of a fan effect. But once again, we have a song that just...stops. Shit.

24: Out of Body (Feat. Kilo Kish, Zebra Katz, & Imani Vonsha): The intro is a woman (or two, depending on who you ask) talking about how there's gonna be some sort of special offering. It's seriously right out of a "top ten audio recordings that'll make you leave your hometown and move to Boise" video. But how's the song? Unique enough to use phones as the main synth. The bass is there, and it's loud, but it's just enough to be a good dance track. Kilo Kish is a good artist, kind of reminds me of Tkay Maidza with her flow, but on other songs where she sings, they sound pretty different. Her voice matches the song pretty well. Zebra Katz comes into the track like Nate Dogg on Shake that. Again, though, good rapper. Then a third vocalist, who I assume is Imani Vonsha comes in. She's a much more new artist, but I hope she becomes more popular. Her voice Really is something. kinda reminds me of Jelly from Tank and the Bangas.

25: Ticker Tape (Feat. Carly Simon &Kali Uchis): A slower track, but the keyboard wants it to be fast. It really doesn't sound good. I understand what they were going for, but it sounds ugly. I'm glad it comes out to a more drawn synth later in the song. Really catchy chorus, too. Good percussion, as well. Kick, snare, kick, snare...sometimes, that's all you need.  Carly Simon has a lower, more lowkey voice, which is perfectly suited for this track. Relaxed, undisturbed, but still enough emotion to keep me from falling asleep. loving the James Blake styled vocal modulation on Albarn, really adds kind of a Bo-en feel to it. Kali Uchis comes in later, when the song picks up, which is really where her voice belongs; more upbeat or quicker songs. But guess what? it just...stops.

26: Circle of Friendz (Feat. Brandon Markell Holmes): A song with an intro of sirens, minor violin chords, and glass bottles smashing against walls? Gotta be good, right? Well, it actually isn't that bad! The choral vocal style pairs well with the string ensemble of the keyboards, and the dissonent backing over the verse matches well. Gorillaz has a history of ending their albums with more lowkey tracks, like Pirate Jet on Plastic Beach. Am I glad the tradition returned? Yes. Because this is easily one of the better songs on the album. Markell Holmes really can carry a tune. And how does it end? With a fade....well, at leat it's something.

PHEW! THAT was a long one. But was it good? Well, kind of. There's parts of the album that I thought were great, but others that were just reeeeally repetitive. Over all, it could have been worse. But it could've been better....but it could've been a LOT worse. 7/10  

[realmotionxi-blog]

Eminem Vs. Machine Gun Kelly: A Complete History

The Devil and God are raging across the Midwest. There must be something in the water, as rappers have once again taken to baring their teeth on wax. Though Drake vs. Pusha T is primed to go down as the year’s crowning achievement in (arguably one-sided) hip-hop beef, a late-game battle royale between Eminem and Machine Gun Kelly has emerged to satiate the bloodthirsty. Dubbed by some as “white-on-white crime,” this seemingly spontaneous conflict has actually been years in the making, with both parties nursing animosity to varying degrees. Fans immediately felt the impact of Em’s fury upon receiving “Not Alike,’ a Bad Meets Evil collaboration that found Machine Gun Kelly catching the ire of Evil incarnate: “Now you wanna come and fuck with me, huh? This little cock-sucker, he must be feelin' himself He wants to keep up his tough demeanor So he does a feature, decides to team up with Nina But next time you don't gotta use Tech N9ne If you wanna come at me with a sub, Machine Gun And I'm talkin' to you, but you already know who the fuck you are, Kelly I don't use sublims and sure as fuck don't sneak-diss But keep commenting on my daughter Hailie” Upon hearing the barrage, many were left wondering why Em was calling out Machine Gun Kelly by name. Though Em does allude to the catalyst of his disdain, the majority of his verse is reserved for pressing foot firmly on jugular; in a move sure to please ardent Eminem die-hards, the menacing presence of Trick Trick is evoked, harkening memories of “Welcome To Detroit City.” Though the mere notion of Eminem once again gunning for established artists was enough to cause ripples of glee throughout the community, much of the backstory was indeed lost in translation. When Em alluded to a Hailie name-drop, he was in fact referring to an MGK tweet from 2012, in which Kelly thirsted after the young lady. “Ok so I just saw a picture of Eminem’s daughter...and i have to say, she’s hot as fuck, in the most respectful way possible cause Em is king.” The tweet, as preserved here on Vibe, was originally sent out on May 7th, 2012. Whether or not he was shooting his shot or merely speaking his mind is up for debate. Regardless, his words have come to haunt him to this day. In 2015, MGK spoke with Peter Rosenberg, Laura Stylez, and Ebro about his comments, alluding to some severe, lasting consequences. In short, MGK felt blackballed over a simply lapse in judgement, explaining himself as follows. “Pictures of had come out and I’m like, what, 20 years old, 21 at the time? I said ‘She’s beautiful, but all respect due. Eminem is king.’ What’s wrong with that?” Upon watching the clip, Kelly’s demeanor changes, as the visibly agitated rapper explains his ensuing strife to the sympathetic ears of the Hot 97 crew.   https://www.youtube.com/watch?v=E19Syfrdirs   He reveals that his comments ultimately led to a blackballing of sorts, in which certain radio stations and publications proceeded to avoid Kelly’s music like the plague. In fact, Em once threatened the same fate onto anyone confusing him with Canibus, way back on 2002’s “Say What You Say.” Perhaps Marshall is indeed a man of his word, with a powerful enough brand to pull strings behind the scenes. Unfortunately for MGK, Eminem happens to be the man behind Shade 45, a popular hip-hop satellite radio station home to Sway In The Morning, Rude Jude, and more; worse, in the same interview, Laura Stylez alludes to Kelly’s ban extending to the entirety of Sirius XM. Before he can truly sound off, bottle in hand, Ebro and Rosenberg wisely cut the conversation short. For some context, Kelly seemed to address the rumor during a 2017 LA Leakers freestyle, in which he rapped “I’m my favourite rapper alive since my favourite rapper banned me from Shade 45.” In 2018, Kelly would continue to press the issue, sending a few subs on Tech N9ne’s “No Reason,” and ultimately solidifying his place on Eminem’s “renewed shit-list.” KELLY STRIKES BACK When Kamikaze dropped, few detractors were spared Marshall Mathers’ wrath. Yet Kelly was among the most prominent recipients, and decided to take a break from trading shots with the beloved “Bay Area Greaser” G-Eazy to put his pen game to work. Setting his sights on the man he once dubbed “king,” Kelly dropped “Rap Devil,” setting a dichotomy seeped in Catholic iconography; recall, Em has continuously deemed himself the “Rap God,” and in his mind, there is no pantheon to be found. Yet Kelly has come forward with the most overt Eminem diss since Ja Rule’s “Loose Change,” and many have found themselves receiving the track with respectful head-nods. Even Eminem fans can’t help but respect MGK’s gumption in targeting such a formidable target. Rest assured, MGK has tossed aside the etiquette, pulling Eminem into the muck without hesitation. Taking to an instrumental from recent Eminem collaborator Ronny J, MGK unloads on everything. Not even Em’s beard is safe. “His fucking beard is weird,” raps Kelly. Tough talk from a rapper paying millions for security a year.” He proceeds to paint Eminem as an “old-man-yelling-at-cloud” trope embodiment, while harping on Em’s gradual ascent into his upper forties. In the second verse, he directly addresses his Blackballing, rapping “Let's talk about the fact you actually blacked-balled a rapper that's twice as young as you, Let's call Sway, ask why I can't go on Shade 45 because of you, let's ask Interscope how you had Paul Rosenberg trying to shelf me.” He sheds some light on his side of the story, whereupon he actually received a conference call from Diddy and Jimmy Iovine, chairman of Interscope; together, the pair prompted MGK to issue an apology for his comments on Hailie. “The big bad bully of the rap game can't take a fucking joke,” raps MGK, leading us to wonder whether Eminem’s behavior goes against his established principles. Was this not the same manner of backdoor industry politics Em lambasted during his beef with Benzino? Perhaps the rulebook flies out the window when children are dragged into it. In any case, Kelly moves forward undeterred, poking fun at Eminem’s vocal cadence, calling him “Oscar The Grouch” for his troubles. “Don't be a sucker and take my verse off of Yelawolf's album,” he raps, playfully alluding to his own prior industry woes. Taking a page out of the aforementioned Ja Rule’s playbook, Kelly ends the diss by name-dropping a staple in Eminem’s romantic life. “Dropped an album called Kamikaze, so that means it killed him, already fucked one rapper's girl this week, don't make me call Kim.” Machine Gun is of course referring to a reported tryst with G-Eazy’s on-again-off-again girlfriend Halsey, and while the shot may be more immediately scathing for Young Gerald, Em has never taken kindly to having his personal life dragged into his conflicts. Given how Kamikaze seemingly found Eminem reinvigorated, regaining his lust for blood and no-fucks-given demeanor, one has to expect a response in the near future. It’s like Paul Rosenberg predicted during his moment in the sun. “It’s a slippery slope,” warned Em’s longtime friend and manager, expecting fallout from Kamikaze’s scathing nature. Yet as Em warned on the very same project, he hasn’t quite forgotten how to revert back to some “Ja Rule shit.” Should we be expecting something along the lines of "The Sauce," "Nail In The Coffin," or "The Warning?" At this point, it's anybody's guess. Read the full article