#rap review

[camilishpilish]

howdy, i saw your reblog asking for rap suggestions

you should totally listen to “to pimp a butterfly” it’s probably the single greatest album of the 2010s and it has some of the strongest themes and symbolism that i’ve ever seen in an album. it is just absolutely gorgeous and it’s worth listening to in its entirety and paying attention to everything. it also has like an incredibly shocking and beautiful ending for the album.

if you want a single song you should listen to “all outta ale” by MF DOOM. he has one of the most unique sounds of any rapper and the most complex lyrics.

also tyler the creator. he is cool and very popular. although he also makes more poppy sounding songs. actually he had like a big change in his sound.

also if you don’t want to listen to a whole kendrick lamar album i really enjoy Wesley’s Theory, Alright, King Kunta, i, and Backseat Freestyle (which is from a different album good kid m.A.A.d city)

Hi!! Thank you so much for the suggestions! I did listen to the whole album (took me three days to do so apparently añslkdfj) and my favorites out of it where Alright, i, and mortal man. I think it might be cause those are the ones with the most consistent rhythms- it might me the autism, but the more flowy, jazzy vibe of the other songs didnt scratch my brain as much. I definitely feel that a lot of the lyrics in Pimp a Butterfly went over my head for lack of personal experience, and maybe a little english being my second language and me mostly dealing in tumblr slang. But those last few songs were incredibly artistically profound, I loved it when he just started breaking into a conversation with the audience and then with someone else. I can also definitely see what you meant with unique sound for MF DOOM. There was an almost bouncy instrument (?) in the back of the track that i very much enjoyed. I do think those lyrics also went over me. Im not that great at poetry interpretation, im more a fun wordplay person.

And I've heard Tyler the creator before, apparently! Entirely through tiktok, but still. I think him being more Pop puts him closer to what i usually listen to (im a big melodies person, I really like singing along to songs and i *cannot rap* for the life of me jsjs) and is definitely very pleasant sounding, but i didnt find myself gravitating towards it particularly much. All in all, nothing scratched my brain in the specific way that gets it put on my playlists, but I'm very glad to have listened to all this! It was very interesting to delve out of my comfort zone a little

[legion1227]

IDK: F65 album review

This was a big step up from the last project, and I am so pleased. 

Last year, rapper IDK dropped a short album called Simple, and that's exactly what it was. With eight tracks and rounding out to eighteen minutes in length, it made for a quick listen. I feel he didn't make the most of his short time on Simple. Alternating between singing and rapping, he faired better with the former. His bars lacked impact, but his flow was decent. Overall, Simple was an okay project, but nothing to praise. 

His latest album, F65, is a step up from last year. Nowhere near perfect and still flawed in some areas, but I enjoy this much more than Simple. 

F65 is packed with more songs, more features, and more commanding instrumentals. With twenty-two tracks running out at fifty-two minutes, Simple felt like an appetizer as IDK serves F65 as a main course. For Simple's mediocrity, I appreciated its brevity. F65 was a luscious listen but does not need to be fifty-two minutes long. 

The biggest issue stems from pacing, as the album is too long and the tracks are too short. 

Songs like Pit Stop and Salty feel like they're just getting started as IDK raps braggadocious and gets into a groove. But before it feels like he can shift into second gear, the song suddenly ends. There would be more to savor if he could at least fit in one more verse sometimes. Consequently, he has one song, Superwoman, that takes up seven minutes. Broken into parts, the song peaks in beauty with the first part as IDK and features Musiq Soulchild wax poetic with their vocals. If anything, he should've taken the extra five minutes and distributed them amongst the other songs on the album. 

Among the other features, it's hit or miss. Fat Trel works well in unison with IDK on Thug Tear. NLE Choppa was doing a fine job on Salty but could've used more time. Jucee Froot and Saucy Santana are among the best as they flex and boast sexually on Pinot Noir. And as a Benny The Butcher fan, I absolutely could've used more Benny on Up The Score. That was nowhere near enough. 

In the end, IDK delivered his fourth studio album. I'm hoping for his next project, he can assemble more talents for the features and find a decent middle ground for the pacing. Interludes and skits plague the project and could be cut for time. The jazz-infused production helped carry a really good album along with serviceable bars. If his next project is similar to this in sound and content with around twelve tracks and thirty minutes in time, then he will have something truly great on his hands. 3.5/5

[tio-trile]

I made this remix as soon as I got access to the voice recording files for that episode and then proceeded to play it for any crew I came across. Reception was mostly positive, however our supervising producer heard the first few bars and turned to walk away.

[akkivee]

top five moments from this little drama track in my very unbiased like so objective it’s crazy y’all opinion lol

1️⃣ sasara elected to sign himself and samatoki up to perform another comedy skit together bc he’s stupid ig lmao. samatoki punches him for it tho lmao

2️⃣ all the leaders got to eat at that diner by invite basically. it’s american so the portions are HUGE and the exact conversation about this point was brought like this lol

ichiro: i’ve never seen a burger this size before!!!!! i think it’s the same size as your head kuukou

kuukou: *holds up the burger to his face* ain’t it??

ichiro: *laughs like it’s the funniest thing he’s ever seen* it’s massive bro

3️⃣ there’s a 30cm burger and the leaders decide to have an eating contest to see who can eat it fastest, and sasara gets out of it by being the commentator lmao. kuukou the foodie has quite a bit of praise for the flavour accents in burger as he’s chowing down, ramuda can barely hold the burger up lmao, and ichiro started egging samatoki on where it’s revealed that the both of them have special eating techniques. they shouted them out in sentai style complete with superhero sound effects LOL

4️⃣ jakurai, however, reveals the ultimate technique of squishing the 30cm burger down into one ☝️ cm and eats it in four bites. HES THE WINNER LMAO (and ichiro slams his fist down lamenting his defeat LOL)

5️⃣ the track ends with the leaders cleaning up the restaurant bc they ate so much food, the restaurant workers wouldn’t be able to clean up in time for their grand opening the next day lmao. kuukou and sasara were bums and weren’t helping (kuukou: they say you have to work to earn your keep, but i’ve already eaten 😈) but eventually they get chided into helping lmao. kuukou rushed forward to complete his chore with gusto but he bumps into sasara and kuukou yells at him for getting in his way lmao and sasara yells back that he’s an idiot as samatoki tells them they’re being annoying fcks and ichiro tells kuukou that was dangerous and all six of them made for an interesting group according to ramuda 🤗🤗🤗

[canmking]

This Week I Talk About Willie The Kid 🥳

Do 👀 Where 🫵 Are Most Comfortable Below 😄

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[rickchung]

Kneecap (dir. Rich Peppiatt).

[The] controversial West Belfast hip-hop trio, [...] known for rapping republican lyrics in their native Irish language, star in their own titular biographical film about their rise to fame and infamy. Set in 2019, [...] Peppiatt directs the plainly titled Kneecap with an energetic, riotous verve to its provocative, explicitly anti-UK material of rebellion.

[trinalwilliams]

Unlived

Unseen

Unknown

Unbelievable

All alone

Stuck

Stuck in time

No time exists

When you’re living the gift...

Untrap

Unrap

Free yourself

Tlw

[instructionsonback]

[citrus-seed]

Artists:

Clutch

King Gizzard and the Lizard Wizard

Norman Sann

Everything Everything

The World is a Beautiful Place and I am No Longer Afraid to Die

Songs:

Queen Sophie for President - The World is a Beautiful Place and I am No Longer Afraid to Die

Doombop! - The Toxhards

Invading the World of the Guilty as a Spirit of Vengeance - The World is a Beautiful Place and I am No Longer Afraid to Die

Supercell - Aesop Rock

We Saw Birds Through the Hole in the Ceiling - The World is a Beautiful Place and I am No Longer Afraid to Die

I honestly expected to see more Aesop Rock, Streetlight Manifesto, and Coheed and Cambria- but this all tracks lmao

[anemoiawithatouchofobsession]

Something different from my usual content! But hey, I listen to new music too. Which means, I listen to rap. What a shocker! Lmao. Anyways, I've been interested in Megan Thee Stallion for a long time ever since Th0t shit and Body came out, and I was one of the people bumping "HISS" until it hit #1. Even after that too... but yeah. Anyways. To the point- Megan dropped a new album! Megan act 2. And i thought... I want to listen to it in full and just give my thoughts. I liked around half of the album last time - my favourites were Mamushi, Otaku Hot Girl, B.A.S., Moody Girl and Accent - but this time I'm hoping for more bops from Meg!

Track one starting off strong as heck! Not only is the beat nostalgic, but Meg just SLIDES. Like, it's the same flows and cadences that we know from Megan, but that's what fits on the song and I really love the beat. I also love how she shows her Houston roots and her people! This could have been a banger in the summer - eventhough Mamushi did that already - but I would have lived to bump this alongside Not Like Us. It's breezy, braggadocious, very very quotable, and super enjoyable. 8.5/10

OH BANKROLL ON THE BEAT This is the HISS of this album. Hiss episode 2! She is going to have Nicki in another spiral this time even with the direct imitation of her voice. I live how Megan disses tbh. I HAVE to look the lyrics up just to bask in the lyrics. Like, I JUST KNOW Megan put so much of her old Tina snow persona in it - 9/10

Another strong beat and this time it's for all the trash boys in her Megan's life! Yep. GIRLS DONT CHASE BOYS! Oh the last two songs were pure anger and energy, this is a bit more "fun" but still serious. In the Act 1 album she branched into more other chill genres and went into her comfort zone, but she brought in so so much energy in her beats this time. It's crazy. - 8/10

OHOOOO Goodies by Ciara! It was the number one song in the US when I was born... that's funny! I haven't looked into her because I am yet to familiarize myself with her songs... but on this song, she does sound really good and really grooved on the beat. Until now, we've been on a streak of really strong and loud beats with very energetic lyrics, let's see how the rest goes! - 7/10

I don't recognize the sample if there is one, but the singing voice caught me really off guard. Is it Megan's? Like... the autotune is really throwing me off, she could have easily gotten a vocal feature but somehow the vocal parts aren't really doing it for me - 4/10

Ooooh this brings me back to the 2018 trap era! The piano beats and all that. Megan has a more slower flow that I really like. The beat is super hot. Like... idk it makes me feel *things*. Yep girl. You're making gangsters and girls blush for sure! Aaaallll i would have needed is another verse - 7.5/10

This is the fabled TWICE remix of Mamushi - and I'm not FULLY on board. Mamushi grew on me after some time, and I'm sure this will too. I like the second part of Megan's new verse and the first part of TWICE's verse with Jihyo and Nayeon. Jeongyeon and Dahyun's verses fell pretty flat in delivery - I needed more energy to support the brag! Chaeyoung's part should have been moved directly after Nayeon and shoudl have been delivered with a bit more energy! Like... girls! Where's the "TWICE" shout? Tzuyu was almost not even there, but she held up. And, obviously Mina, Sana and Momo on the chorus did their best. Overall, I felt that Jihyo and Nayeon really shone. - 7/10

Okay WHATTT??? This is a wild af beat. Like... GODDAMNN MEGAN IS ANGRYYYY and the rock/metal beat with the guitars is... damn. Loud. I can only imagine how much the rock girlies will love this. This is a really damn good crossover and this MUST go hard in the concert. I don't know who Spiritbox is but seems like they're a rock artist? But this is a newer style for Megan too and I'm definitely intrigued. - 7.5/10

Ooh this is giving 2020 Megan! Like... her lyrics and the flows! This also falls pretty short tbh I would have loved more of the beat. But she is mad throughout the entire album and I love the vibes it gives the album! - 7/10

HEY HEY ITS THE 808s! Old school boom bap beat and some fun lyrics about a baddie falling in love. But I'm the grand look of the album, this is kinda fun and breezy but not really memorable. 6/10

[thesinglesjukebox]

DOECHII - "NISSAN ALTIMA"

Accelerating right to the top of our charts...

[8.44]

Ian Mathers: I hadn't forgotten "What It Is," but this one hits like Doechii wants me to. Two minutes (and it feels like it's that long because the job is done, not for some algorithm), high intensity, great delivery, and I think even a better chorus. Definitely the only earworm I've heard in a while prominently featuring the phrase "face fuck." [9]

Alfred Soto: With Rapsody and Noname releasing excellent work in the last two years, we're living in a fecund time for female-identifying singer-rappers. "Nissan Altima" proves she can do the slither-tongued swagger as well as anyone. "I'm the trap Grace Jones," she admits after a trip to Spain results in tsunami-ing someone's vagina. [9]

Mark Sinker: It’s like you can’t say "cunnilingus dalai lama” without me handing myself over to a Doechii YouTube deep-dive for hours on end, happy as a dim little lamb in some Cenobite Hellraiser dimension. Sometimes she’s even gentle and charming, like the director dropping out of character to explain the logic of a move. Not here though — and anyway those are never the best bits, though they are the most reassuring. The best is when her mind is flashing at frightening speed and the words and voicings and just grunts are breaking open into unexpected hidden corridors, running at angles behind the walls to energies you didn’t quite want to imagine, maybe.  [9]

Katherine St. Asaph: It took me several (exuberant) listens to figure out what this reminds me of: the sparkly instrumentals and kinetic charismatic presence of early Azealia Banks, except better because to my knowledge Doechii is not a rampaging drama-seeking TERF. [9]

Al Varela: You know, we've had such a rough streak of terrible fast raps from Eminem and Eminem wannabes lately that it's easy to forget how fun fast raps can be when it's done well. Doechii immediately jumps in with this roller-coaster flow in the first verse after the chorus that's so infectious that if the song was just that verse and two choruses I would have been satisfied. But the second verse is just as good! Doechii is such a firespitter and some of her pop concessions make me forget that sometimes. Glad to have a song where she truly proves herself and reminds us she can and will take over the rap game when the time is right. [9]

Jel Bugle: A short rap song, not too bad. I liked the brief acapella bits, and change of speed.  [6]

Will Adams: Initially the brief run-time felt unsatisfactory. But when you pack as many scorching lines (and line deliveries) as Doechii does in "Nissan Altima"'s 120 seconds, who cares? [7]

Taylor Alatorre: Even when listened to with intent, the refrain registers not as individual words but as a percussive barrage of obscenity, which is more or less how Doechii wants it. It can still be diagrammed if you're into that, but its purpose is to soften you up for the more stylish and surgically targeted body blows to follow. She's unsparing yet economical with her flows, always giving the impression that there's more to her than what she’s choosing to reveal at the moment. She uses the breaks in the instrumental to fool you into thinking a beat switch is coming -- it never does -- but when it starts up again the beat feels slightly fresher than it did a few seconds ago. "Give us nothing,” but unironically. [8]

Nortey Dowuona: All rise and put your sticks up for the motherfucking Princess and that short ass second verse. [10]

[Read, comment and vote on The Singles Jukebox]

[vinniedangerous]

As 2024 draws to a close, I want to highlight some of my favorite moments of the year. My album “Dream Til It’s Over” received a lot of coverage I’m thankful for but this is one of my favorites because it was a review written by Chris Buxton from my home state of NC. A big theme of this album is reflecting on my childhood & Fayetteville played a big part of shaping me as an artist & a person.

Read here:

[legion1227]

Paul Wall and Termanology: Start Finish Repeat. An Album Review.

The fact that Paul Wall is white is what astounds me the most.

I'm tangentially familiar with Paul Wall through his feature on the classic Kanye West song "Drive Slow." "Drive Slow" is one of the best songs Kanye Dropped on Late Registration, highlighted by laidback jazzy instrumentals, smooth flows from Ye and Wall, and sublime lyricism from both artists.

This entire project harkens to that song with similar chill instrumentals and lyrics.

Teaming up with fellow rapper Termanology, the duo dropped a collaborative album on October 13th, 2023, titled "Start Finish Repeat." They have since dropped a deluxe edition, but I opted for the shorter initial release of the album to see the original vision.

In short, the LP is a vibe. SFP is an enjoyable, enriching experience between two veterans in the hip-hop game trading verses back and forth, along with numerous features packed throughout the project. Accompanying Paul Wall and Termanology are talented and respected artists such as AZ, Solene, CL Smooth, Bun B, Big KRIT, Sheek Louch, and many others. Many of the songs are reminiscent of "Drive Slow," fitting the aesthetic. In my opinion, there wasn't a bad track on the album, though some songs tend to blend with others due to similarity. But, each verse from every artist is crafted carefully, flowing well, and delivered succinctly, which is especially impressive from artists such as Wall and Termanology. My personal favorite tracks would probably include: Palm Trees, Houston BBQ, Got It Made, Smoke Somethin', and Leather Recliner.

If you haven't checked it out, I would recommend a quick listen as soon as possible. There's bound to be a track or two to enjoy if you're looking for something lowkey to enjoy. 3.5/5.

[dudja]

When I was 10yrs old, a kid on my block had a cousin named Patty #comedy #memes #funny #dannydevito

[wonderfulworldofmichaelford]

Michael Before Midnight: "Houdini" by Eminem

Eminem is one of the most controversial rappers of all time, and this reputation isn’t entirely undeserved. I mean, the man has an entire song that’s just six straight minutes of him acting out violently murdering his ex. Uncontroversial artists do not make songs like that. But I think people do give him a lot of shit and really try to underplay his genuine talent too, mainly because of how a lot of his work just hasn’t aged great.

You have to understand the time and place Em rose out of. The 90s was all about being nasty and politically incorrect, and the rap scene reflected that. The rise of gangster rap had guys talking about how cool the thug life was, and there were all sorts of vulgar tunes being cranked out (“Pregnant Pussy” is from the 90s, if that tells you anything). As a white boy in a cutthroat industry where black men are the kings being taken under the wing of the man who produced “Fuck tha Police,” Marshall Mathers really wasn’t gonna do anything other than assimilate into the culture of the time to survive. And it worked; he’s pretty much the only white rapper besides maybe the Beastie Boys who has kept a long and generally well-liked career. He played by the rules, made sure to acknowledge his place, kept his ego in check outside his songs, collaborated with the right people, and boom! Rap has its token white boy.

But the edgy violent white boy schtick that made Slim Shady so funny and… “endearing” back in the day is not really something people like in 2024. Since the 90s, edgy white boys like the Slim character have shot up schools, sexually assaulted women and gotten away with it, openly supported fascism, and whined about queer people and black people being in Star Wars. No one fucking likes a Slim because they’ve been ruining our world for a while now, so this character who was once a beloved aspect of Em’s career just doesn’t sit right with the people of today. Add onto the fact that he’s a middle aged man, and he can’t just be doing the same crap all these years later without looking like the cringiest man alive, a rapping Elon Musk. With all that, and the fact his upcoming album is called The Death of Slim Shady, you’d think maybe he’d drop a single to showcase how he’s evolved over his career, how his sobriety and fatherhood have changed him, and how the Slim persona is well and truly in the past.

Instead he released “Houdini.”

For better or for worse, this is a return to that classic late 90s/early 2000s Slim style, with everything that implies. Get ready for lots of references, offensive jokes, and more, cuz I’m going line by line to talk about the content of Slim Shady’s final comeback. And while I am going to analyze some of the lamer and more questionable jokes, I want to make it clear that I understand the Slim character is satirical and whatever. I'm not fucking dumb, and I've been listening to Eminem for 24 years now. Being satire is not an excuse to be unfunny.

After an ominous skit where Em’s manager Paul Rosenberg tells him he’s own his own for this album, we have an intro to kick the song off:

Guess who’s back, back again? Shady’s back, tell a friend Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? (Da-da-da, da, da, da, da, da, da) (Da-da-da, da, da, da, da)

As should be obvious to anyone with a passing knowledge of Eminem, this is a reuse of the intro of his classic “Without Me.” This is a double-edged sword; on the one hand, it is a fun little callback to his earlier career and helps once more establish that he’s bringing it like he did back then. But on the other hand, you’re reminding the audience of one of your best songs right off off the bat, so if this one doesn’t live up to that, you’re in for a world of hurt.

Now’s also a good time to mention that the song heavily samples “Abracadabra” by the Steve Miller Band. From what I’ve gathered, a lot of people find that song unbelievably corny… but that’s why I love it. And I mean, the song’s called “Houdini,” so why not sample the massive smash hit song that’s named after the famous magic words? Again, for me at least, sampling a song I already love means you’re gonna have to really kick it into high gear to make me want to listen to yours over what you’re sampling. There’s about a million songs that sample “When the Levee Breaks,” but how many of those do you think I’m putting on over Led Zeppelin, y’know?

Well, look what the stork brung (What?) Little baby devil with the forked tongue And it's stickin' out, yeah, like a sore thumb (Bleh) With a forehead that it grew horns from (Look) Still a white jerk (It's him), pullin' up in a Chrysler to the cypher With the Vics, Percs and a Bud Light shirt Lyrical technician (Yeah), an electrician (Yeah) Y'all light work (Haha) And I don't gotta play pretend, it's you I make believe (What?) And you know I'm here to stay 'cause me (Why?) If I was to ever take a leave (What?) It would be aspirin' to break a feve' (Yeah)

So far it’s been pretty solid. It’s pretty clear Em’s still got it, great flow, delivery, subtle nods to his past work, boasts about his skills, talking about how he started from the bottom… It’s nothing really groundbreaking, but it’s at least continuing the idea that Slim is back, baby! I sure hope he doesn’t derail his momentum in the next couple of lines with a stupid, cringeworthy jab at a woman who literally never did anything to him!

If I was to ask for Megan Thee (What?) Stallion if she would collab with me Would I really have a shot at a feat? (Haha) I don't know, but I'm glad to be back like

So a little context here, for those not in the know: In 2022, rapper Megan Thee Stallion accused fellow rapper Tory Lanez of shooting at her feet and saying, “Dance, bitch, dance” like he’s a comic book mobster. The case was taken to court, where Lanez was found guilty and then sentenced to up to 22 years in jail. Now, the two have shouted out each other before—Em interpolataed the hook of Megan’s song “Body” in 2021’s “Killer (Remix),” while Megan referenced “The Real Slim Shady” on her feature on Lil Nas X’s “DOLLA SIN SLIME”--but I’m not really sure the two are close to the point where it’s cool for Em to jokingly reference the time some psychopath acted like a Batman villain to her. The fact Megan’s 2024 diss track “Hiss” referenced Mariah Carey’s “Obsessed,” which was about Eminem, does make me side-eye this bar.

But hey, one corny, cringey joke is whatever. Let’s see how the rest of the song goes:

Abra-abracadabra (And for my last trick) I'm 'bout to reach in my bag, bruh (Like) Abra-abracadabra (And for my last trick, poof) Just like that and I'm back, bro

So this is the chorus, and I have to say it’s incredibly lazy and boring. It’s just an Eminem-themed parody of the original chorus, and it’s not especially interesting. That being said, by token of being a chorus of a song I already like just with lyrical alterations, I don’t think it’s bad either. I just expect a little more cleverness from Eminem.

Now, back in the days of old me (When?) Right around the time I became a dope fiend (Oh) Ate some codeine as a way of coping (Mm) Taste of opiates, case of O.E. Turned me into smiley face emoji (Woo)

Here, now we’re back on track! Em is reflecting on his old self and talking about his drug-addled early career! Surely he’ll stay the course here and dig deep into his manic persona that was partly created by his addictions, and not veer off into alt-right talking points and child abuse jokes!

My shit may not be age-appropriate But I will hit an eight-year-old in the face with a participation trophy 'Cause I have zero doubts That this whole world's 'bout To turn into some girl scouts That censorship bureau's out to (Shut me down) So when I started this verse It did start off lighthearted at first (Hmm) But it feels like I'm targeted

Hoo boy, we’re whining about how “sensitive” the world is becoming and how censorship is coming to get you! Eminem is going full boomer now. But hey, maybe he has a point! You can’t sing songs where you violently murder the mother of your child and then abduct said child anymore, because of woke. You can’t rap about mass shootings right after they happen either, also because of woke. Whatever, grandpa. Let’s see if you have anything of actual substance.

Mind-bogglin' how my profit has skyrocketed Look what I pocketed Yeah, the shit is just like y'all had been light joggin', and I've been runnin' at full speed And that's why I'm ahead like my noggin', and I'm the fight y'all get in When you debate who the best, but opps, I'm white chalkin' when I step up to that mic, cock it then "Oh my God, it's him! Not again!"

Just some pre-chorus boasting topped off with a throwback to his song “As the World Turns.” It doesn’t completely erase the bad taste of his whiny boomerisms out of your mouth, but it’s at least something.

Sometimes, I wonder what the old me'd say (If what?) If he could see the way shit is today (Look at this shit, man) He'd probably say that everything is gay (Like happy) What's my name? What's my name? (Slim Shady)

Em’s had a long, troubled reputation with queerness. He came under a lot of fire for homophobia back in the day, but then his friendship with Elton John happened. There’s also his brief appearance in the Seth Rogen movie The Interview, where he plays himself as a closeted gay man. Even still, he’s often used queerness as jokes in his songs, mainly as an attempt to emasculate his opponents (something he even did to an actual queer rapper, Tyler the Creator). As a bisexual man myself, I do find it tasteless in general, but in the context of this song I thing it’s ok. Like yeah, the homophobic crackhead Slim Shady persona would call the world we live in gay. The line still feels a little weird, though; is the Slim persona actually singing this song, or is this Em reflecting on the Slim persona? It kind of muddies the water, and makes it hard to figure just how seriously we’re supposed to be taking everything here.

So how many little kids still wanna act like me? (Haha) I'm a bigger prick than cacti be (Yeah) And that's why these (What?) Words sting just like you were being attacked by bees (Bzz) In the coupe, leaning back my seat (What?) Bumpin' R. Kelly's favorite group (Uh), the black guy (Guy) pees (Pees, haha) In my Air Max 90s White Ts, walkin' parental advisory

Verse three starts off pretty good! The R. Kelly joke is extremely juvenile and crass, but that’s the sort of thing I enjoy from Slim. It may be low-hanging fruit, but that’s the fruit you wanna grab the most. Now what wacky sort of humor is Slim going to bring to this verse next? Surely he won’t make some incredibly stupid and corny joke that isn’t funny in the slightest and derails the whole song!

My transgender cat's Siamese (Why?) Identifies as black, but acts Chinese (Haha)

According to Genius, this line might actually be a reference to a Dave Chapelle bit from 2019’s Sticks & Stones. If that’s the case, I really don’t need to say much more. There’s no way to read this line in anything other than the worst possible light.

Like a motherfuckin' Hacky Sack, I treat (What?) The whole world 'cause I got it at my feet (Yeah) How can I explain to you (What?) That even myself I'm a danger to? (Yeah) I hop on tracks like a kangaroo And say a few things or two to anger you

So he does openly admit he says fucked up stuff to get a rise out of people. Going in to the song, I knew this. The guy’s a provocateur, it’s what he does, and the Slim persona has always been about being as flagrantly offensive as possible. But the thing is, even the stuff here I’m taking issue with doesn’t make me mad; I’m more disappointed than anything, really. Like he has to know that times have changed and people really aren’t all in on this sort of humor anymore, right? What is the point of bringing Slim back to a world that has evolved beyond him, even if to finally kill him off? If that’s what he wanted to do he could do it without trying to showcase the dated humor. This is the musical equivalent of watching an 80s sex comedy like Porky’s or Revenge of the Nerds. Like maybe it was funny way back when, but looking back at it through a modern lens it’s just really gross and unpleasant and full of terrible messages.

But fuck that, if I think that shit, I'ma say that shit Cancel me, what? Okay, that's it Go ahead, Paul, quit, snake-ass prick You male cross dresser (Haha), fake-ass bitch And I'll probably get shit for that (Watch) But you can all suck my dick, in fact Fuck them, fuck Dre, fuck Jimmy, fuck me, fuck you Fuck my own kids, they're brats (Fuck 'em) They can screw off (Yeah), them and you all (Uh) You too, Paul (Punk), got two balls Big as RuPaul's (Woah) What you thought you saw ain't what you saw (Nah) 'Cause you're never gon' see me Caught sleepin' and see the kidnappin' never did happen Like Sherri Papini, Harry Houdini I vanish into the thin air as I'm leavin' like

The rest of the final verse, save for another tired shot at cancel culture, is fine. I might even say it’s a bit funny; I like him taking at shot at Dre, himself, everyone he’s worked with, his own kids… That part is where it is really obvious the whole thing is tongue-in-cheek, because he is by all accounts a good and loving dad. Making fun of RuPaul and Papini are fine in my book too.

So I’ve been pretty critical of this song and rather unamused by a lot of its jokes. This must mean I hate it, right? Well… no. I can’t say I love it, but I really don’t think this is awful. Trust me, I’ve heard awful Eminem and this isn’t it. “Just Lose It” and “We Made You” are light years ahead of this song in terms of awfulness. On top of that, this is also the first single off of an album that’s all about killing Slim—I don’t really have the full context. For all I know, this could be part of an overarching concept of the album, Slim’s last ride before his inevitable death, and in that regard this is definitely a perfect modern take on the classic Slim Shady song, warts and all. We just live in a world where his kind of humor doesn’t age badly, it just ends up dead on arrival more often than not.

If nothing else, it still showcases Eminem has great flow, great wit, clever writing… and that’s what he should stick to instead of making tired, unfunny boomer jokes about cancel culture and queer people just to rile people up. Hopefully that’s what the rest of the album will be like when it drops. I doubt I’m going to review every single song on it since I’m no Todd in the Shadows and my musical knowledge is very casual, but maybe I’ll give my opinions. Until that time, though, I think I’ll just listen to “Venom” again.

[hiphopncountrychick]

J. Cole: A Hip-Hop Icon Who Raps Without Guns, Gangs or Negativity

In the world of hip-hop, where the spotlight often shines on extravagant tales of violence, gangs, and materialism, one artist has consistently stood out for his commitment to authenticity and positivity. J. Cole, born Jermaine Lamarr Cole, is an iconic figure in the rap industry who has managed to make a profound impact without resorting to the glorification of guns, gangs, or negativity in his music. With thought-provoking lyrics and a dedication to being true to himself, J. Cole has carved out a unique path in the rap world.

On this special day, January 28th, we celebrate the birth of one of hip-hop's most influential figures - J Cole. Known for his insightful lyrics, powerful storytelling, and raw authenticity, J Cole has carved a niche for himself in the music industry. Let's dive into the remarkable journey of the artist who started rapping at the age of 12 and has since become a triple platinum-selling artist with his groundbreaking album, "2014 Forest Hill Drive."

Early Years and Passion for Hip-Hop:

Born Jermaine Lamarr Cole on January 28, 1985, in Frankfurt, Germany, J Cole developed a passion for hip-hop at a young age. Growing up in Fayetteville, North Carolina, he began rapping at the tender age of 12, showcasing his innate talent and determination to make a mark in the world of music.

The Struggles and Triumphs:

J Cole's journey to success was not without its challenges. After graduating magna cum laude from St. John's University, he faced the harsh realities of the music industry. Working odd jobs to support himself, Cole's perseverance eventually caught the attention of Roc Nation, where he would later cross paths with hip-hop mogul Jay-Z.

Meeting Jay-Z and Signing to Roc Nation:

In 2007, J. Cole was on a rap website and he read an article on how Jay Z was making his tenth studio album, American Gangster. J. Cole had high hopes of meeting Jay-Z and being signed under him.

After reading the article, J. Cole conceived of a plan on how he could make beats for Jay-Z’s American Gangster. He saw this as an opportunity, a calling from divine intervention to pursue this path to get himself in the limelight of music. He said it was as if “God is telling me to get on this album. So I was praying for it.” This was going to be how he was going to get on as a rapper.

With his plan in mind, Cole went to work and carefully selected all his best beats for Jay-Z. Cole and his friend got all the beats on a CD and waited outside the Roc the Mic studio in the rain waiting for Jay-Z to arrive. They had a hunch that Jay-Z would be there to finish working on the American Gangster album.

Two hours passed before Jay-Z showed up in a black Rolls Royce Phantom. The opportunity came, standing in front of J. Cole was the person who he had visualized, dreamt of meeting, and moved to New York for. This was the person who could hand him his ticket from his overdue rent and into stardom. As he walked up to Jay-Z, words refused to form but J. Cole mustered up the courage to approach Jay-Z and hand him the CD.

Jay-Z saw Cole and said “Man, I don’t want that.” Cole in an interview with ABC said that “I thought he was evil at that point — cause it caught me off guard, I had such high hopes, that just one little phrase like that from him.”

A year later, it was Jay-Z asking to meet J. Cole. The same person he previously dismissed. Veteran A&R Mark Pitts played for Jay-Z one song which lead to a three-hour meeting which lead to multiple meetings until eventually, J. Cole was officially the first artist signed to Roc Nation.

Things will materialize sooner or later as long as you stay persistent.

"2014 Forest Hill Drive": A Masterpiece Unveiled:

In 2014, J Cole released his magnum opus, "2014 Forest Hill Drive." This album, named after the address of his childhood home, is a deeply introspective work that earned critical acclaim and achieved triple platinum status. The tracks not only showcase Cole's lyrical prowess but also offer a raw and unfiltered glimpse into his life, covering themes of love, fame, and societal challenges.

A journey of trials and tribulations combined with lessons learned is what Jermaine Cole experiences. A vivid picture of each phase of his journey gets depicted beautifully to me.

In life, I believe that we all get distracted from different environments and prioritize materialistic things such as social media and use it as our main source of love, mistakenly.

In this album, Cole vividly portrays that this should not be the case and instead, we should prioritize non materialistic things such as friends, family, and home to bring happiness.

"Love Yourz" and "No Role Modelz" are emblematic of the album's brilliance, marrying profound messages with infectious beats. "2014 Forest Hill Drive" not only propelled J Cole into the mainstream but also solidified his position as a storyteller capable of weaving intricate narratives through his music.

Conclusion:

As we celebrate J Cole's birthday, it's not merely an acknowledgment of the passing years but a celebration of an artist who transformed dreams into reality. From the streets of Fayetteville to international acclaim, J Cole's journey is a testament to talent, resilience, and authenticity. So, to those unacquainted with his work, take a deep dive into the world of J Cole – an artist who not only raps but leaves an indelible mark on the soul of a generation.

As we conclude this deep dive into the life and artistry of J Cole, I invite you to join the conversation. What resonated with you the most about J Cole's journey? Share your thoughts, drop a like, and let me know your favorite J Cole song. Engage with me in the comments, unraveling the lyrical tapestry that defines his impact on the hip-hop landscape.

I want to hear from you—what aspect of J Cole's life or discography would you like us to explore next? Your feedback fuels my passion for storytelling. Don't forget to share this article with fellow music enthusiasts. Let's create a community that celebrates the artistry of J Cole and anticipates what's next. Thank you for being part of this journey. Stay tuned for more tales from the world of music!

Honorable mentions:

@todayinhiphophistory

@hiphop

@music

@jcoleofficial