#the song might have something to do with 2Pac....

[ptvstvrrr]

Safe to say I have something I'm cooking up with a 90s hip hop song and a certain dog owner

[amber-lucca44]

Couldn't sleep and was bored, and kinda hate Drake so um

Drake's biggest fuckups I've caught on this beef

He loves trying to diss Kendrick for his height. Yk like a toddler would.

He tries to say Kendrick's Mr. Morale & The Big Steppers was a bad album. If we're talking critical reviews, it had a Metacritic rating of 85/100, compared to Drake's highest ever rating of 79/100 for Nothing Was The Same. In fact, Kendrick's lowest Metacritic score so far has been 80/100 for Section.80, again over Drake's highest.

...and if we're talking sales or streams, well first, no one ever challenged Drake's sales compared to Kendrick. I think we all know Drake is pretty much unmatched when it comes to that. Second, if sales were a factor to determine quality of music, then holy shit "Despacito" must be an all time magnum opus like nothing anyone ever heard before lol.

Trying to call Kendrick a sellout for doing songs with Maroon 5 and Taylor Swift? Drake calling someone else a sellout? 🤡🤡🤡

The line where he said Kendrick isn't on the big three because SZA, Travis Scott and 21 Savage "got him wiped down". Okay, first, I'm pretty sure this guy thinks big three means just "the three best selling" and uhhh no not quite. And second, and most obvious, SZA? SZA isn't even a rapper, why are you trying to bring her into this? 🙄

The AI to imitate 2Pac's and Snoop's voices. A few points here. First of all, the fucking disrespect to 2Pac, what the fuck. Glad Pac's family threatened him to remove it. Second, Snoop Dogg is alive. You just used his AI voice cause you know damn well he wouldn't be caught dead doing a verse on a Kendrick diss for you. And as a third point, it's just funny you felt like you had to use AI to make a diss track. Ghostwriters weren't enough for this one ig lol.

"Taylor Made Freestyle" was all just him begging on his hands and knees for Kendrick to reply something and give him some attention. Drake took almost a month replying to Kendrick's verse on "Like That". And he's begging for a response to "Push Ups" like a week after it was leaked (and the same day it was even officially released in the first place)

He tried to say the things Kendrick would diss him with. He was mostly right but oh boy did Kendrick do so much more.

Is he a Swiftie too? Cause he wouldn't let her go for "Taylor Made". In his mind, he swears Kendrick wasn't dropping a diss cause he didn't want to interrupt Taylor Swift's album's success, which is just a funny and dumb conclusion to make.

Spends the end of that track just talking, trying to praise Taylor for "managing Kendrick's schedule". 🤡

Drake beginning "Family Matters" with an n word and then going "yeah I said it I know that you mad" really came off sounding like when 12 year olds play online and say the word to seem tough. 😂

"Always rapping like you trying to get the slaves freed". Dang so making songs that actually have substance and meaning means you wanna free slaves, okay.

About these next lines...

Kendrick said he hated the girls you fuck referring to your dumbass being a pedo and hated you trying to hook up with underage girls. Not at any point did he say anything about their color tf.

"I've been with black and white and everything that's in between" okay so all underage girls okay got it. Again that was never the point. 😐

"You the black messiah wifin' up a mixed queen" Drake seriously missed the whole entire fucking point. Kendrick never said he didn't like you for hooking up with white women, what the fuck. And again the messiah thing is just funny.

He mentioned Whitney on "Push Ups", and some gave him the benefit of the doubt thinking he might have just done some wordplay about Whitney Houston being called the same as Kendrick's wife, wasn't clear enough. But these lyrics here are what made it abundantly clear he did want to try to mess with his family. I'm sorry but at this point that's not a rap beef, you intentionally tried to make it personal. Maybe you knew you never had a chance so you thought going there would make it possible to win? As if you didn't have a horrible fucking record already.

"Why you never hold your son and tell him 'say cheese'?" Maybe he doesn't want to expose him too much to the public while he raises him, decent human beings would understand that.

"We could've left the kids out of this, don't blame me" Kendrick said you don't know shit about raising a child based on information that was already abundantly public (see "The Story Of Addidon") and also based on the fact that you, despite having that child, love playing tough on IG and dropping disses using AI begging Kendrick to reply. Trying to get Kendrick's children involved is totally on you, buddy. Kendrick wasn't the one dealing with being exposed with having a child no one knew about and you wouldn't acknowledge.

He loves baselessly claiming that one of Kendrick's children isn't his. Again, baselessly, so literally just gossip lol.

And speaking of baseless stuff, he's really keeps running on his claim that Kendrick has beaten his wife. THERE IS NO EVIDENCE OF THIS. Like at all. In his mind, he probably thinks that since his easily provable bullshit was exposed, he'll try to invent some bs on Kendrick too to make it seem like they're both horrible people. The only piece of shit we know of in this beef is you, Drake.

Not at Kendrick but in a diss aimed at The Weeknd, Drake had to pull out his homophobic card. Disgusting. Fuck, it's so easy to dislike this guy. 🙄

Saying that Kendrick's music only "hitting hard" when Baby Keem writes on it. Is it cause he has writing credits on "N95"? He does ad libs on the song so I'm pretty sure that's why he's listed. Are the ad libs that fire? Lol

"Kendrick just opened his mouth, somebody go hand him a Grammy right now" awww he jealous bout Kendrick's Grammy's lol 🥺

He brought up Kendrick's transgender uncle, and was transphobic to try to diss Kendrick. Just plain ignorant and disgusting as hell. But of course he did. 😑🙄

Tried to blame Kendrick for 2Pac's family threatening legal action for his "Taylor Made Freestyle". Bro what you did was plain disrespectful and it was just bound to happen.

Did he really try to brag about the video leaked of him masturbating? 🤡🤡🤡

And this nonsense right here, was it cause he visited Ghana or something? He's trying to pin Kendrick as a racist? Huh?

...and follows this up with an ignorant, racist, weird ass comment dissing Michael Jackson too for no reason whatsoever. 🤡

Talking to the mirror here lol

Naming his diss track "The Heart part 6" was almost clever. Except for the fact that yk the song is fucking trash.

The first line on this song calls Kendrick "the Pulitzer Prize winner". Yeah pointing out an accolade as amazing as that one at the beginning of a diss towards him will definitely do it. 😀

Having a comment by Dave Free as the cover for the single. Is this his evidence for a kid being his? 😂

Saying you "plotted to give Kendrick information" doesn't even help you much when it's all easily believable based on your background lol.

Denying the child Kendrick is exposing him to have, again, doesn't help your case at all after Adonis.

Goes back to saying Kendrick beat his wife and one of his children is not his, again with no evidence or hint whatsoever, only to go and say he's all about "facts". 🤡

Okay so, be careful everyone, don't leave heart emojis to any child or baby post ever, cause Drake is going to think you're the father.

Why is he even bringing up Kendrick's confessions on "Mother I Sober"? How is bringing up a traumatic potential sexual abuse incident a good way to dodge your own sexual abuse allegations? And that's not even exactly what Kendrick said on the fucking song! It's just disgusting.

And then tries to ridicule Kendrick for being a victim of this. What the fuck is wrong with this mf.

Okay and this one is just cringe. He tried to spin Kendrick's jab on "Not Like Us". B sharp isn't even a thing btw. 😂😂🤡

"I'd never look twice at no teenager" there is literally video of you kissing a teenager on stage, for starters. So you just look at them once before you creep on them how does that work

"Only fucking with Whitney" ah yes the old "I'll fuck your bitch" trope very clever and original Drake

Drake believing some bullshit he saw around about Kendrick using bots to boost his view count is just hilarious. He really thinks Kenny sat down and took some time to actually do that. 😂😂

He thinks people will cancel Kendrick over his baseless battery accusations. 🤡

He ends it with another minute rant like the one he did on "Taylor Made", and starts by saying the beef was "some good exercise". Ngl it is the first time I hear Drake rap at all in a while. So yeah gotta thank Kendrick for getting Drake to actually TRY to do some good music at all. (It's not even good but yk better than whatever trash he was doing before the beef)

"Just let me know when we getting to the facts, everything in my shit is facts" *doubles down on baseless claims of battery and one of Kendrick's children not being his*

[beautifulpersonpeach]

Hi.

I just wanted to thank you as I have spend the last couple of evenings going through your posts. I love how level headed you are and you offer a lot of insights for me as a baby (toddler? preschooler?) ARMY.

I really love Jimin, I consider him to be one of the most beautiful humans on earth, and that is inside and out. With a voice of an angel to match.

Watching Jikook interact is my happy place (as is the whole BTS), when I watch them I get a sense that this world is not entirely shit, if something so beautiful and tender as their bond (love) can exist.

I was very happy to read about how much you love the rapline b/c I share this with you.(Hobi is the best live performer this side of Milky Way, I am in awe of Namjoon, and I am in love with Yoongi) Just an fyi, BTS rapline has a very interesting ability to atract people like me who did not like hip hop. I am a metal fan (symphonic metal like Nighwish, melodic and poetic lyrics), and my whole life I was trying to understand how can someone voluntarily listen to rap music. I didn´t get the appeal, the usual lyrics of US rappers disgust me and as whole, I avoided the genre.

Do you know what changed my mind? Ugh, Tear and Daechwitta. These three songs are surely my most streamed songs on spotify.

whew, after this essay here is my ask:

Can you please talk about Yoongi. like anything at all you want? maybe you have some archived posts from your previous blog? Or what do you expect him to do for D3? Or talk about his relationships with the members? I love how much he loves Jimin and Hobi and I truly believe that he would be the first one to take a bullet for any of the members.

So pretty please ? give me something to read and feed my obsession :-)

Thanks and have a great weekend, I will be looking forward to your future posts, whether you decide to answer mine or not LOL Cheers.

**

Hi Anon, 💜

A quick comment on rap music and hip hop - this is easily the most diverse music genre in the world. Rap literally stands for Rhythm and Poetry, and this is music that has fueled political/class revolutions, rejuvenated Obama's 1st term campaign, and helped heal generational trauma. Much of it goes beyond bad bitches, pumping a rival full of lead, or big gold chains. RM, Yoongi, and Hobi are all legit hip hop heads who listen to and gain inspiration from the music you might find objectionable, to create the somewhat sanitized tracks you love in Ugh, Tear, and Daechwita. But please understand BTS are pulling from a long, old, tradition of Black rap music and there are many examples of Black artists employing that genre in the exact way BTS have: including J. Cole, Kendrick Lamar, 2Pac, Lupe Fiasco, Lecrae, Noname, and Logic. I understand how some of hiphop is crude, misogynistic, and needlessly violent, and this probably shapes how you view the genre as a whole, but as a Black and Asian woman who listens to a lot of hiphop I'm sharing this perspective to show it's not all black and white, and that there's too much good in the genre to write it off as a whole. At its core, rap is about authenticity, freedom of expression, and flow. BTS has been one way for you to tolerate the genre, but you might be surprised to learn rap has a lot more in common with metal rock music than you might think. Just food for thought..

*

I loved reading your essay, but the truth is I hate writing about Yoongi, Namjoon, or Hoseok. Probably because I'm not a natural writer, I sometimes struggle to express myself in English, and I'm a little in love with (and almost perpetually tongue-tied by) my biases in the rapline. No matter how hard I try I can't seem to come off as anything but a bumbling simp with no self respect who will gladly throw her panties in their faces if given the chance.

Ahem.

But you're not here to read my excuses, so I'll try to briefly talk about one thing I love about Yoongi: his voice.

Yoongi has the deepest voice in BTS, after which is Namjoon, then Taehyung. Yoongi is also very versatile in how he uses his voice. Out of all the members, I think he speaks the most softly in his everyday speech, after Jimin, but he also cusses the most in his natural speech. In their earlier years you could hear his dialect almost every time he spoke (less so now), whenever his temper rose you'd hear it in how his voice went sort of sideways. I don't know how to explain it, but he wouldn't raise his voice, he wouldn't lower it, but it would sound a bit more... harsh and maniacal?

And because this is Yoongi we're talking about, he knows exactly what his strengths are and utilizes them to the fullest. He knows people go gaga over his voice, and so since 2013, he has highlighted his voice in his radio shows including DJ Suga Honey FM.

The 'honey' there is not by accident.

One of my favourite pass-times in 2020, was listening to the radio Vlive Yoongi did with Jimin on May 30th.

(Cuties)

I'd play it when I was cleaning my home, buying groceries, or doing laundry. Yoongi and Jimin's voice in that Vlive is so calming to listen to, it feels like this:

(like settling into a warm velvet bean bag on cold winter day)

I'm a bit of an audiophile so these are the sorts of things that get to me. In that radio episode, these grown men make cringe sound effects, Jimin puts Yoongi on the spot so many times you hear it in how Yoongi chuckles nervously, they can't take each other seriously enough to not burst into laughter every 5 minutes. They just sound at ease, at home in their friendship, it doesn't feel like millionaires making a company-sponsored production for fans, it sounds like two guys goofing off and being so sweet and clever at the same time.

*

Jimin is my favourite vocalist in BTS, and Yoongi's vocal inflections when rapping and singing is my favourite in BTS. He has a keen music sense that comes through in his harmonizing and layering. An example:

My Universe (timestamp - 2:02 - 2:20)

(Yoongi's harmonizing verse is the most replayed segment in almost all the versions of this song)

*

That thing I said about his voice going sideways when he's pissed off, you hear it in his music. I'm struggling here but bear with me as I try to explain what I mean.

Yoongi sometimes sounds like a child when he's pissed off. Where RM leads fully with a deep voice when he's cutting into a bastard, Yoongi goes full joker on you. The tone in his voice sounds juvenile, like a child taunting you in the most annoying way possible, sticking their tongue out and waving their toosh in your face knowing there's nothing you can do to them. It's the kind of taunting that gets under your skin so quick and nobody in BTS has perfected it better than Yoongi.

An example:

What Do You Think (timestamp - 2:09 - 2:58)

*

I love how Yoongi has rounded out his manner of speaking as he's matured. He still cusses at the drop of a hat but he's become more delicate with his speech, at least to fans on camera, and I've noticed this towards Namjoon, Hobi, and Jungkook too sometimes in recent years. He seems to be most loose in his speaking with Jimin, Jin, and Hoseok (again).

Last year, people (rightfully) lost it over his voice in this Vlive:

...but the way he spoke also was straight-forward and very kind.

*

Yoongi has been fielding marriage proposals since January 21, 2013 when he was first introduced to ARMY as a member of BTS, and there's very good reason for it. In my opinion. I think Yoongi, Namjoon, and Hoseok are men and artists worth thirsting over in every fucking way.

Nobody asked, but I think this is important info for determining compatibility for anybody curious: I'd rate their sex drive thus: Namjoon > Hoseok = Yoongi. Backed by empirical evidence.

I'm excited for Indigo, and have almost lost my mind with glee at how it's very likely we're getting D-3 right after it. Yoongi could do something more acoustic as he's been saying for some time now. He's gotten more comfortable singing as the main vocal on his tracks, and we know it's likely his next album will have Adora on it too complementing him. I want him to have a track that's Spoken Word, something like this:

*

This is the most I can bear to say about Yoongi now Anon.

[cyarsk5230]

Why Drake’s Beef With Kendrick Lamar Is An Excuse For Hip-Hop To Show the Disdain It Already Had For Drake

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There’s no question that Drake is the clear loser in his beef with Kendrick Lamar, and as a result people in the hip-hop community has used this opportunity to dump on the Canadian megastar. 

Although this would be par for the course in any rap battle, the particular kind of hate Drake is receiving isn’t normal. Why? It’s something that has been building up over years of resentment and annoyance. 

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So what has the Toronto rapper done over the years that has caused people feel that he’s just receiving his karma for past behavior?

Let’s start with the obviously: He pissed off the entire West Coast through his mockery of California legends, dangling 2Pac’s ring in Lamar’s face and claiming Lamar doesn’t give back to his community. But the animosity Drizzy is getting is much deeper than even that. 

Black face photoshoot

Hip-Hop fans still aren’t over the shocking photo Pusha T revealed in his 2018 beef with the Toronto popstar. 

Although Drake attempted to explain the blackface photo away at the time, it didn’t work, as the hip-hop community continued to question why he would do it in the first place, even if it was years before he was a rap star.

Dissing prominent women in his music

For a while, hip-hop fans have noticed Drake has gone out of his way to diss famous women for no particularly reason. 

For example, on the 2022 song, “Circo Loco,” he seemingly took shots at Megan Thee Stallion as Tory Lanez was on trial for shooting her

On the song he raps, “This b***h lie about getting shots, but she still a stallion/She don’t even get the joke but she still smiling.”

Also in 2022, he disssed Serena Williams’ husband on the song, “Middle of the Ocean,” saying, “Sidebar, Serena, your husband a groupie/He claim we don’t got a problem but no, boo, it’s like you comin’ for sushi/ We might pop up on ’em at will like Suzuki.”

The next year in 2023, he took aim at musician and singer Esperanza Spalding (of all people), saying on “Away From Home,” “Four GRAMMY’s to my name, a hundred nominations/Esperanza Spalding was gettin’ all the praises/I’m tryna keep it humble, I’m tryna keep it gracious/Who give a fuck Michelle Obama put you on her playlist?”

Obviously everyone’s reason for hating on Drake is different, but these all mount up to the reasons people are using this moment to clown, especially coming off his loss to Kendrick Lamar in the rap beef of the century. 

and he also did this too. Frucking disgusting racist colonizer

[joecial-distancing]

Assorted 1k1 albums update

Too many since last time I was writing these to be worth listing every single one, plus I took a short hiatus during Spring, but I’m noticing my retention has been a lot worse since I stopped blurbing.

Broadly, I’m noticing it was very clearly a british person curating this list, the most forgettable entries on here tend to be 80s-era brit/synth pop.

Santana Abraxas (1970): Santana Extremely Good!

Sufjan Stevens Illinois (2005): I think I like the idea of his states project more than I really care for the music itself

Serge Gainsbourg Histoire De Melody Nelson (1971): Miserable headphones listen, his voice is so loud in the mix I can’t enjoy the music. Admittedly I might feel different if I understood French and could tell what he was saying lol

Queens of the Stone Age Queens of the Stone Age (1998): Most dad rock is cute/enjoyable every once in a while, this was boring as hell though

Megadeth Rust in Peace (1990): I have a soft spot for certain types/eras of metal, this is not one of my preferred ones though

Def Leppard Pyromania (1983): Now *this* is perfectly good dad rock!

David Bowie Station To Station (1976): Bowie’s one of the figures I’m most interested in getting my head around through this project. So far, this is my favorite thing from him I’ve heard, the title track is excellent!

REM Automatic for the People (1992): Another thing I’m trying to keep tabs on as I go through this is stringing together influence points toward things I knew before going in. For some reason as I listen to REM, I keep thinking of They Might Be Giants, which is weird because the music isn’t exactly similar. Something in the attitude? I dunno.

The Who Who’s Next (1971): There’s a couple albums like this on here where my brain lights up when it hears the recognizable stuff, and then doesn’t retain the rest of the music. Baba O’Riley is indeed really good, but I’m struggling to take an honest accounting of “ok is it genuinely so much better than the rest of the album or are you just really familiar with this”

like “do you think these songs are good or bad based on radio exposure, or did the ones you liked get radio exposure because they were the good shit?” I don’t trust the second one as an explanation even if it feels true.

Pink Floyd The Dark Side Of The Moon (1973): Really good bathtub listening. Definitely dragged/went slow more than I like. I’ve heard this one describes as like an album constructed for audiophiles/people who care a lot about precise mixing, which feels true.

Kanye West The College Dropout (2004): I liked this a lot! Kanye really has a gravity about him, where I feel like I interpret a lot of the generator’s other rap/hip-hop selections in context of what they mean in context of things before/after KW

Earth Wind & Fire That’s The Way Of The World (1975)

Burning Spear Marcus Garvey (1975): One thing I’m learning through this project is I should probably be putting more reggae into my rotation. It tends to be slower than I usually go for, but otherwise checks a lot of my boxes

2pac Me Against The World (1995): 2pac’s another Huge name who’s a blind spot for me. I really need to revisit this one; I mentioned in the public enemy blurb that I basically can’t retain lyrics unless I’m literally reading them along to the music, and I wasn’t able to do that when I was playing this.

Sonic Youth Dirty (1992)

Notorious BIG Ready To Die (1994): Didn’t like this as much as 2pac & public enemy, in terms of 90s rap

Tori Amos Little Earthquakes (1992): This one really grew on me! Very pleasant first listen, and then I found myself coming back to it a lot afterward.

Alanis Morissette Jagged Little Pill (1995): Haha god damn I like Alanis. So many choices she makes on here that should be obnoxious on paper, but just end up being extremely charming *“HOWWwOWWowwW apprOAHpriaTe”* absolutely delightful

Alice Cooper Billion Dollar Babies (1973): I have some experience with Alice Cooper here & there. This album was fine, but my favorite thing from him was his Muppet Show appearance

The Chemical Brothers Dig Your Own Hole (1997)

Belle & Sebastian If You’re Feeling Sinister (1996) I think people I know like B&S? I don’t think I did.

Randy Newman Good Old Boys (1974): I don’t think he’s country, but he’s something adjacent. I liked this, found it pleasant

The Rolling Stones Let it Bleed (1969): Hell yeah I love The Departed

Fleetwood Mac Rumours (1977): What the fuck every single song on this is super well-known. Major touchpoint filled in that I had no idea I was even missing

Os Mutantes Os Mutantes (1968): Wish I liked this more, the thing they’re up to seems interesting

Deep Purple Deep Purple In Rock (1970): Oh my god I loved this. I knew by reputation that Deep Purple’s one of the bands that built the bridge from hard rock to heavy metal, and something about that boundary creates stuff I like way more than straight metal.

Yes The Yes Album (1971): Yes’s good songs are some of my favorite stuff out there, but the individual albums have a lot of songs that just don’t work for me.

Steely Dan Countdown To Ecstasy (1973): I find Steely Dan to be technically boring, but perfectly serviceable cooking & doing the dishes music

REM Document (1987): Moreso than Automatic For The People, this really cemented for me that I love REM. Lotta earworms

Nirvana Nevermind (1991): The first songs on this are tremendous, some of the strongest things to open an album. Didn’t really retain the rest (see: the who, earlier)

Lana Del Rey Chemtrails Over the Country Club (2021)

Black Sabbath Vol 4 (1971): Similar to Deep Purple, lots of fun! The arrangements are fast, energetic, interesting. Noticing I’m tending to like a lot of 70s metal, then something happens 80s-00s that loses me really hard.

ABBA The Visitors (1981): Influence Alert: Marina and the Diamonds totally bites a whole bunch of influence from ABBA, it’s so obvious after sitting with an ABBA album all the way through (having previously basically only known them from the mama mia soundtrack *killed by brick through the window*). I liked a few songs off this one, looking forward to hearing more from the generator

The Flaming Lips The Soft Bulletin (1999): Lol I had people in the 00s recommend flaming lips to me. This was so boring!

Bob Marley & The Wailers Exodus (1977): See previous re: reggae. often a lot for me when it’s an entire album, but I like it in general!

David Bowie Heroes (1977): With a couple Bowies under my belt by this point, he’s kind of a mixed bag for me; there’s usually a couple songs per album I’ll like a lot, and the rest leaves me really cold. That said, I still haven’t heard anything from ziggy stardust era, so there might be missing context or something still.

Paul Simon Paul Simon (1972): Bleh

Björk Medúlla (2004): Felt really bad that I did not like this. might revisit, could just be it wasn’t good music for taking a bath.

Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle (1978): Same complaint as Björk, this seemed like something I should like a lot, and instead it annoyed me.

Hole Celebrity Skin (1998): Damn I went in kind of expecting not to like it, and it turned out to be really good! *Trampled to death by approx. 1,000,000 foaming Gen X men*

Eminem The Marshall Mathers LP (2000): Way more misses than hits, but still a fun time capsule of what the fuck everyone I knew in middle school was blithering about at the time

David Bowie Blackstar (2016): I feel like I need to read some production history to get the hang of this one

George Michael Faith (1987): haha oh my god he’s so fucking sleazy on this, I love it

Beatles White Album (1968): Overall pretty good! Hard to set aside the charles manson mystique around it

The White Stripes Elephant (2003): Big nostalgia album! Seven Nation Army owns bones, the rest of this is pretty good still

Scott Walker Scott 2 (1968): He has such a good voice! I don’t even like genre he’s doing and I was swept away!

Rush Moving Pictures (1981): I’ve given Rush an honest try before, they just never clicked for me. Decent, but...something’s missing

Steely Dan Aja (1977):

Bob Dylan Blonde On Blonde (1966): Bob Dylan might be another case of I Gotta Sit Down With The Lyrics, bc on first listen I just found him kind of grating.

Duran Duran Rio (1982): Lmao I love this album. Title song’s whatever, but Hungry Like the Wolf makes me smile so fucking much

Fred Neil Fred Neil (1966): Rare example of pure country music I found pretty engaging the whole album

The Killers Hot Fuss (2004): Unlike with The Who and Nirvana, I am very sure the popular songs off this one are the actual good ones lol. Mr Brightside and Somebody Told Me are A-OK, the rest may be safely left in the past

Can Tago Mago (1971): One of my all-time favorite albums. Halleluhwah alone could carry it really far

Dead Kennedys Fresh Fruit for Rotting Vegetables (1980): This one really knocked me on my ass, clearly a big influence point for a whole bunch of bands I like a ton.

Metallica Master of Puppets (1986): This is the fucking thing with 80s metal, man! If each of these songs were like 50% shorter, this would’ve been really solid, but as is they’re not interesting enough to justify how long they make you spend with them.

Aretha Franklin Lady Soul (1968): I like Never Loved A Man more than this one, but Aretha Franklin all-time excellent

Gary Numan The Pleasure Principle (1979): Really stripped-down, deliberately no-personality. Pretty interesting experience!

Flamin’ Groovies Teenage Head (1971): Ohhhhh shit these are the Louie Louie guys! Fun mix of rock, blues, etc. Seems kind of Of The Time in terms of baseline late-60s/early-70s bands.

Shuggie Otis Inspiration Information (1974): Nice soul/jazzy, which usually starts to bore me after a whole album, but was kind of nice to have on while I was writing the rest of these entries.

[goldie90]

🌘: Feels like their lullaby to you

Hi Jack.😃

🌘: Feels like their lullaby to you

Oh that´s a hard question. I never thought about it to be honest.😅 Hmm...🤔 If I have to choose something I might just go with my all time favorite song: How do you want it by 2Pac. It´s probably a terrible choice, considering the fact that this song rather turns me on than making me sleepy, but that´s mostly because of Pac´s voice.... Whatever, I go with this one.😃

Thanks for asking and I wish you a nice day.🙂

[fy-enhypen]

“I don’t want to define music in one word” - Heeseung

HEESEUNG was comfortable with handling a basketball. Most of the time the ball went in, just as it was supposed to. Once, when he missed and the ball bounced off the rim, HEESEUNG kept shooting over and over until it went in. At last, two points. Shooting over and over and hitting the wall until he succeeds? Well, HEESEUNG’s attitude toward the stage is the same. On I-LAND, your older brother said that he’s proud of you now, thinking back to how you used to be this average cute but a little immature kid who liked playing games with friends and didn’t like to study.

HEESEUNG: That time he was talking about, that was when I was really immature. I’m not exaggerating when I say that everything’s changed. This might be a bit off-topic, but I have this one good old friend who I would hang out with and goof around with all the time. It was all really childish, but I’m way more mature now. (laughs) But I do think I should keep growing up more than I am now.

I saw that, when you were doing the group photoshoot, the staff asked you to move to NI-KI’s side, and you asked him first if that was okay before moving.

HEESEUNG: Yes, I did say that. It happened so quickly, I’m surprised you caught it. (laughs)

You didn’t hesitate to help other contestants with their dancing on I-LAND even though you were competing against one another. SUNOO said you’re an “angel.” (laughs)

HEESEUNG: I could try and take all the credit for that, but that’s not really how it was. (laughs) I think that was possible because I-LAND had more challenges emphasizing teamwork than other survival shows. But that aside, I still wanted to help them. When I first became a Big Hit trainee, I practiced really hard for six months and became one of the better performers among the new recruits. I guess it’s probably because I had a lot of opportunities to be the leader from that time on.

Did you have much experience singing or dancing before you became a trainee?

HEESEUNG: I’m still not that good at dancing, but I was absolutely hopeless at the beginning. (laughs) I was really, really bad. It was so bad that my friends would make fun of me for not being able to do even basic moves. They’d say, “Seriously, how did you ever get casted?” But Big Hit’s training regimen is really good. (laughs and stretches arms out diagonally) This is called “arm stretching.” It’s a basic move. This is all I did for a year. And then more than a year of following the rhythm. I focused on basic, repetitive moves like that, then I took baby steps with a dance foundations class, and then with endless practice I finally got a lot better.

You can give hope to hopeless dancers. (laughs) I know that you were always very interested in singing.

HEESEUNG: I dreamed of becoming a singer since I was six, but I totally lacked confidence. Singers need to be able to sing in front of people without feeling nervous, but the most I could do until high school was sing with two or three really close friends at a karaoke. And then my dad suggested I take the entrance exam for an art high school, but I was too nervous during the test to sing anything. I was about to head home thinking I’d better study or choose a different career path when suddenly a casting agent spotted me. I was really lucky.

HEESEUNG: I was heavily influenced by YEONJUN from TOMORROW X TOGETHER when I came to Big Hit. Up until then, I had a sense of pride. I thought, well, I’m pretty good at singing, right? But after I saw YEONJUN, I realized I was totally fooling myself. (laughs) I felt like YEONJUN is the kid who gets perfect in every subject and I’m the one who gets, about 80 in one class and goes around bragging about it. So I thought there’s no room for feeling “not confident or some other nonsense like that” (laughs) I need to really up my game if I want to be a singer. From then on, I tried to really show off everything I’ve got on stage, which is different from how I used to be.

In the “October 2020 by ENHYPEN” video, you set a goal to practice vocals for one and a half to two hours every day. Even with your busy schedule, you’ve been close to 70~80% successful with that goal.

HEESEUNG: (laughs) It’s easy to achieve your goals when it’s something you like to do. I usually put my all into things I like, but I don’t have much motivation to do things I’m not into. I think that’s a strength and also a weakness. To use studying as an example: I lost interest in studying when I was in middle school, so I didn’t put much effort into most subjects, but I liked English because I liked to listen to pop songs. There was a foreign language high school near me that accepted students only based on their English grades and mine were good enough to get in.

All your practice really shows on your debut album, BORDER: DAY ONE. I was impressed by how you expressed each song differently.

HEESEUNG: The lead single, “Given-Taken,” is about facing a new world, and ENHYPEN just debuted as a team, so I wanted to convey a passionate start of a race. You could say it’s mellow since it opens with a harp, but I used all my energy to emphasize the tone. In “Let Me In (20 CUBE),” there’s the lyrics: “Can you open your window / Been looking everywhere for my Nemo.” It would sound kind of weird if I sang, “Open up!” forcefully like that.(laughs) So I recorded my vocals in a way that best conveys the meaning and doesn’t break the mood.

It looks like you have specific ideas about the performances and your music. On I-LAND you recorded the “-note” video diary, and you reflected on various aspects of your performance. It was very impressive the way you could go back and analyze it like that.

HEESEUNG: If you debut, you become a professional. I don’t look like a pro in my performances yet, but I think you become more professional by making deliberate efforts. I think I need to be able to express myself inside and out, so I’m trying to do all different kinds of training.

You mentioned several times that you want to write your own songs this year. Have you written any?

HEESEUNG: When I was in sixth grade, I took a music composition class using a sequencer program my dad recommended, called Cakewalk. I started to write songs again after I became a trainee. There’s a song I worked on until I got into I-LAND, and also some songs I wrote and recorded the lyrics over some existing beats. But we’ve been so busy preparing for the debut. I really regret that I haven’t been able to show off my work. Anyway, I’m going to keep trying to write songs for ENGENE whenever I get time. I just hope they’ll be patient with me.

You said “Merry and the Witch’s Flower” by Yerin Baek is your favorite song. What kind of songs do you usually listen to?

HEESEUNG: As far as genre goes, I’m really into alternative R&B. I also like songs that are dreamy and chill. I listened to a lot of songs by Yerin Baek, Anderson Paak and Eric Bellinger lately. I usually listen to the newest releases to see what people like these days, but I also listen to old hits by 2Pac and the Notorious B.I.G.

In BE:LIFT LAB’s “Training Camp,” you said your personal motivation is the high goals you set for yourself.

HEESEUNG: If I were to say that I want to be at 100, I’m currently at a 30 or 40. I’m absolutely serious. I think I need to try a lot harder if I’m going to reach my full potential. I want to be more than just a set of skills, or an amazing person; I want to make sure I don’t lose myself. The more time you spend on your work, the less time there is to invest in yourself. And if your work takes over your identity, I think you might even find it easy to lose your own sense of self. I want to be the kind of person who can grow while staying devoted to my work.

It reminds me of your performance of “Chamber 5.” Even though I-LAND is a survival program and you could have chosen a song that would have been more advantageous to you, you took on a new challenge solely for self-improvement.

HEESEUNG: (laughs) I was in way over my head. I seriously never tried even a single playful song like “Chamber 5” before in my life. But, obviously, you can’t go back to the past. Anyway, that was my choice. I was preparing for a job where you have to be ready to handle all different kinds of concepts. I took that as a fact and just practiced. And also, I had the magnificent teacher, Mr. SUNOO, right there with me. (laughs) So it was good in the end.

Maybe it’s thanks to that experience that the way you turn around and wink in the “Let Me In (20 CUBE)” performance suits you so well.

HEESEUNG: (laughs) That kind of stuff just comes to me naturally now—basically showing people how charming I am. Was it a bit awkward? (laughs) Songs like “10 Months” are in-your-face cutesy. It was hard at first, but after thinking about my own style the answer came to me. I look mature compared to the other members, so I figured that was the solution to the problem of how to express my charm. Now I am Lee HEESEUNG, a man of endless allure. (laughs)

Before a leader was selected for ENHYPEN, your name kept coming up in the polls under headings like, “the first person you’ll turn to when you’re having a hard time,” or, “the person who won’t hesitate to take difficult tasks for others.”

HEESEUNG: I’m good at listening to other people’s problems. That sounded like bragging. (laughs) If I see someone struggling with something I can fix or help them with, it’s hard for me to just stand by and watch. I don’t go around thinking I always need to help with everything, but I unconsciously act that way.

You’re the oldest member of the group. I can tell the other members trust you, and rely on you. As their oldest teammate, how do you want to be there for them?

HEESEUNG: I hope they don’t think of me as being more important than them just because I’m the oldest. In middle school, high school, clubs, and places like that, I realized that opening up to someone your senior isn’t always easy. So when we became a team, I thought I should be a cute, approachable guy (laughs) and create an atmosphere where they can speak openly with me. Everybody feels comfortable talking to that kind of person.

It seems like you already are. You all looked really close when the others were touching your head without hesitation on V LIVE and saying it looks like the full moon. (laughs)

HEESEUNG: (laughs) Yes, I’m … not thrilled that happened. (laughs) Everyone in the group has their own strong, unique personality, but still, we all try to trust and respect one another, and we set clear boundaries. And as we spend more time together, we share more personal stories, which helps us grow closer.

In “-note,” you thank the people around you and judge your own practice progress objectively while finding the positive aspects. I was impressed.

HEESEUNG: Even though they didn’t show it on the show much, I felt tremendous pressure being in a leadership position. There was so much to deal with. A lot of that was hard, of course, but I believe that people become the things they say they are, so I chose to be thankful and stay positive. If I say it like I believe it, my thinking will change and then I can overcome any difficulty. For artists, fans are important, skills are important, and talent is important, if you want to draw people in. Everything is important, really. I think it’s most important to have a healthy mind if you want to really nail all those things.

What does music mean to you?

HEESEUNG: That’s the hardest question. (laughs) I don’t want to define music in one word. I don’t think there should be just one correct answer to what music is. Because there’s no answer, all kinds of different music gets made, and many different people can be on stage. As soon as there is an answer, music will lose its charm.

[becky69lu]

Ed Edd n Eddy Music Taste Headcanons

Last night me and my friend came up with ideas of what the kids from Ed Edd n Eddy would listen to for music. And I thought I’d share with you all :) (You’re free to disagree but this is what I think the characters would like)

Ed: This guy would definitely be into soundtracks. Video games, horror movies, etc. He’ll enjoy them all. I feel like he’d be the type to explain why he likes a song on a soundtrack, like the vibes it gives him and how good it was in whatever game/movie it was. 

Double D: Growing up he’d be into classical music by default. It’s all his parents played so it’s what he’s conditioned to like. I feel like as a result he’d never really have a preference to listen to music because he mainly uses it as a form of relaxation for studying or concentrating. But when he entered high school it’s a whole other story.  He ends up befriending (or dating, depending what you ship) Marie. She introduces him to her music (which we’ll get into in a bit!). You’d expect Double D to hate it. Hardcore rock and heavy metal seemed a bit extreme. At first he might think it’s just noise. To his surprise, he ends up enjoying it immensely and starts to understand why people listen to music for fun.  On more than one occasion Ed and Eddy will catch up to Double D in the hallways or the walk home from school and catch him blasting some heavy band. It surprises people greatly what Double D likes, but in a good way. 

Eddy: This dude is the embodiment of the meme where you listen to rap with the homies but something else when alone. This guy will listen to Lil Peep and Juice WRLD, and don’t get me wrong he genuinely likes it, but it reaches its max appeal at some point. By himself he’ll listen to old school music. He really likes Elvis, Frankie Valli and Frank Sinatra. It’s what he grew up listening to with his dad in the car and loves it to this day. He’s not ashamed of it but prefers to look cool for listening to rap around random people. Really only Ed and Double D have listened to his playlist with him.  The only thing he kind of hides which is a guilty pleasure is NSYNC and The Backstreet Boys.  I feel like in high school Eddy and Kevin would be close bros, the kind that constantly pick on each other for fun but they really do appreciate each other and will be there for each other. As a result of their constant roasting, both of them listen to rap together but end up going home and listening to completely different things. 

May: Growing up, all three of the Kanker Sisters listened to Country. Their mother enjoyed it so she’d play it around the house a lot. May’s the only sister who’s favorite genre is Country though. She loves Carrie Underwood, Luke Bryan, etc. In high school, her music taste opened up slightly. She likes pop music and enjoys a bit of Marina and the Diamonds, and Melanie Martinez (which she heard from Marie’s room and thought it sounded good.) She’s still a country girl at heart but enjoys bubblegum pop too. She’s also the type to enjoy basically anything, but she refuses to listen to heavy rock. Her limit to rock music is screaming, and at that point she wants to shut it off.

Marie: A rocker at heart. Of course she always dressed the part, but didn’t actually listen to rock music until she was 13. She entered her emo phase and never left. She likes classic rock, modern rock, and anything alternative or indie. Her favorites are Asking Alexandria, My Chemical Romance, A Day to Remember, Falling In Reverse and In This Moment.  In terms of other music, she really likes P!nk, Avril Lavigne, and Ke$ha. The only genre she hates is country. For her, growing up listening to it constantly made her hate it because it was overplayed. She refuses to listen to it and sometimes her and May butt heads when in the car trying to play music. 

Lee: This girl takes pride in her music taste. She flaunts her love for old school rap. She loves 2Pac, Snoop Dogg, B.I.G., Tupac, and Eminem. She’ll play it around whoever is willing to listen and genuinely enjoys it. If her and Eddy became friends (or dated) she’d get him into Eminem especially.  Regarding other music, she enjoys anything 2000′s like Nelly and TLC. She still likes Country music too, but doesn’t listen to it as often as other stuff. 

Rolf: He listens to foreign music. I feel like this one’s obvious but it’s true. He listens to music that’s poppin in his homeland. When he’s around Kevin and Nazz he actually grimaces at their playlist. He probably won’t like any of it, even if he’s open-minded about it. On occasion he’ll end up liking a few songs or artists from them but not a lot. I feel like he’d like a little bit of Post Malone. 

Jimmy: He’s a THEATER KID!! When he goes to high school he immediately joins the theater program. He’s definitely that one kid that’s liked by everyone. But for music, he’d definitely enjoy musicals. Hamilton, Dear Evan Hansen, Wicked. You name it, he probably enjoys it. He also likes disney music as well like the soundtracks from Mulan, The Little Mermaid, Beauty and the Beast, etc. And he’ll definitely be in every spring musical and already know the songs. 

Sarah: Since her and Jimmy are best friends, of course she also becomes a theater kid. She’s probably one of the most disliked people in the program but doesn’t care. She also enjoys musicals but not to the extent that Jimmy does. They still listen to them together all the time. She probably really likes pop music. Katy Perry is one of her favorites. She’s definitely a Taylor Swift and Justin Bieber fan. To be honest she probably went through a hardcore K-POP phase where she had a stan twitter and everything. 

Jonny: He mainly just likes whatevers popular. He probably enjoys songs off of Tik Tok and is that annoying kid that plays meme music over and over. All Star by Smash Mouth is banned from the Cul de Sac because of him. He probably enjoys some soundtracks from video games as well. The type to just blast Revenge by Captain Sparkles for hours.

Kevin: We’ve already established that him and Eddy basically listen to the same thing. Lil Uzi Vert, Xxxtentacion, etc. That kind of thing. He tries especially hard to be cool. He’s definitely that kid with the speakers in his backpack blasting music down the hallway. But like Eddy, he listens to something else when he’s alone. He probably likes 70s and 80s hip hop and a little bit of classic rock because of his dad. Listens to Motley Crue, Def Leppard and Blackstreet. He’s not ashamed of his music taste, but definitely only plays modern rap in the car with the homies. 

Nazz: She’s a carefree spirit. She likes old school rap too but appreciates a lot of older stuff. She likes Fleetwood Mac and Queen because of her mom. But she also really likes pop and Jazz. She likes Kelly Clarkson, Alicia Keys, Bruno Mars, Coldplay, and Rihanna. Probably a big Beyonce stan too.  Because shes a free spirit, she’ll listen to anything someone plays. She’ll enjoy heavy metal if someone puts it on or even Country. She doesn’t care. If she likes something she’ll definitely go home and look up more stuff. She probably has the most diverse music taste of them all. 

[theparanormalperiodical]

The REAL Stories Behind Final Destination (2000) And The 10 Creepiest Times Celebrities Predicted Their Own Deaths

It must’ve happened sometime in the early 1980s.

‘81, or ‘82, perhaps.

Some 15 year old in the ass-end of Aberdeen, Washington, was stuck in the teen funk of wanting to ditch high school forever whilst simultaneously spray painting ‘god is gay’ on hick trucks.

But when he wasn’t pissin’ off the rednecks, he was telling his friends that he was pretty sure he’d become a famous rockstar, and end his life surrounded by fame and riches by committing suicide.

He was the emblem of the era. 

He would be the emblem for the next.

Kurt Cobain died on April 5th 1994 at the tender age of 27. He would not be the last person to have a premonition of his own death.  

In fact, the peculiar phenomenon of predicting one’s own death or sensing something foreboding is due isn’t just some forgotten urban legend. It’s been immortalised in a franchise that has achieved a cult status similar to Cobain’s band Nirvana:

Final Destination (2000).

The thing is, the 5 Final Destination films aren’t just based on this unexplained phenomenon of predicting one’s demise. They’re also based on several horrifying, infamous deaths that have haunted America for decades.

They’ve been mocked, marketed, and made out to be utter rubbish - but the luring call of the Grim Reaper might be more real than you think.

First, let’s recap the Final Destination franchise.

James Wong has made his name in horror. From the cutting-edge directing of Insidious, to his recapturing of the media-frenzy that was the caseload of Ed and Lorraine Warren, he has led the genre in a new direction that deals with supernatural phenomena which tend to be all too real.

His earlier work, Final Destination, was no different.

The Final Destination franchise consists of 5 movies and a couple limited edition comic books. It’s achieved cult status for its innovative plotline and Truman Show-like impact on the viewers. But the thing is, like most cult horror movies, it tends to be, well, trash.

And that’s what they were.

For 5 feature length movies we see the same plot play out:

(No, I’m not being cynical, it literally follows the same damn structure every damn time.)

A gaggle of high school or college aged friends head out on a trip. One of the crew has a mysterious premonition that they’re gon’ die in like a 4K-HD-put-your-3D-glasses-on-now-and-switch-off-your-mobile-phones worthy video clip.

That person then, understandably, flips out and somehow causes a fight. The group of friends then get asked to get off the plane, or aren’t allowed on the roller coaster, or are no longer partaking in the deadly activity.

The event that was seen in the premonition then takes place. For the rest of the movie we see a series of bizarre events that threaten and take the lives of those who cheated death.

A sixth instalment is in production and attempts to break the cycle by looking at EMT workers who face ��death’ on a daily basis.

The following of this film can be traced back to a number of reasons: there’s the vibrant lives of the characters, there’s a lovable chemistry between the actors, and there’s that idea that fate might just have our lives set out for us.

But when the last unpopped kernels are left at the bottom of the bowl and the credits fade to black, we are left with only our faces to look at in the reflection of our laptop screens. From there, those laughable traps set by death themself don’t seem so hilarious.

They seem to be real.

Maybe we are fated to die at a certain time in a certain way? Maybe the Grim Reaper does exist? Maybe we have no control over our destiny?

Jeffrey Reddick, the writer of Final Destination, directly sought out to ask these questions. And he based the original film off a true story.

“[He] read a story about a woman who was on vacation and her mom called her and said, 'Don't take the flight tomorrow, I have a really bad feeling about it.'"

She switched flights, and the one she was supposed to be on crashed.

This urban legend taps into a haunting history of premonitions of death. For millennia humans have predicted the fates of themselves and those around them whether they boasted psychic powers or not.

(We will get to that.)

Unfortunately, this franchise is based on more than just an urban legend. Some of the most traumatic death traps left by the Grim Reaper are actually inspired by real life tragedies.

Many believe the original film featuring a flight fault and exploding plane was based on the TWA Flight 800 explosion - but this occurred 2 years after the original script (which was intended for 90s icon The X Files) was penned.

But there are 3 real-life events that inspired the franchise.

#1 - The 125 car pileup in Ringgold, Georgia

In 2002, approximately 120 cars and 20 tractor-trailers collided on the Interstate just south of Chattanooga as a result of the blanket of thick fog that Thursday morning. 4 were killed and 39 were injured.

It began when a tractor drove into the wall of fog and smashed into the back of another. It then crossed several lanes, and spread the wreckage. The visibility at the time of the collision was at most 15 feet.

Only an hour later, when the fog finally lifted, could the emergency services see the full extent of the disaster.

#2 - The Le Mans Motor Racing Disaster

It’s been labelled the most catastrophic crash in the history of motorsport. No CGI could do justice to what occurred.

On June 11th 1955, Jaguar driver Mike Hawthorn pulled to the right of the track and braked for a pit stop. Austin-Healey driver Lance Macklin was following closely behind and swerved out from behind the braking car into the path of another driver, Levegh. Levegh rear-ended Macklin, overriding Macklin’s car and launching his own into the air at 125mph.

The car collided with the spectator area several times and then disintegrated, throwing Levegh onto the track where he met his instant death.

The engine and bonnet was thrown into the crowd.

Levegh’s severely burnt body lay on the track until someone finally lay a sheet over it.

It is estimated that 84 died, and 178 were injured. We still don’t know the full extent of the death toll.

This tragedy - which was blamed on the nature of the course for cars of such a speed - caused Mercedes-Benz to withdraw from racing for 44 years.

#3 - The collapse of the Tacoma Narrows Bridge

4 months after the opening of the bridge to traffic, the Tacoma Narrows bridge collapsed as a result of an aeroelastic flutter initiated by a 42mph gust of wind.

Fortunately, there were no human fatalities, but the shocking collapse was caught on film. A dog named Tubby, however, did die from being abandoned in a car on the bridge.

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

So we know that the most iconic scenes from the franchise can be traced back to shocking disasters and tragedies. But there’s another side to the reality behind Final Destination:

The well laid plans of the Grim Reaper.

What are premonitions of death and what do they mean?

To many, having a niggling feeling about when one may pass away or even seeing it in a vision or a dream is a common part of life. And to many more, they will deem this as something as simple as anxiety making us believe we are due to die soon. However, from a spiritual standpoint, premonitions of death have much more meaning.

According to psychic mediums and spiritualists, the nagging feeling of impending death or dreams or visions of death are common - and can be real. They believe that souls can choose when they depart this world and thus signal to us when this is due.

Those with souls that are more evolved and have been reborn many times have greater ability to sense this.

Even souls that have connected together for many years  - and even many lifetimes - and have formed bonds can have death premonitions regarding each other.

Whether it’s a specific date or a certain age, foreseeing your own or another’s passing can be a terrifying concept. But on the same note, this premonition could refer to a symbolic death, a bit like the death card in a Tarot deck.

Perhaps a part of yourself is dying.

(This certainly won’t be as graphic as a Final Destination death cameo.)

History has a different version of events, however.

Many have had premonitions of their own death. And many have been correct. It’s time to talk about them.

Here’s the 9 other times celebrities predicted their own deaths to an uncomfortable degree.

#1 - Tupac Shakur

This rap icon’s death wasn’t just a tragedy. 

It was a mystery, too. 

Many still believe that the death was faked and that Shakur is very much alive and well, whether he’s hiding in Mexico, New Zealand, or South Africa.

But the mystery surrounding 2Pac starts long before the drive-by shooting that took place in 1996 that would kill him.

“I been shot and murdered, can tell you how it happened word for word” is a line from a hit song with Ritchie Rich.

Sure, the rap genre is closely with such themes that highlight gang crime and gun violence, and sure, Tupac had been involved with violent interactions and assaults before, but this eerily accurate lyric is bound to raise eyebrows.

That being said, if he did fake his own death he would know how it would take place, right? This may be less a premonition, and more an actual plan.

#2 - Bob Marley

Music icons don’t just have a knack for writing a catchy hook and a couple verses, too. Turns out they have this habit of predicting when they will die.

Kurt Cobain’s prediction of his own passing can quite easily be overlooked by the typicality of this death within the rockstar lifestyle. But Bob Marley didn’t actually predict how he would die - he told his friends when he would die.

Marley claimed he would die when he was 36. He was right.

But the coincidence doesn’t end there.

According to Allan Cole, one of his closest friends who was told this secret, Marley had psychic abilities that he would often flaunt to the locals where he grew up in Jamaica. He was even deemed a prophet to those close to them.

#3 - John Denver

“Cause I’m leavin’ on a jet plane,/ Don’t know when I’ll be back again”

This singer-songwriter wasn’t just a keen musician - he was also an amateur pilot. Unfortunately, his second pastime would eerily echo his first, and foreshadow his death.

28 years after he first released Leaving On A Jet Plane, he took off on his last flight where he would ultimately have a fatal crash.

#5 - Mark Twain

As the father of American literature, Twain was used to creating universes to engage readers with timeless classics like The Adventures of Huckleberry Finn. But it's our own world that would provide as poetic an end to Twain’s own story as he would to his fictional characters.

Born shortly after the sighting of Halley’s Comet in 1835, Twain would often joke that he would go out with it.

“Now here are these two unaccountable freaks; they came in together, they must go out together.”

A day after the comet was sighted once again in 1910, Twain died of a heart attack.

#6 - Pete Maravich

He will go down in history as one of the greatest NBA players to ever hit the court - and he left it in a mysterious manner.

Having played in the world-famous league for 4 years, he claimed in an interview that  “I don’t want to play 10 years [in the NBA] and then die of a heart attack at the age of 40.”

An injury caused him to leave the NBA 6 years later, completing the first part of his prediction. He died from a heart attack at age 40.

Even more intriguing, however, is what caused him to die: Maravich claimed he had a missing heart valve and should’ve died at the tender age of 20. His ability to predict his death which according to doctors would’ve been a bold assumption for such a heart problem is fascinating (and freaky).

#7 - Jimi Hendrix

He might’ve passed 4 decades ago, but the death of this guitarist is still tinged with as much mystery as the other legendary musicians and athletes populating this list. Shortly before claiming this status in 1965, he recorded The Ballad of Jimi.

“Many things he would try/ For he knew soon he’d die./ Now Jimi’s gone, he’s not alone/ His memory still lives on/ Five years, this he said/ He’s not gone, he’s just dead”

Hendrix died September 18th 1970. It was 5 years exactly to the day that he recorded that song.

#8 - Buddy Holly

On one evening in January of 1959, Buddy Holly and wife Maria had bad dreams. In fact, they had exactly the same bad dreams. They both involved a farm, an airplane, and Holly leaving Maria.

Weeks later Holly would tour the Midwest in an attempt to raise money for his family. Unfortunately, one of the airplanes he chartered for the tour crashed shortly after taking off into a cornfield. He was instantly killed.

#9 - W T Stead

The Titanic has been associated with many unexplained circumstances. This is one of them.

In 1886, Stead wrote a tale of an ocean liner colliding with another ship. Many of the passengers on that fictional ship would go on to lose their lives as a result of the lack of lifeboats.

“This is exactly what might take place and will take place if liners are sent to sea short of boats”

He would then go on to write a different story featuring a ship crashing into an iceberg.

In 1912, Stead boarded the RMS Titanic. And we all know how that ended - with a lack of a lifeboats causing excess deaths. He drowned with the rest of the victims of the tragedy.

#9 - Rasputin

As a former history student, I can boldly put forth a critical opinion of the dying days of the Romanov dynasty: Rasputin was one dodgy bloke. But what made him really dodgy was his ability to predict not just his own death, but that of the Russian monarchy, too.

Shortly before he was assassinated, he wrote a letter to the Tsarina claiming he would be killed by New Years. He also mentioned that her own family would die within 2 years.

Two days before New Year’s, he was poisoned in a rather messy assassination (no, seriously, look it up).

Within 18 months the Romanovs were dead.

Well that was a bit deathy.

Want to read something a bit more spooky and a ‘lil less sad? Check out the rest of the weekly articles on the paranormal, and stay tuned for a new real ghost story everyday by following this blog!

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[howtolistentomusic]

There's a radio sitting atop a pile of boxes. I grab it and hand it over to Carlos. He sets the device on the edge of the container and pushes the power button. We're greeted with a burst of static. He fiddles with the tuner until he stumbles upon "Wicked" by Future. 

"Aw yeah!" he says as he turns the volume way up. "Some real music! Anthony, take notes!"

"I'm insulted by the implication that I don't listen to hip-hop."

"You bump 2Pac between Justin Bieber songs?" David says.

"Hell yeah I do!"

"Guacha!" David says. 

Pronounced as if a stressed "ah" sound is added at the end of the English word watch, guacha is a Spanish verb for "look." Informally, though, it means something more like I approve! It's typically complimentary though it often carries a connotation of surprise that can come off as condescending. Against all odds, David basically said to me, I'm impressed. Welcome to the big boys club.

"2Pac is the greatest rapper of all time," Carlos says.

"Well, I don't know about that."

Don't get me wrong. I genuinely do like 2Pac. I grew up in Southern California, after all. But the GOAT? There's no way. He's a compelling figure for many reasons but too many others can rap circles around him.

"Listen to All Eyez On Me," Carlos says.

"Illmatic is better."

"What the fuck is that?"

It's the classic and hugely influential debut album by Nas, in case you're rooming with Carlos and Patrick Star.

"Life's a bitch and then you die!" Ruben sings.

"That's why we get high! 'Cause you never know when you're gonna go!"

"Damn, Ant!" David says. "Who would have thought?" 

It's unclear whether he recognizes "Life's a Bitch", Illmatic's track three stunner, or if he's simply surprised that I made a weed reference. 

"What else are you bumping?" David asks.

"Wu-Tang. Souls of Mischief. Big L—"

"The Based God?" Carlos says. "He fucking sucks!"

"That's Lil B, dumbass."

Dude doesn't know Big L from Lil B and he's never heard Illmatic. And yet here he is, trying to lecture me about hip-hop. Get the fuck out of here.

"Whatever. You're fucking old," Carlos says.

Touché. But I'm trying to keep up. I'm certainly on the Playboi Carti and Lil Uzi Vert bandwagons. "wokeuplikethis*" and "XO Tour Lif3" are great. I have a hard time understanding the appeal of Migos though.

Carlos grabs some bags from the edge of the container. When he turns to dump them into the proper gaylords, I glance at the radio. It's beckoning like a glowing pickup in a video game. I can't resist. Being cool is overrated anyways.

I tune to Live 105.5. "Good For You" by Selena Gomez is playing. 

"Hell yes!" I say.

My coworkers laugh.

"Of course you would listen to this bullshit!" Carlos says.

Bullshit? Ok, I get it. So it's totally cool to want to fuck Selena Gomez. It's totally cool to mime and graphically detail the sexual acts you'd perform on her if given the chance, as a few of the guys did a while back when a Spring Breakers DVD came through the warehouse. Respecting the art she creates, though? Nah. Too much.

"Wanna show you how proud I am to be yours," I sing. "Leave this dress a mess on the floor!"

Two yeas ago one of my favorite music writers, Katherine St. Asaph, wrote some brilliant work inspired by "Good for You". Her Singles Jukebox blurb, in which she rates the song a 9 out of 10, is a masterpiece. And in a review of Revival for Time Magazine, she vividly wrote that the song "makes looking good for her man sound like searing a part of herself dead." Despite such a convincing case for the song's merits, however, I can't bring myself to like "Good For You" all that much. It's boring and rote and I totally prefer "Hands to Myself". In a place like this, though, I'll fucking take it. After all, remaining myself while simultaneously playing "dude" well enough to avoid ostracization by my coworkers is a balance I struggle with every time I step foot into this warehouse, so it feels really good to fill the room with a piece of my world for once while these fuckers are forced to deal with it.

"I just wanna look good for ya, good for ya," I sing. "Uh huh."

"Alright," Carlos says as the song winds down. "It's over." 

He tunes the radio back to hip-hop just as Anna screams "Break!"

"Fuck," Carlos says as he turns off the device. ***

As usual, I beat the entire crew back to the dock. I hop into the container, turn on the radio and adjust the station.

"Reck a less bee hayve YA ah!" the radio pronounces.

Zayn Malick! Totally over One Direction, rhyming.

"Turn that shit up!" Donald says as the guys finally find their way back to roll-off. "This is my jam!"

"Let's start a boy band, Donald!" I say.

"I'm down!" 

David laughs. Carlos shakes his head.

"I'm seeing the pain, seeing the pleasure," Donald sings. He's not kidding; he genuinely seems to like this song. "Nobody but you, 'body but me, 'body but us, bodies together!"

While I'm thrilled to have a temporary companion in poptimism, I must point out that this song sucks. I wish I could play "Little Black Dress" instead. I wonder what the guys would think of that particular track, which pits a traditional dude's reverence for classic rock against his hatred of boy bands.

"That's your last one," Carlos says as "Pillowtalk" gives way to a commercial. 

He tunes back to the hip-hop station. "Hold On, We're Going Home" is playing and I have to stifle a laugh. Be careful what you wish for, I think to myself.

Carlos can't stand Drake. He's told me as much. He's a fucking pussy were his exact words. Of course, he'd be loath to admit that now, when control of the radio is at stake. I decide to stoke the fire.

"'Cause you're a good girl and you know it!'" I sing.

"Why do you like literally the worst shit?" Carlos says.

"I can change the station if you prefer," I say as I reach for the radio.

"Leave it!" he says.

"Yes, daddy!"

As soon as he turns his back, I tune back to pop. Mass groaning ensues as Shawn Mendes goes on about stitches. Carlos, however, is silent. He's standing still as a statue, staring me down.

***

If the warehouse gave out game balls at the end of each shift, Carlos would have more than the rest of roll-off combined. This is despite the fact that the dude is hardly physically intimidating. Indeed, the contrast between his tough guy persona and his tiny 5"2' frame is a gift that keeps on giving. One time, in an exercise designed to lighten the mood after a slog of a safety meeting, management made the entire staff of the warehouse line up on the floor of the line, single-file, tallest on the right and shortest on the left. There were approximately 30 people in the building and only a single woman was standing to the left of Carlos. It took the roll-off team hours to get all the laughter out of our system.

Carlos isn't particularly funny or clever either. While his insults come fast and furiously, they tend to be the predictable nonsense you would expect from someone that still considers "gay" a burn in the year of our Lord 2017. It's the same sort of mockery I've been dealing with my whole life. The words themselves don't really bother me.

But Carlos will wear you down through sheer attrition. His short fuse, gangbanger ethics and the fact that he values his pride over his job give him a willingness to escalate that's difficult to compete with. I once witnessed him empty an entire can of shaving cream onto the face of poor old man Kenneth. He also once swung a bag of hard toys, with all his might, at Donald after the two got into a heated argument. Then there was the time he was in a bad mood and discreetly coated some furniture with that aerosol "snow" stuff—the kind that people use on their windows as a Christmas decoration—in the hopes that some naive rube would ruin their clothes.

So I'm not sure what Naive Rube was thinking in perpetuating this tug-of-war over a stupid radio. Perhaps I felt like I deserved a fucking break. Roll-off already has a radio, after all. Sure, Anna controls the station. But everyone seems fine enough, usually, with the soul and R&B she prefers.

In any case, I'm not in the mood for Carlos' shit today.

***

I place a box of books at the edge of the container, right in front of Carlos.

"Are you just gong to stand there?" I ask.

"Give back the radio, you fucking pussy!" Carlos says. "Nobody wants to hear this pop shit!"

I know, dumbass. That's why this is so much fun.

"Give it back!" he repeats. He swipes for the radio but I grab it and place it out of his reach.

Carlos slices a bag of clothes with his pocketknife.

"I'm going to fuck you up!" he says. "Stupid little bitch! I'm going to fuck you up!"

"Cool story, bro."

"Are you really not gong to give it back?"

I laugh. Look, this entire thing is petty as fuck but the dude's entitlement really is something else.

"Give it back simply because you told me to? I'll pass but thanks."

"I'm going to give you one last chance," he says.

"Oh noes! Make sure you play some Justin Bieber at my funeral."

Carlos is fucking seething. He pulls the still-as-a-statue move again in an attempt to intimidate but roll-off simply functions around him. Nobody else seems to care much about the radio war and that's fine by me. When Carlos finally realizes that his protest isn't going to work, he grabs the box of books and gets back to business. Apollo for the win!

As an alternative kid with a preference for dark clothing and bulky accessories, the sun has long been the bane of my existence. This is especially true as I age, as one of the ways I temper insecurities about my ever-expanding waistline is by burying myself in layers. Today, however, the sun is an unlikely ally in my ongoing struggle against Carlos. It's 100 degrees out, see, and when it's this hot outside the container becomes almost unbearable, the metal walls stubbornly retaining the heat in a way that feels like you're working in a giant oven.

Pushing donations from inside the container is typically a two-person task but nobody else is up for it today. And the emptier it becomes, the safer I seem to be getting from Carlos' antagonism as I place the radio further and further from his reach. For a glorious hour I have the device all to myself. Ariana Grande! Lady Gaga! Hailee Steinfeld! Rihanna! I'm singing along, dancing like a maniac, and feeling pretty damn good. Then I hear a loud crash. 

I turn around. Carlos is standing at the foot of the container, a crate of dishes in front of him.

I've seen this before. God forbid there's glass around when Carlos is angry because he'll start chucking it, his aim loose enough for probable deniability but accurate enough to make life hell. 

He grabs a plate and throws it my way. It shatters near my feet. 

"Calm the fuck down!" I say. 

"Give me the radio."

"Come and get it.

Carlos hops into the container. Fuck. Here we go.

Of course, he's not grabbing anything without going through me first. It's too damn empty in here. I step towards him to obstruct his path. We meet in the middle of the container. Our faces are inches apart.

One, Mississippi. Two, Mississippi. Three, Mississippi. Four, Mississippi. Five, Mississippi. Six—

"Fuck this gay ass music," he finally says. Then he turns and walks away. *** A short time later we finish unloading the container. Two hours remain in the workshift but supervisor Stella tells us that we won't be getting more trucks until tomorrow. She assigns the guys to other tasks in the building while I stay behind on the dock to tidy up.

For good measure, I empty the batteries from the radio and throw them in a bin designated for hazardous materials. Then I smash the radio on the floor, throw the pieces in the electronics gaylord, then pull it inside the warehouse.

Give me my damn game ball.

[maewestside]

KEEP YA HEAD UP: Legends Never Die, They Just Multiply

by Heidi Siegmund Cuda aka Maewestside

Every time you hear a 2Pac song, he’s reborn again. Each time another street-fighting hopeful enters the ring, Muhammad Ali lifts the rope.

We are the City of Angels, and angels are everywhere, sending indirect signs, helping us to keep our head up even in moments of great despair.

That love you feel for Kobe Bryant, that’s something special, something to carry in your heart. As long as he’s in your heart, he lives on forever.

Legends never die, they just multiply—schoolyard poets, writing licks on scraps of paper at recess; middle school athletes blessed with talent working as if they had none, because that’s what Kobe did.

The lessons they left behind, schooling us, a piece lives on in every heart that beats.

TO LIVE AND DIE IN LA

The impromptu weeklong memorial for Kobe and his daughter Gianna brought out the angels en masse. A courteousness and a grace permeated the crowd of mourners, decked out in that incongruous pairing of gold and plum, forgiven by aesthetes because the colors have come to embody greatness.

Anyone who saw Kobe play knows he’s legend. I got to see a 65-point game on March 16, 2007, where the Lakers were down by seven points in the last minute and a half, and with grace and ease, Kobe just kept nailing those three-pointers, leading the Lakers to victory over Portland. I remember thinking that he was the most graceful court dancer I’d ever seen, only learning this week just how hard he worked for those moves.

SHED SO MANY TEARS

Kobe once said, “I was blessed with talent though I worked as if I had none.”

That right there. Legends work hard. We only see the results. Fred Astaire glided across the dance floor as if on clouds of air, but the perfection was the result of endless practice.

Muhammad Ali danced like a butterfly and stung like a bee because he trained six days a week, shadow boxing, pounding the bag, sparring—not because he liked it but because he knew if he didn’t quit, he’d live the rest of his life as a champion. Word.

In the last year of his life, 2Pac would tell his driver to pull over so he could jump out and grab a spiral bound notebook, lyrics flooding out of him that he had to capture, instinctively knowing his time on earth might be short. His poetry, forever etched into our consciousness.

MAN OF THE PEOPLE

On night number five in downtown, the Kobe vigil was in full swing. Family units, travelers from Nicaragua and Tallahassee, women in stilettos, cuz, you never know. Vendors selling Kobe scarves, churros, handmade key chains, bacon wrapped hot dogs, his image etched on wood carvings, tshirts with the wings that were tattooed on his bicep now adorning his back.

I stopped for a pair of street tacos, asking the women preparing them what Kobe meant to her. She told me, “He spent time with us, the people, you know. He wasn’t above anyone.”

She said he stopped by her restaurant and refused to jump the line, telling her to treat him just like another customer. She wiped away a tear with her gloved hand, as I put four bucks in her fanny pack. There’s little doubt in my mind Kobe would have appreciated the entrepreneurism his tragedy inspired in the locals.

I walked through the streets admiring the freshly inked arms, reflecting how we mourn in L.A., with tattoos and paint, body canvas and abandoned buildings. Even if you didn’t hear the news that Sunday morning, all you had to do was drive through the streets, the handiwork of taggers already paying tribute. “RIP Kobe,” in Olde English, covering aged bricks.

HOW TO BE A MAN

“Dear Kobe, thank you for teaching me how to be a man, on and off the court,” wrote a fan on the canvas outside Staples Center. On a scrap of binder paper next to a flickering candle with “Long Live Kobe” written in sharpie, a mourner wrote a four stanza poem, the third stanza reading: “Oh what it means, to be a dad, Oh what it means, to rise from bad.”

At their best, legends make us better people. They make us work harder, strive for more and teach us to overcome adversity.

L.A. is an imperfect place, beautiful and flawed. The legends that spring from here are brilliant, beautiful and flawed. But it’s the brilliance and beauty that stay with us.

CALIFORNIA LOVE

The world is mourning the loss of a legend, but L.A. is mourning the loss of family. The kindness of strangers that permeates the downtown vigil is a moment for L.A. and one I cherish.

Kobe murals are popping up throughout the city, a sea of post-its creating a rainbow of love. So much raw beauty in this City of Angels.

As long as there’s a can of paint, the whirring of needles and archival footage, Kobe Bryant, like Pac and Ali, will flame eternal.

***

Author Heidi Siegmund Cuda wrote the first book of rap, “The Ice Opinion” with Ice T; and “Got Your Back”, with the bodyguard of 2Pac. She also authored “Crazy Fool: Portrait of a Punk” about Sublime’s Bradley Nowell, and “Definition of Down” with Darlene Ortiz, an original b-girl and Ice T’s first wife.

[terrablaze514]

Being Black + R. Kelly, Living With Secrets, and Writing Catatonic Fanfics

Hey everyone.

I'm up extra early, because this is bugging my mind and heart right now. The words might leave if I don't voice (write) it.

In a few hours, I'll be going to church again. Christian, yes. Predominantly Black, you've guessed it. Both of these cancel each other out. Why?

Despite my suspicions growing up, the vast majority of Black people I knew (family, friends, acquaintances, etc.) were still jamming to R. Kelly's music. It makes all the more sense why he's known as, "The Pied Piper", and that's scary as buck if you stop to think about it.

I've never understood why he was permitted to keep making music. Why the buck does Wendy Williams still have an audience? Why did 2Pac and Michael Jackson get destroyed by false allegations (until their sunset), while R. Kelly is still a free man in the music industry with proof of sexual deviance in multiple court cases?

I was 7 when I was molested by a grown woman. I couldn't approach my parents about it, because she became a close friend to my mother, got closer to other notable family friends, and I was already misunderstood at school and church (Grade 2 was a horrible year). My parents were also coming to terms with their breakup, so it didn't help (because what if they had another physical altercation?). Top that with the ongoing belief that men were innately predators...

October 2018, I've had a nightmare of her stalking me while visiting my hometown (the 514) - woke up in a sweat, purchased Black Panther on Google Play Movies, and watched the movie until my eyes shut again... Because mentally, I needed to feel safe. I wanted Wakanda's protection. And I ended up getting it in my dreams (occasionally). M'Baku and The Jabari Tribe are the best!

Back on topic... So, while I'm happy that justice is happening, I'm also disappointed. Deeply disappointed in The Black Community for sweeping this issue under the rug.👏🏾Every.👏🏾 Single.👏🏾Time.👏🏾 I understand firsthand why it's hard to come forward. Allow me to explain (and these are some of the reasons why going to church is a farce in my book).

I've shared with a few Gundam Wing fans (via Discord) that I've sung in three choirs (four if school curriculum counts). To this day, I still jam to my favourite songs and sing as a secret means to calm down when times are too stressful (and if I have no access to a pen and notebook). So why bring this up? Simply put, during my tenure in the third choir, I was spanked and grabbed on the buttocks for holding the door open for an elderly man. [This isn't funny, so if you're laughing, check yourself or leave my blog ASAP]. Not only did this trigger my fear and cripple my confidence as a young adult, but I wasn't able to focus. I've felt scared... Moreso when I've relayed the incident to a few choir members. They've laughed it off, because it sounded funny to them.

It didn't help that this also happened a week after one of my closest friends had died from cancer (and I couldn't make it to his funeral). So being forced to laugh it off, take it with a grain of salt, and keeping it moving wasn't easy. Also, being Black means you don't cry. "Stay strong," is all people would ever say.

I've also been approached and stalked by some strange men, around my age (no older than 27). I'd be waiting at the bus stop so I can commute to work. Strange man shows up, and requests (to the point of begging) that I take the taxi with him. One week later, he begs me to skip work and come over to his place. For what, only God knows. I didn't go, but I've sent text messages to friends. The majority of them found it funny - except one, who also called to check up on me. If it were up to him, he'd drive across town and set the stalker straight.

That was then.

There was a fellow co-worker (cisgender woman) who used to touch, or feel up my inner thighs and buttocks without my consent, and in the presence of customers. How many times have I reported her, yet supervisors promoted her, and would say, "That's her way of giving people props."

What the heck?

Then, by the time I was 25, I've reached my breaking point despite graduating from college and acquiring two careers to call my own. My physical appearance (gaining weight), marital status ("let's find a boyfriend for you on WhatsApp Messenger"), and popularity were the only things that mattered. Damn it all to the grave.

Dating prospects were more like, groomers. And they were all Christian Churchians.💯 I've never given up the V-card, but I've tried to fit in to the point of mental starvation and social exhaustion. In the worst case scenario, I've heard adults (including a parent) poke rape jokes. What's so funny about that?

We sure as hell did not deserve Aaliyah, because the ignorance is real.

I've ended up writing a fanfic project that deals with the music industry, and emphasizes deep comparisons between a good rep team versus an evil rep team, by pulling bits and pieces of experiences by real artists, as well as my "inability to be more transparent/speak up/get out of my shell", and conceptions of what could go wrong if there was no access to a healthy outlet... Combined them into the realities of the characters I'm borrowing. It's still in progress; I'm a perfectionist, yet, the story needs to be told.

There's a second project where two cousins grow up together in the kingdom, get separated after the death of a family member, and the elder cousin searches for his bestie in America. Friendships are formed, but there's also a rampant rape culture against girls in the community where his cousin took residence... Pedophiles will get killed after witnessing the dismissal of reports by police. Go figure.

Writing these types of things, is an outlet. I don't condone abuse, murder, things of that dark nature, but honestly. I grew up in a rape culture. I need a healthy way to deal with (process) that.

Talking about it to people is only safe enough in therapy sessions. Outside of that, get laughed at. Mocked. Told that You deserve it (or did something to deserve it).

I've contemplated suicide last month. Resurfaced memories do more harm than good... And even if I followed through on December 29th (I'm glad I didn't), everything in this post, especially the woman predator who was a babysitter, is the secret I would've taken to my grave. Who could I talk to without feeling unsafe or unwelcome? Without laughing it off in a dismissive manner? Without assuming that I've done something to deserve it, like forgetting to pull on my panties first?

No one.

I've been taught that my big butt, juicy thighs, bust... Yet fat belly, rolls on my back, and somewhat bouncy arms, are something to be ashamed of. From 14 to 23, I used to sport Beyoncé's figure (used to be slimmer)... Yet I still had to feel guilty for embracing that, because if I didn't cover up... If I walked out late... If I didn't keep up with trends... if I didn't turn up for what... If I didn't drop it like it's hot, turn around and bump bump bump, my body too bootylicious for 'em, 'cause if it's worth it lemme work it... And whenever I did these things...

I am guilty.

Now that I'm older, and I don't do these things as often...

I am still guilty.

Because I grew up in a community and a society that hates rapists and pedophiles while making excuses for rapists and pedophiles if I spoke up. If other girls and women spoke up. If boys and men came forward with their true accounts without receiving homophobic comments, or the overused, "You became a real man, congratulations!" Canada's Supreme Court will not keep a sex predator behind bars for more than ten years. That's all the additional proof you need.

The hypocrisy was real, and it still is.

There was an incident where a little girl complained about a church elder touching her... No one believed her.

Later on in my teens, a teenage boy was falsely accused of sexual harassment, and everyone believed the lie (except his closest friends, whom told her to stop following them around).

Another church elder (and a Bible thumper), fondled my breasts out of spite - and my mother blamed me! The next time I've seen that elder, I've set her straight, but who the hell am I for talking? She's still the most respected because she knows every scripture passage, from Genesis to Revelation, and also knows every volume, word for word, from The Spirit of Prophecy. So she has no sin...

THE LIES!

I was nervous shaky the entire time.

So growing up Black, in a church community, as a girl (now a woman) had many catastrophes. I'm not crazy for putting this out there, just keeping it real. I'll be in church in approximately less than three hours from now, and if anyone cracks jokes or makes demeaning comments about R. Kelly's current and former victims, talking about how they're fast, and how they should've come forward... Nah, Hollywood gets away with sexual deviance against minors. A large percentage of them have bought R. Kelly's music, at music stores and on iTunes/Google Play Music. No surprise, huh? As much as I love my church family, I cannot accommodate the ignorance that's gone on for my whole life so far. *Sigh* This has blackened my heart, I just... I am at a loss, not only for R. Kelly's victims, but every child and youth who will be targeted by men and women who cannot be trusted.

I will always support Black Empowerment, Black Lives Matter and Black History... But I have zero tolerance for the enabling of pedophiles and rapists. Even the jokes. It's distasteful.

If you are a supporter/apologist of R. Kelly, Sparkle, Marques Houston, and any other person who'd used/subjected minors to assault and/or grooming, get off my page. And stop pretending to be a huge Aaliyah fan... We've lost her because the adults in her life had failed in exchange for her fame. We also owe Michael Jackson's family an apology for destroying his character and career under false allegations, while R. Kelly was still a free man, preying on girls and grooming boys to become like him... And all the evidence of his crimes were readily available on the archives while I was in Junior High. While we're at it, Kitti Jones and Drea Kelly need to take several seats. They've had every opportunity to approach the police. They've known what R. Kelly did to all those girls and how it's destroyed their youth. They are the poorest examples of how to put sex offenders in their place, just so they can get money now that #MeToo (who never gave a damn about half of your experiences, unless you were penetrated by a man)... Nuh-uh! The lives that were destroyed by rape, molestation, grooming and exploitation matter more than the money anyone might make from a case that should've been dealt with decades ago! My heart is very heavy throughout this post. I know it's Sabbath hours, but I'm currently listening to "Don't Stay" by Linkin Park, because it truly reflects my thoughts and memories, in the wake of #SurvivingRKelly.

Everyone (especially Black people) who put on R. Kelly during weddings and birthday celebrations, I've taken notes. You will not be trusted around my future children (if it's meant to be). I've never healed, yet. The community does not offer a safe space to heal from the damage that's been done. So when I hear about Chester Bennington (Linkin Park -I hope I spelled his name right), AJ and Nick (Backstreet Boys - their parents stood up for their sons), B2K (especially Raz-B), IMx, Sammy, O'Ryan, the victim of Brock Turner, a few victims of Bill Cosby and that actor from 7th Heaven, the young girl who was sexually assaulted and exploited by that loser who was granted a chance to finish up his studies at UofC (University of Calgary), Natasha McKenna who was stripped, dehumanized and tasered in her last moments by eight men, the former victims of Eddie Long who were forcibly silenced, the girl who was raped, hospitalized and raped again in the hospital by her father and brother... This is real ish. I have no more words. Leave my page if you support R. Kelly... Special shoutout to John Legend for keeping it real. Another special shoutout to Terry Crews who spoke up. To the victims of Harvey Weinstein and Kevin Spacey, you also need to get your voices heard, because you also matter. To the victims of Ryan Seacrest, the same also applies. May Corey Haim Rest in Power, because Charlie Sheen is getting his just reward for what he did decades ago. Although I'm glad B2K is reuniting for tour, I've been conflicted with how R. Kelly wrote your popular hits. That wasn't your fault, though. Your former manager (Chris Stokes - another pedophile) had that set up for your grooming - good thing y'all left TUG behind when you did. Other artists and notable faces in the entertainment industry - you don't have to comment, but I beseech you to STOP collaborating with R. Kelly. What he did to those girls is beyond me. If you keep enabling him, you're now guilty for proving that rape is okay.

It is not.💯

[implosionsprawl]

The Missing Piece: Down on the Upside

It’s a quarter past nine A.M. and my playlist hits me with a dose of Soundgarden. It got me thinking of the band and their place in rock and roll history. They obviously have a sound to them. The sludgy riffs, the precise (all the while chaotic) drumming, a sprinkle of weird bass lines, and above all—a cathartic vocal. It is clear where all these ingredients come from. Each has a personality and the band is better for it. Individuality is what makes each member standout, but it is also clear that the ingredients at hand make one solid image: Soundgarden.

With that said, why aren’t Soundgarden discussed in the pantheon of rock music?

Upon further listening to Soundgarden’s discography I found myself enamored with Down on the Upside. There is relatively no discussion around the record today. It’s an album that the fanbase knows, but it’s not a classic. There lies the tricky part of discussing Soundgarden: they are an important band of the late 80s and 90s, yet they’re defined by Nirvana and Black Hole Sun. I’m reminded of the great bands such as The Stooges, The Pixies, and Big Star. But how is a band associated with what many consider the last great rock and roll scene “Grunge” and have platinum records be discussed with the likes of the Pixies and Big Star? It’s essentially a conundrum. One cannot be completely unknown if you're known, but like Jason Lee’s character says in Almost Famous, “I’m one of the out of focus guys” regarding the fictional band picture. In other words, Soundgarden is part of the picture but seemingly are out of focus.

The dilemma lies in that Soundgarden broke up the following year after the release of Down on the Upside. And well, Kurt Cobain’s death. His death essentially haunts every rock band of the time. I bet you if you read an interview from the bands related to the “Grunge” scene, whether they were from Seattle or simply hanged out with them or butted heads with them, they will get asked about Cobain’s suicide. It’s a shadow the looms large in the 90s rock world, but one that shouldn’t define the era of great music.

As for Soundgarden breaking up—it is my theory that Soundgarden would have stayed relevant in the 00s and build a larger body of work that would be undeniable (although I believe the quality of their current music speaks for itself).

But alas, we are dealt with the cards of destiny. Kurt Cobain, unfortunately, committed suicide in 94’ and Soundgarden broke up after their release of Down on the Upside (would reunite 14 years later alongside a fantastic reunion album, but that’s a topic for another day).

So, we are left with a band that debuted in 1988 with Ultramega Ok, helping define the metal-punk hybrid of the 1990s. Followed by Louder than Love, pushing forward Seattle to the mainstream, which then leads to their first true success Badmotorfinger. Soundgarden would then reach the top of the mountain with Superunknown—regarded by many as one of the greatest records of the 90s and Soundgarden’s best album. I would not object to those sentiments. In fact, I would praise the album more, but I digress.

But what of Down on the Upside? What do we make of this album? Is it a forgotten masterpiece? What does it define? Is it simply Soundgarden's last record before their break up? 

On June 8th, 1996, Down on the Upside debuts. It is important to point out the year that was 96’. Alanis Morissette’s Jagged Little Pill continues to sell like crazy. The year the Fugees released The Score. The year of Mellon Collie and The Infinite Sadness by The Smashing Pumpkins. 2Pac’s all Eye’s on Me continues gangster raps appeal to audiences. All these albums are iconic. It’s also important to point to what follows in the coming years…nu metal, rap metal. In other words, music that isn’t fondly remembered yet in the big picture regarding 1996, and Soundgarden, we are left with their forgotten prodigious album.

How does Down on the Upside go unnoticed? The album falls into the category I like to call: The Hapless albums. In this category, you’d find Guns N’ Roses’ Use Your Illusion I & II, Led Zeppelin’s III, Aerosmith’s Get Your Wings. Albums that should be discussed a lot more due to the added depth those records add to the artist. They might have songs that are known, but these albums are seemingly forgotten in the grand scheme of Rock music. It could be that they were succeeded by a giant record (ala Toys in the Attic and IV), or the Hapless album followed a defining record (such as Appetite). Or in the case of Down on the Upside, it followed Superunknown and Soundgarden broke up. Something for some reason clouds the record.

So why even bother pointing out the fact that Down on the Upside is not a celebrated album? Well, because it should be. And I believe it encapsulates the ending of a period in Rock music. It’s a special album, not only because it’s a great listen, but also because it’s the ending of a sound that would not be heard again. As Radiohead’s seminal album Ok Computer debuts in 97’ we have a new era of music entering the Rock world. We would have Rap Metal, Nu Metal, and Ok Computers progressive art rock (although Bjork and company were doing things like Ok’s sound before). Essentially, in a years’ time, Down on the Upside is dead. Signaling a changing of the guard.

Flashforward to the present day. We have the advantage of time. Legacies have been written and rewritten. I still remember when an artist such as Justin Timberlake and Beyoncé were ridiculed, or how Rap music was not seen as music at all. Nowadays, these are the artist who people and critics admire. Change is inevitable.

In that same regard, I played Down on the Upside on Spotify. I always enjoyed the album, but after listening to it recently I couldn’t help but feel the album aged just right. The record is a repeater, one listen does not justify the complexities of the album. It’s got bite like most great albums do. Unlike most great records though, each song sound of a piece, rather than a unified thing. Yet as the album forces you to listen to it in its own terms, you begin to notice how that may have been the intention. The more you invest in the record the more Down on the Upside speaks as a great album. It’s one of those albums that you listen to it once and it leaves you disoriented, but with a sense that it’s a good kind of confusion. The second time you enter the labyrinth that is Down on the Upside it captures you. Soon after you (at least I did) will throw away the map and simply enjoy the sounds and music Soundgarden created.

Down on the Upside is the missing piece, that if recognized, would push Soundgarden to be discussed amongst the great artist of all time. It’s an album that closes the “grunge” sound, an album that closes a chapter in rock music, but most importantly, it’s an album for all time.  

[reinterpretationofdreams]

2Pac - Pain

I only knew this song existed because I watched Above the Rim a few months ago. It was so good that I had to rewind the opening credits a couple of times to hear it, and then I shot an Instagram story of it so I'd remember to track it down later. I couldn't find it anywhere except YouTube, but it was recently added to Spotify. I've been bumping it nonstop since then. Apparently it's always been something of a rarity. It was only available on the cassette-version of the Above the Rim soundtrack and as a single.

It kicks off with a Star Trek clip about pain cutting deep and rolls into a melancholy East Coast boom bap beat that samples Earl Klugh. It's the kind of thing you'd hear on an early, more introspective Nas or Jay-Z track, when you could still hear some Native Tongues influence. I personally like Pac best on tracks like this ("Do For Love" was my favorite 2Pac song for years) where he's a bit softer and conscious in his gangsta mythmaking.

It's a bit pedestrian and paint-by-numbers Pac bars-wise, which isn't surprising for a track written for a movie soundtrack. I don't know how many times I've heard him rhyme "Hennessey" with "Enemies," and he does it a few times here.

Live Squad member Stretch is a feature here, and he doesn't stand out too much. This is the kind of track that can sorta wash over you, so you might even miss him. I wouldn't say he sounds like 2Pac, but his flow is reminiscent of Pac when he's more excited and confrontational. I don't know too much about him, but he's from Queens so the dreary boom bap makes a little more sense.

While the rapping is kinda whatever here, I don't mind. The gloomy, reflective atmosphere elevates this to the top-tier of 2Pac tracks for me. An overlooked gem that I'm sure would have been a long-time favorite had I heard it back in the mid-90s.

[thethoughtreport]

Review: Tyga ‘Hotel California’

April the 9th was the official release date for Tyga’s ‘Hotel California’ album and although it was unfortunately leaked a few days ago, I chose to wait until today to listen to it. ‘Careless World’ was a fantastic album and Tyga has put out more than one excellent mixtape since he’s been in the game. From the singles that he has released from this album, I couldn’t wait to hear the full-length feature and I’m happy to say that it lived up to my expectations.

The opening track is ‘500 Degrees’ and features Lil Wayne. There’s a nice beat on this one and strangely, Wayne’s flow is better on this joint than it is on his own album. I reviewed the video for ‘Dope’ featuring Rick Ross when it was dropped but I haven’t listened to it for a while and forgot what an awesome hook it had. Catchy hooks occur throughout ‘Hotel California’, especially in the first half of the album in tracks like ‘Get Loose’ which has Tyga’s usual smooth lyrical flow on it. ‘Diss Song’ is another one with amazing production and an infectious beat.

Tyga dropped the audio for ‘Hit Em Up’ about a week ago and it featured Jadakiss and 2Pac. Strangely though, the album version does not have the 2Pac verse on it and I am not sure why as it sounded great. The rapper did get a bit of negative feedback but he doesn’t strike me as someone who would change a track to please his critics. It still sounds good but because I’ve heard the version featuring 2Pac, the album one feels like it’s missing something.

‘Molly’ was one of the singles dropped before ‘Hotel California’ was released and although I’m not a big fan of Wiz Khalifa, I like his verse on this one and the beat is just so dope. This is one of the tracks that will be stuck in your head long after listening to the album. ‘For The Road’ with Chris Brown is a slower jam that Tyga sounds great on. Unlike some rappers, who’s voice doesn’t suit more mellow songs, Tyga’s style suits these just as well as they do on the up tempo ones.

‘Show You’ is probably my least favorite track on the album, but that is only because it features vocals from Future and try as I might, I just don’t like this artist’s voice. My favorite track has to be ‘It Neva Rains’ with Game, just because of the feel-good vibe and summer sound it has. ‘It neva rains in Southern California,’ Tyga tells us and I really hope he drops this one as a single because I’m sure the visual would be epic.

Wiz Khalifa is enlisted again for the track ‘M.O.E.’ which stands for Music Over Everything and is a nice mellow number. Tyga’s trademark growl is missing until the ‘Hijack’ song which features 2 Chainz and then it’s finally back. You can’t have a Tyga album without some of that awesome growling that only he can do. The 2nd half of the album has a slower pace than the first; similar to what he did with ‘Careless World.’ Stand out tracks are ‘Drive Fast, Live Young’ and ‘Dad’s Letter’ which is an emotional open letter from Tyga to his father who left when he was young.

The last track is ‘Switch Lanes’ with Game which has probably the catchiest hook on the album. Tyga has already released a few singles from ‘Hotel California’ but there’s more than enough quality tracks to release a few more. It’s definitely a step up from his ‘Careless World’ album and you can hear the growth in this rapper’s flow and the way he spits his rhymes. Tyga is improving daily and his talent ensures he will only get better. Go cop this album now!! Trust me, you won’t be disappointed.

[beautyisyours]

BONES GOES COUNTRY

(Side note: it’s so weird how things change but stay the same. Now I am constantly scolded for putting acts on our show that aren’t “country” enough. So, like in real life, I never really fit in perfectly on the radio, either. I may be the only guy to play 2Pac into Luke Bryan into Lou Bega on a country station. I also bring in acts to perform on the country stations that aren’t country at all. I’ve had Ed Sheeran in performing live. Even Shaggy came in to do a couple of songs. Yeah, “It Wasn’t Me” Shaggy. The station managers were like “WTF?”)

Because Rod and I had been talking about my moving into a country format, I didn’t think it was all that odd when he invited me to the Country Music Awards in November. “I know you’re wanting to spread the word about your show,” Rod said. “So why don’t you come to Nashville? Everyone’s going to be in town at the same time. Station managers, company managers. Ordinarily it’d be tough to get all these people in the same room.”

He didn’t have to ask twice. I booked my Southwest flight and off I went to do my Top 40 show from the heart of country music, and hopefully get station managers to see it was a good fit for their stations. Almost as soon as I landed in Nashville, Rod and his team (from the company then known as Clear Channel but later rebranded iHeartMedia) were wining and dining me. Well, just dining me. They took me to so many awesome dinners and cool places it was freaky. Maybe they just like me, I thought to myself. But that wasn’t what it turned out to be at all.

On my second day in Nashville, Rod casually suggested we check out a shoot where all these top bands were doing national promos for our company. “Of course!” was my speedy reply. Tim McGraw was there; Lady Antebellum was there; Carrie Underwood was there. And everyone was super nice, and so clearly A-game. “Well, this is pretty cool,” I thought to myself. “I’m in Nashville to meet all of the bosses. And I get to see a few country stars, too!”

Right after I got done talking SEC football with Tim McGraw (and texting all of my friends, “I’ve been talking with Tim McGraw for the last twenty minutes about college football!”), Rod took me aside and gave me one of those serious the-police-are-outside-to-take-you-to-jail looks. “Listen,” he said. “You’re about to be hammered. They’re going to tell you something that will really shake you up. I shouldn’t even be telling you this, but I just

wanted to give you a warning, so brace yourself.”

What?

Thanks, Rod Phillips! I mean, what the heck did that mean? Was I about to get fired? You brought me out here to fire me? I imagined the worst flight home ever: being fired and then having to sit on a plane for two hours wondering why. I know it’s not customary for bosses to take their employees out to big fancy dinners and promo shoots if they are about to fire them, but common sense wasn’t floating around anywhere in my head in that moment.

It only got worse when I was taken over to a corner of the video shoot where huddled together was a group of bigwigs: Rod; John Ivey, the program director of KIIS FM in Los Angeles, one of the two biggest Top 40 stations in America; and Clay Hunnicutt, who was then the director of country for Clear Channel, were gathered around talking. They sat me down and said, “We want you to move to Nashville to be our national country morning show.”

And then I went deaf. Just like when something loud pops in your ears, I heard a loud beeeeeeep and then nothing after that. I was shocked. Their offer came out of nowhere for me. It was the last thing I was expecting. I really thought I was going to Nashville to pitch my Top 40 show, based in Austin, to any station manager who would listen—not to be asked if I wanted to broadcast the largest daily country morning show in the history of the format across tons of Clear Channel’s markets.

“Are you kidding?” was all I could manage to say. They took a picture of me as they asked me the question. In the photo, I’m pink haired (it was Breast Cancer Awareness Month) and my jaw was on the ground. I was shocked, sad, and slightly excited at the same time. In that order.

I didn’t say yes right away, not only because I was in shock but also because I really didn’t know how to feel about the offer. On the career side of things, I had built this entire “empire” in the pop format. It was a small empire, but it was definitely expanding. I had already accepted the fact that I wasn’t going to get a morning spot on Top 40 stations in New York or L.A. Elvis Duran and Ryan Seacrest had both just signed new contracts, and they weren’t going anywhere anytime soon. They were giants. But I was content in continuing to grow from where I was. In addition to my regular morning gig, I had started cohosting a new national sports show on Fox Sports Radio with tennis champ Andy Roddick. (Let me sidebar on Andy, who in addition to having become one of my best friends is also one of the most obnoxious

and best humans in the entire world. That dude can be a real dick on the tennis court or golf course. But man, he is a quality human being. One of the best people I’ve ever met.)

Despite the fact that I was comfortable with what I had done in Austin, I wasn’t stupid. I recognized that there was much more room for me to grow inside of country—the biggest format in America and one in which I felt comfortable because of my background and my deep appreciation for the music. But there was one other major factor that kept me from jumping at the promotion: I loved Austin. I mean I really loved Austin.

I was supposed to hate it, because I’m from Arkansas, and when you grow up in Arkansas, you are taught to hate Texas. Texas is the bigger and better brother—particularly when it comes to sports. So as an Arkansas sports fan, I was pretty wary when I first moved to Austin. But the people there are so great. The city embraced us, which was particularly unbelievable for as cool a place as Austin to do to a small gang of—well—idiots, who had never done a morning show like ours. In a city where everyone is always trying to be the biggest hipster in the room, my approach was always to keep it real. I mean I- hang-out-at-Chili’s-and-shop-at-Walmart real. And people loved us for it. I couldn’t imagine anything better.

I thanked the Clear Channel execs, who expected me to answer “yes” right away, and immediately went back to my hotel room, where I called Betty.

“You’re not going to believe what just happened,” I said to her. “I was just offered a national show from Nashville. They want me to move here and be the national country guy.”

I know that it had to be hard for her to hear, because the offer meant I would have to move away. I already wasn’t the easiest boyfriend in the world; a long-distance relationship would only make things more difficult. Still, because she cared about me so much, her immediate reaction was to think only of me.

“You have to do it,” she said.

It’s crazy just how supportive and unselfish she was. I don’t have that inside of me. But she did. She didn’t need to think about it. In a beat, her response was “You have to take the job.”

I was scared—not to go to country, because that was awesome. And not to go to Nashville, because Nashville’s awesome. It was because I had to kick down everything I had spent the last seven years building from the ground up and start all over. It felt very much like the move from Little Rock to Austin.

I’d never been there before, but I had to do it. “You’re right,” I said to Betty. “I have to do it.”

A few days later, I told the execs at Clear Channel that my answer was yes. Of course, it wasn’t quite as simple as that. These kinds of offers are always followed by a lot of negotiating on both sides. One thing that wasn’t up for negotiation, however, was the rest of my crew on The Bobby Bones Show. I wasn’t coming unless all of the team could come too. If they wanted the show, well, Amy, Lunchbox, Ray, Eddie, and the rest of my crew were

the show. Thankfully, that wasn’t a sticking point.

Even though the gang had new jobs in Nashville if they wanted them, they still couldn’t know for a long time, which was weird for me. It went from uncomfortable to problematic when Amy and her husband picked a house to buy in Austin. Luckily (for me), something happened and the deal on the house fell through. But I went to Rod and said, “If we don’t tell Amy now, she’s going to buy another house.” So I got special dispensation to tell her months before everyone else. She was in immediately. Because for Amy, the bigger her platform, the more good she can do in the world. Also, despite how much the rest of us drive her nuts, she still likes being part of the gang. Crazy girl.

Eventually I was able to call in each person on the show one by one and tell them that I had some information I needed to share, but I had to have them sign a nondisclosure agreement first—which scared everyone. As soon as they had put pen to paper, I told them the news quickly. I didn’t take any pleasure from torturing people.

Except Lunchbox. He was the only person I messed with. “There’s going to be a lot of changes,” I said.

“What kind of changes?” he asked nervously. “The changes involve you.”

“Okay.”

“It’s tough for me to tell you this . . .”

I dragged it out forever. I took many deep breaths. I even faked a half cry.

It was an Oscar-worthy performance. I wish I had taped it! “I’m going to be leaving,” I said.

His eyes got real big.

“I’m really sorry that I have to leave. I don’t know what you’re going to do

. . . but I hope you’re going to come with me, because they’ve offered us a national show out of Nashville!”

He didn’t know whether to hug me or kill me. It was awesome.

On Monday, February 4, 2013, we formally announced that The Bobby Bones Show was moving to Nashville; Friday was our last show in Austin. I know this might not seem like big news to most of you reading this, but it made some waves in the city that built our radio show. As the Austin Chronicle’s Abby Johnston wrote about me: “He assembled his own dream team and turned KISS FM’s negligible ratings into a national goldmine, far outscoring any other local show. . . .

“The show feels like a conversation between friends, and that’s what kept me listening. I love to hate Lunchbox’s antiquated and misogynistic attitude toward women and his party-boy lifestyle. . . . Lunchbox’s foil, Amy, has captivated listeners with her struggle to have a child, and as she chokes up on air, I’ve shed tears with her. . . . Mostly, though, there’s Bobby, who through the years has revealed himself as one of the most genuine and open hosts on the radio.”