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Ice Spice – Like..?: Review
Posted on January 26, 2023 January 27, 2023 Posted in 4-7 Ratings, Music, ReviewsTagged Album Review, Drill, EP, Ice Spice, New Hip Hop, New Music, New Review, New York Rap, RapLeave a comment
Living in a world where going viral is as vital, if not more, than steady consistency amongst artists, it's no surprise that Ice Spice took the wheel swiftly and continued to build on the success of her viral hit "Munch (Feelin' U)." She continued that skyward trend with her following single, "Bikini Bottom," a track that takes sonic influence from the Bikini Bottom title theme of Spongebob Squarepants and is as awe-inducing as it is confusing. Like "Munch," Ice Spice doesn't so much establish this jubilant and vibrant tone for the dance floor; she exhumes confidence that would otherwise be addicting if the writing had any level of depth, especially when her flexes are bare. However, Ice Spice has shown that she can bring varying dimensions to her writing, whether comparing and contrasting or fired-up metaphors, while staying bare and still meshing with the slick production by RIOTUSA, her frequent collaborator, on her debut EP, Like..?. It brought some intrigue to build within, but it fizzles swiftly with brisk pacing and an overall forgettable listening experience.
If there is one element of Like..? to thoroughly commend, it's RIOTUSA's production, which keeps the listener fluffed and on their toes – even if it's the most lavish – hoping for some moderately good flows and verses from Ice Spice. Unfortunately, that isn't the case. Though Ice Spice picks up steam with "Princess Diana" and "Gangsta Boo," what surrounds them are tracks with poorly written brash lyricism that pushes sexual ferocity, liberty, and confidence. She exhumes vocal confidence that her candor circumvents the simplicity of some verses and choruses, allowing some to brush aside retreads and inhale the mixture of music getting produced. In this recent wave of New York Drill, creativity is scarce, and though the production brings a lot of consistency, it's boasted to higher levels because the beats sound like RIOTUSA took the time to make them.
Since the viral sensation "Munch (Feelin' U)," Ice Spice hasn't fully separated herself from it lyrically. She references it twice outside of "Munch," but they never come off organically. There's some casualness, like in "Actin' A Smoochie, where she rapped, "N***a a munchie, he eat me like food, damn (Grrah)/He eatin' it up, kitty on water, he beatin' it up (Beatin' it up)." The bars aren't as gripping. Each time it happens, there is no sense of oomph riding it, making it seem like she's forcing an inorganic identity, like the mundane producer callout. It's never in alignment with the flexing and trying to make it seem like eating pussy is prestigious these days, unlike in the past. We hear this on "Bikini Bottom," she raps, "Balenciaga baddie, got a bag (A bag)/N***a munchin', ate it from the back (The back)/N***a fiendin', gotta play it cool (Huh?)."
That sexual liberty gets surrounded by simple flexes, party-like bars, and more sexual liberation which never takes that extra step, like the lines "In the party, he just wanna rump (Rump)/Big boobs and the butt stay plump (Stay plump)/She a baddie, she know she a ten (Baddie, ten)" and "Goin' viral is gettin' 'em sicker/Like, what? Let's keep it a buck (Huh)/Bitches too borin', got 'em stuck in a rut (Damn)" off "In Ha Mood." She's spitting relative randomness without constantly focused on storytelling, unlike the main highlight, "Gangsta Boo" with Lil TJay. It samples the iconic "I Need A Girl Part 2" and uses it beautifully, but the percussion still follows a simple flow, so Ice Spice stays comfortable. Ice Spice brings her all here and shows promise that she can deliver some great verses in the future.
Though I've commended the production, its creativity comes from everything outside the drums; it can feel somewhat fresh. It's more energizing with "Princess Diana" and "Munch (Feelin' U)," but as it comes back full circle, what everyone has been touting since "Munch" became a viral hit. Ice Spice doesn't try to hide it, but it isn't all that cool or great since she lacks variety on a technical level. I was left shrugging as I couldn't fathom returning to this EP and re-evaluating its sure fire miss. It is something I had some hope, it would excel past expectations, but even with my low confidence in its quality beforehand, I wasn't shocked when I felt justified that Ice Spice isn't totally there yet, but there is still room to grow and hopefully, she does.
Skyzoo & The Other People – The Mind Of A Saint: Review
Posted on January 16, 2023 January 16, 2023 Posted in 8-10 Ratings, Music, ReviewsTagged Album Review, Conscious Rap, Hip Hop, New Hip Hop, New Music, Rap, Skyzoo1 Comment
Hip-Hop isn't a stranger to concept albums where rappers choose a perspective and build a narrative between fiction and non-fiction, whether it's Black Trash: The Autobiography of Kirk Jones by Sticky Fingaz or American Gangster by Jay-Z. Skyzoo & The Other People take on this approach and deliver an album that takes us through the perspective of Franklin Saint, the lead character in the FX drama, Snowfall. As one who hasn't seen the show, it's not hard to connect the parallels to the era it reflects, but there is no doubt if a listener is a fan of the television series, they'd get exponentially more out of the album. The music profoundly reflects attitudes of the 80s, Saint's will to survive, and personal growth through daily interactions with those in and outside The Family. Though the latter can respectively leave some empty pockets, there's enough for one to see its greatness, specifically when boosted by fantastic production. The Other People implement modernized nostalgia, using elements of Gold Age Hip-Hop and Boom Bap into this alluring cohesion of music, furthering one's allure to the project.
Like Black Trash: The Autobiography of Kirk Jones, Skyzoo keeps the narrative in constant motion, keeping the aesthetic realized from production to the verses, and never breaking character, keeping the swagger intact. The Mind Of A Saint is effusive and personal, at times expressing that sly coldness that comes with one's own comfortability flexing this kind of success at the expense of the common folk and their addictions. It's raw and honest, making you zero in on the nuances of his bars, and it starts to hit you in the middle as Skyzoo brings Franklin Saint to life, and keeping it real – the tracks, "Straight Drop," "100 To One," and "Bodies!" It doesn't stop there as it continues toward a strong ending. Unfortunately, not all tracks are dense, as some allusions to interactions in the show can leave you with questions; it's a positive that it's significant enough to possibly influence one to watch it as it did with me.
Waxing poetics, Franklin Saint (Skyzoo) rarely delivers bad bars, weaving concrete storytelling that builds emotional dexterity with the escalation and de-escalation in his directness and metaphors. On "Bodies," Saint raps about people who've died throughout his career hustling, describing to us why or why they didn't deserve death. He's bringing a sense of broken trust within the family and do-or-die survival selfishness. He brings us an overview of his community and a life ingrained in the song "Views From the Valley," which beautifully paints a picture of the kind of up and downs Franklin Saint deals with through the everyday motions of others around him, like his uncle.
There are audio queues that steer the narrative of a drug kingpin getting into the studio for the first time and emotionally flowing naturally – others add depth to the overall worldview Saint is living. Other audio comes from the show, though the first is from the pilot, they use specific exchanges that describe his rise or a mix of ads influenced by the "Just Say No Campaign" and a speech by Ronald Reagan about the war on drugs. It gets used to bringing his world to life and understanding the character he wants to present to us. The studio audio is potent in the six-minute verse emotional opus "100 To One," which sees Saint rapping eloquence. It gets mirrored in "Purity," which sees Franklin Saint delivering this crisp understanding of the dangers and turmoil that can come with life, adding depth to what we've heard; Saint keeps that coldness, so his weakness never shines bright.
Beyond the scope reflective of the television series and its themes, The Mind of A Saint reflects that early 90s style where rappers who retroactive slang drugs and painted a portrait of the streets – think Illmatic or Ready To Die. There was never a need to hide the struggles of eventual paths artists took before making it in music, like The Notorious B.I.G. and Jay-Z did with their respective debuts. They incorporate these soulful, at times jazzy notes and samples that embolden the time we're supposed to be getting on this album. For example, we get a captivatingly loungey beat in "100 To One," which incorporates jazz piano and strings within a subdued tempo; "The Balancing Act" adds soulful textures with backing vocals and percussion, bolsters the sentiments behind his emotional delivery. It's like his distinct slower tempo version of "Juicy," as he mirrors similar themes. It's the best part of the album as it shifts sonic complexions while maintaining a cohesion that can be heard separately from the slight niche lyricism.
As great as this project is, there is a thin wall separating what you get out of it with or without watching the show. The Mind of A Saint did influence me to start the show and learn to later re-listen and get closer to the words of Franklin Saint (Skyzoo). However, it's still effective in replicating a story of a young hustler growing to become a kingpin and the nuanced themes written within the verses about survival and success with the life given. Sometimes, it feels like opening a time capsule. It doesn't feel dated, almost a testament to the time – Skyzoo grew up with that style; the influence gives him that natural cadence in the flow, and he beautifully reflects that with this. The smooth cohesion from start to finish offers a crisp listening.
⭐⭐⭐⭐⭐⭐⭐⭐
6 Albums I Can't Wait To Plug My Headphones Into 🎧!
Posted on January 3, 2023 January 8, 2023 Posted in Features, Lists, MusicTagged Hip Hop, New Music, Pop Music, RapLeave a comment
2023 is finally here, and with it, one hopes for a platoon of exceptional new projects from artists we love and debuts, leading to fresh discoveries. However, since Beyonce released her self-titled album, we've been getting many more unique rollouts, far from the apropos single, single, eventual album model. Often, we don't get announcements till closer to; other times, they just drop surprisingly with a little word in edge-wise. It makes it harder for one to properly talk about what we can anticipate without sometimes looking like Charlie – from It's Always Sunny – in that meme where he has his hands over a board that's connecting dots to a mystery. I won't be him today; instead, I'll be talking five albums with surefire, or set releases in stone, that I'm anticipating for this year.
Did You Know That There's a Tunnel Under Ocean Blvd – Lana Del Rey
While many loved the lavish, overly produced tempo of Norman F**king Rockwell, it didn't feel as refined, unlike Lana Del Rey's subsequent album, Chemtrails Over The Country Club, which bolstered her vocals exponentially. It hit me instantly on the standout "White Dress," which continued throughout this album, and the subsequent Blue Bannisters, which continued to let Lana expand her horizons with more minimalist, but decadent production. The first single off the new album, Did You Know That There's a Tunnel Under Ocean Blvd – the self-titled track – opens the floodgates toward this more melancholic and operatic divide. Her vocals have distinct textures within similar stylistic sounds within chamber-pop-like production. It feels reminiscent of the work done early in her career, along with what Lana Del Rey has been brewing since Chemtrails. I'm excited to see what this new album takes us, especially with Del Rey's unique and petty promotion with the billboard in her Ex's residential area.
Don't Be Dumb – ASAP Rocky
When news came out about A$AP Rocky's upcoming release, pre-name change – from All Smiles to Don't Be Dumb – my eyes and ears stayed glued to anything relating to the album, especially when we heard Rocky is working with Morrissey. The idea of two arrogant, egotistical, no-filter artists coming together to expand on their musical strengths just sounds like something to behold. Granted, it won't automatically equate to greatness, but with the music Rocky released over the past couple of months, I was intrigued. We got two singles that maneuver his direct nihilism in flow and lyricism, feeling reminiscent of early 2010s ASAP Rocky – playing less with melodies and more with multi-layers songwriting. It keeps my eyes and ears perked for any news, especially with the hype Rocky has been bringing in performances and more; it's now only a wait-and-see as fans indulge in his latest two singles and feel the vibe Rocky is most likely aiming for with Don't Be Dumb.
Cracker Island — Gorillaz
Dropping single after single appears like the new approach for Gorillaz as of the release of their last album, bewildering us with unique tunes and delivering a tracklist with standout features; unfortunately, the wait can be ever-long. Unlike Song Machine, Season One: Strange Timez, Cracker Island shifts the clock back a bit, looking to release and find equilibrium between its use of features, and retaining a sense of individualized identity on their solo tracks. Here, we see both, but the solo tracks get rounded out by unique features; Gorillaz have shown us how fluidly they can make these combos work, like when they did a song with Elton John and 6lack. Cracker Island gives us a few to hold over, like the funkadelic "Cracker Island," which incorporates luscious bass grooves and vocals from Thundercat, who adds a decadent, and softened layer that oozes in a soulful undercurrent that keeps Damon Alburn's melodies vibrant.
Gorillaz's feature-laced albums are a few in between, but when Gorillaz come with an album that isn't all Damon Alburn for 50%+ of the album, they have excelled in creating something more artistically profound. We heard it on the fantastic Humanz and Plastic Beach, and hopefully, glimpsing a crisp equilibrium in the tracklist of Cracker Island, along with the singles I've heard, leaves me with some impression that it will be a hit like 3/5 of their albums between 2010 and 2020.
Utopia – Travis Scott
Utopia has been in discussions for months, and years, seemingly leaving us bewildered by when and what. Travis Scott has released singles like the darkly atmospheric trap track "Highest in the Room," co-opting collaborations with his label Jack Boys, and settling the fires of the Astroworld tragedy. Being in the public eye can skew decisions made, and it isn't surprising that his name doesn't have the lightest presence, further pushing Utopia's release until 2023. Though, to be honest, it could be a product of Scott's ever-growing teasing and constant business ventures, from working varying avenues of the music industry to fashion and fatherhood, one could find reasons for the delay. However, the promotion leading to has been nothing short of excellent before the Astroworld tragedy; plus, a week-long residency in Vegas this past September and some Billboards certainly helped too. I'm curious to see how different Travis Scott comes, specifically to see if he slightly reinvents himself sonically to reflect the constant musical growth he's gone through.
This Is Why – Paramore
After a five-year hiatus from making music as a collective, Paramore left 2022 with the news of a new album after the remarkably vibrant synth-pop/dance-punk laced After Laughter (2017). It was a continuation of the aesthetic have them hitting a momentous stride, as you see their musical growth and assimilation with these new influences driving their decisions. When they started releasing singles for the upcoming album, it felt like a slight change of pace from the angsty emo/pop-punk sound of their first three albums. Paramore's new album, This Is Why, seems to see another shift, or so I assume, with a more expansive influence getting brought to these songs, like the Math-Rock "The News" to the Funk and Dance-Punk latent "This Is Why." It's safe to assume we'll see another shift in sound, which bolsters the band's chemistry as they mesh new and past sounds from the past two albums that are nothing short of grand. It may be less than a month away, but I'm all souped up to listen ASAP!
Star line Gallery – Chance the Rapper
Chance The Rapper hasn't necessarily been dormant since the criticism and fizzling out of his popularity since The Big Day (2019); the corniness and sometimes overly loose flows and features didn't offer much of a platform to balance on. Come 2022, we saw a significant year for the Chicago rapper, dropping four singles that have shown us he has chosen to focus and whip up some of that pre-Coloring Book era where the lyricism matched the potency of the production. At first, Chance kept us focused with his intricate lyricism, but he brought me back with "Wraith," significantly more on "Yah Know." The bombastic Afro-Beat influence within "Yah Know" takes the listener to exponential lengths as the beat comes rich with a crisp Hip-Hop base, then escalates it with these rich drumlines and boisterous horn section. It's an experience that feels like it's yearning for a stage presence, where the sounds can get amplified and further entice the dance nerves in your body to force some jubilant movement.
"The Highs & Lows" and "Wraith" were two of the other four songs dropped by Chance the Rapper in 2022, but I bring these two up because Chance brings this unique cadence in his flows, seemingly guiding the music emotionally as he did with Coloring Book. There are deep seeded conversations within these songs; we hear Chance having with himself and the listener as he balances his faith and stability through life that we've seen tackle since the constant clowning post-The Big Day. "Wraith" had us listening to Chance focus on literal and metaphorical layering between bars to distinguish who he is in this world without feeling overly preachy. Similarly, with "The Highs & Lows," we hear Chance challenging himself to bring captivating flows and lyricism to match the potency of featured artist Joey Bada$$. It leaves a door open full of intrigue as one awaits, like myself, for an album that explores new foundations and sees Chance shifting gears from neutral to Drive 3, or third gear.
Ab-Soul – Herbert: Review
Posted on December 22, 2022 Posted in 8-10 Ratings, Music, ReviewsTagged Album Review, Conscious Rap, Hip Hop, New Music, New Review, Rap, Review, TDE1 Comment
Mentally exhausting but exuberantly rewarding, Ab-Soul's new album Herbert takes us through hurdles as Soul reflects on life and emotional imbalances that have placed him into a zone where the focus was his mental health. 2014's Stigmata felt like a linear direction of drug-infused beats built with the complexities of perfectly quaffed glass, and Do What Thou Wilt felt more of the same, just lesser in sonic appeal and construction. But that isn't the case with Herbert, an album that feels more like the dark undercurrents beneath the percussion getting refined and letting it control are more linear approach instead of flip-flopping between the overly experimental and the "Ab-Soul, Asshole" that we've listened to since Longterm Mentality. It's an evident relic of the past with its jazzy, at times lightly funkadelic tones that give us similar tendencies akin to the audacious and beautiful "Illuminate" from 2012's Control System. It isn't devoid of lyrical grit, where he can shift the parameters of his flows, keeping you engaged as Soul never diverts into songs that wane too much into darker experimentations.
As a lyricist, Ab-Soul's content is kitschy compared to most populous rap in the above or underground scene. It may have been why he never got an Interscope Records co-sign, allowing him to get down to the nitty-gritty and deliver songs where his sleeves ache, and his grief is on full display like he did with "Closure" off Stigmata. That's still prevalent here, along with more reflections that sees Ab-Soul constructing his multi-layered persona with vitriol. We hear it in the twinkly "Fallacy," which details Ab-Soul's hiccups and moments where he succeeds. It's in the emotionally complex "Herbert" and "The Wild Side," which shows us who he has been throughout the years – someone constantly on the side of the road where there's an obstacle with every step. It's a blissful melancholy that gets highlighted over beautifully resonant and sometimes minimalist (comparatively) production, continuously boasting the thematic prowess of Soul. Ab-Soul is one to knock out of the park more consistently when the nature of the tracks wanes on personable instead of flaunting and flexing, though there have been hits within that realm, like "Hunnid Stax." We hear the essence of it on the gripping and smooth "Hollandaise."
Time passes, and what you thought you knew may have been incorrect from the get-go. Recently, Edie Falco remarked in an interview about her role in Avatar 2: The Way of Water – when she filmed, what she thought it could make on opening weekend, etc. – Falco noted that she believed the film was released and flopped. Similarly, Ab-Soul's mild silence since 2016, only appearing as a featured artist or short, fulfilling singles, reminded me of a pre-2015 Ab-Soul, where the focus on experimentation had him flying too close to the sun. Unlike Icarus or Falco's thoughts on Avatar: The Way of Water, Ab-Soul didn't flop and had been bettering himself, growing as an artist, and finding meaning on his journeys. We see that with the beautifully constructed and focused concept album that imbues the essence of who Soul, musically and spiritually.
Containing a spiritual connection brings confidence toward having a multitude of producers board the ship to give us something as coherent as listening to screamo with freshly clean ears. There is an underlying distinction in styles as it transitions, allowing for seamless continuations of narrative greatness. The production boasts the content getting reflected, whether mellow or more boisterous, like "Positive Vibes Only." Unfortunately, as slick as the beat is, the track doesn't have the lyrical frontness and feels too lost in its production to make anything out of it, unlike "Hollandaise," which brings a lot of ammo. It isn't like the nuanced and ever-growing sounds of "Art of Seduction" and "Do Better." It's a flurry of simplicity that retains depth with how it gets constructed, unlike the overly styled beats of past songs like "D.R.U.G.S." and "Sapiosexual." Here, there is a fine line between the two; sometimes, you can't distinguish what hits and doesn't at first. When Ab-Soul chooses production that goes the extra mile, like "Go Off," that sense of doubt washes away swiftly as you hear Soul command the beat and take it to the next level. Unfortunately, featured rapper Russ doesn't match the quality writing from Ab-Soul and Big Sean, but he's only a quick slight that doesn't deter from the quality of the final product.
Herbert is a fantastic return for Ab-Soul. He's less reliant on creating an expansive piece on a limited canvas, instead aiming for something more constructive, linear, and oozing with melancholy; you can't help but feel attracted to the lyrics and sounds. It's a fantastic record that I'd wish released early because of the distinctively wrought process of dropping year-end lists during the first week of December as if it's some desolate month with little to offer, yet, we've gotten two incredible hip-hop albums.
⭐⭐⭐⭐⭐⭐⭐⭐⭐
Rating: 8.5 out of 10.
Little Simz – No Thank You: Review
Posted on December 15, 2022 December 29, 2022 Posted in 8-10 Ratings, Music, ReviewsTagged Album Review, Conscious Rap, Hip Hop, Little Simz, New Hip Hop, New Music, New Review, Rap1 Comment
Surprising us with an album at the end of the year, it sounds like the gears never stop churning for Little Simz. Her fifth album, No Thank You comes after a whirlwind of a year, where she delivered Sometimes I Might Be Introvert, boasting her status past the underground and getting recognized for the quality of work she continuously drops. Winning Best New Artist at the Brit Awards, Simz made it known she will continue to grow while retaining true to herself, especially with the win coming at the height of the critically acclaimed SIMBI. The explorative sounds of SIMBI are this extravagant continuation of genre-bending, this time boasting Hip-Hop undertones with Afro-Beat and Soul. The music of No Thank You gets toned to ease the blend of unique overtones with minimalistic percussion. We hear more Gospel and Soul, and Simz allows herself to focus on being instead of being pressured by multi-layered beats. No Thank You is laying a foundation that sees Simz confronting her truth – her feelings without boundaries, and keeping it 100 at the cost of lyricism.
On No Thank You, Little Simz expands detailed contextual alignment with themes regarding race, musical and personal growth, etc., allowing them to be heard effervescently in the confines of its lavish production. No Thank You starts reeling you with the opening track, "Angel," where she focuses on faith, her blackness, and her legacy with an exuberant bravado. It's awe-inspiring; it makes one wish all the songs cared to embolden the Soul/Funk/Gospel overtones, but some sidesteps to express an aspect of her nature lose traction by feeling like the odd duck of the clan or the plainish "Control." But "Gorilla" is that odd duck, but not because of its quality. It has a smooth, funkadelic bass line and minimalist percussion, allowing Simz to flow off the dome in a braggadocious fashion. But It's more linear and more of a cut from SIMBI, with the excess of its drum patterns. As well, it doesn't have the soulful nuance of the Gospel notes riding through many beats, hitting a peak with "Broken."
"Broken" is a sonic reflection of the style incorporated on a platoon of tracks that exceed five minutes; however, melancholic outros add additional depth to its more streamlined consciousness. The bars are slick, and Little Simz isn't devoid of clever rhyme schemes and metaphors. It counterbalances the spiritual cadence of the choruses and in-song transitions, and significantly, the intros and outros, where the hip-hop elements fade behind the curtain, giving center stage to the soulful vocals from singer Cleo Soul and musician/producer Kojo. They ease transitions as Simz buoys her identity through potential hurdles as her popularity grows. It gives new and old fans a spiritual understanding of her craft that won't change, especially as Simz continues to try new sounds.
The range of sounds producer Inflo delivers for Simz continues to boast her flows, which has been familiar since 2019's Grey Area; on No Thank You, there is a continuous delineation between the genre influence getting heard. From the string and percussion-heavy "Silhouettes" to the acoustic choral overtones that let Simz break additional barriers by pushing more weight onto her lyricism on "Control" and "Sideways." There is a crispness to the mixing that highlights both sides of the songs, letting you hear each detail, each angle it takes, as Simz never takes the short path to deliver. She paces herself fluidly through many tracks, allowing for a streamlining listen that lets you get from point A to point B while intaking everything smoothly.
Parallel to "Sideways" is the empathetic and emotionally captivating "Who Even Cares," where Little Simz opts for a more sing-songy flow and lets us hear a different side of her. Though it follows a third-person narrative focusing on humbled beginnings and rational selfishness so one can succeed toward their goals, retreading some familiarity, there is an essence of being that realizes it more than its production. It's funkadelic to the nines, seemingly feeling like a relic of the 80s, where the bass grooves and synthesizers take you to new levels as it plays through your ears. It isn't the first time we've gotten to hear Little Simz sing, though it's been more in the chorus; this shifts the dynamic of its delivery, specifically as a contrast to the more boom-bap, street flows of other tracks, like "Control" or "X."
There is an essence to No Thank You that pits it against some of the best rap albums dealing with pure reflection, with the occasional sidestep into flexing; however, it succeeds in accomplishing a narrative. Its themes are expanded and given purpose through switches between the first and third person, offering a rejuvenating sense of relatability. It left me feeling a lot and wanting to hear more and more from Simz, and the constant change in sonic direction adds to that.
Because the Internet – A Look At the Best Rap Album Nominations For The 65th Grammy Awards
Posted on November 29, 2022 November 29, 2022 Posted in Features, MusicTagged Best Rap Album, Common, Conscious Rap, DJ Khaled, Freddie Gibbs, Future, Grammys, Hip Hop, Jack Harlow, Kanye West, Kendrick Lamar, Madlib, Nas, New Hip Hop, Pusha T, Rap, YGLeave a comment
When The Fresh Prince and DJ Jazzy Jeff won the first Best Rap Performance, they didn't go because they knew ahead of time their win wouldn't get televised. After another year, that award wouldn't see the light of day for 22 years. However, there have been more puzzling choices in the category beyond the album award, like "Hotline Bling" winning Best Rap Song when it isn't a rap song – I guess Drake in name alone is rap? Hey Drake, resubmit a country song as rap and see if they bite. Jokes aside, one might understand the shiftiness of presenting live; the Grammys don't show every award because they award over 70+ categories yearly, but when it 86'd a genre – of course – there would be protests. We didn't have Best Rap Album till' 1996, with a few performance categories that would subsequently get replaced with Melodic Performance and Rap Song. And still, one thing many in the general audience harp at is the nominations.
Like with the most prestigious awards, we balk at the nominations for categories we hold close to heart. But for Hip-Hop, we've had lapses in sub-categories and the shifting choice of which award to present. I prefer Best Rap Album as it is the cream of the crop, but sometimes it's Best Rap Song, Best Melodic Rap Performance, or Best Rap Performance. Though we aren't the only ones subjected to it, it's the lack of a presence in the universal Gen-Pop awards throughout the years. Over the past two decades, we've seen slow growth in finding general acceptance in those awards, especially with the more Alternative albums (2) – to standard hip-hop – winning the big one – The Miseducation of Lauryn Hill and SpeakerBoxxx/The Love Below. These days, a win is a win, but it hasn't been honkey dory, especially for us nomination balkers who see worst mistakes than the year the Academy gave Paul Haggis' film Crash, Best Picture. Unfortunately, they still make mistakes, and this post is about nomination mistakes, especially in 2015 and today.
One of the most egregiously what the hell moments for nominations was in 2015, Iggy Azalea's boorish pop-rap effort on The New Classic and Wiz Khalifa's poor attempt at creating Trap music, "We Dem Boyz" aside. If either went on to win, it would have been the weakest winner among the many, but they are safe choices. 2015 had the albums, My Name is My Name by Pusha T, Piñata by Freddie Gibbs, PTSD by Pharoahe Monch, My Krazy Life by YG, and more that could have snuck to replace them, but like the film academy, niche styles won't see the proper praise. I say this considering how focused it is on the G-Funk/Gangsta Rap My Krazy Life by YG is or the gritty percussion and synths of Monch and Pusha T. They reflect the genre discussion in film. I'm talking about the more whimsical work from creators like Wes Anderson, who rarely get looked at due to his niche style until it becomes more generally appealing, like The Grand Budapest Hotel. Fortunately, the last few years saw some consistency of diversity, as we saw artists you wouldn't think the academy would find appeal in, like Tyler, the Creator, who has won twice, along with honoring albums that were some of the best that weren't pop-like.
Additionally, we've seen nominations for Laila's Wisdom by Rapsody and Victory Lap by Nipsey Hustle, two albums by rappers whose commercial appeal never translated into the vast world of pop but got nominated in back-to-back years, respectively. Though oddly, Nipsey's world did converge with that of the Crazy Ex-Girlfriend fandom; however, I digress. It's been many familiar faces, aka rappers with the highest commercial appeal, some non-debatable, others more so until recently, like that triumphant moment for Nas, winning his first Grammy after 27 years in the game. It's been part great since 2015, but with an influx in quality from the growing number of artists, debates will continue to spark about what did and didn't deserve a nomination.
2015 wasn't the first time I felt flustered by the array of nominations considering the vast plains of music to get discovered outside the R&B-like Pop Rap of the 2000s. But it's the first I've sensed they didn't hear everything that was out there except for what's on the radio. Universal Mind Control by Common, a winter 2008 release, was nominated in 2010, the same year as the overly dull and sugary R.O.O.T.S. by Flo Rida over more deserving entries like the DJ Quik and Kurupt Collab Album Blaqkout or Ludacris' Theater of the Mind. It happened and happens currently because the Academy has a wonky, designated calendar for eligibility. Usually, their calendar year is October to October, disregarding the November and December months like film companies when they were releasing more potential critical failures, like wear found footage horror films, in January and February in the 2010s. Not saying those releases never brought forth greatness, but with an influx of covers and best-of lists, reviews can get drowned beneath it.
Rare moments like 2015, where many nominations weren't reflective of the best work that year, and another came this year, where we saw three of the nominations bring out questions from fans. We got Jack Harlow, DJ Khaled, and one of Future's weakest albums in his discography. And this isn't to discredit these artists, as they have delivered fantastic surfeit work, Jack Harlow, aside. Unfortunately, the love for pop we've seen with Eminem and Kanye winning multiple, further making past flawed nominations make sense, especially since the late 00s. The Iggy Azaleas and DJ Khaleds – Khaled, who continuously finds himself in Best Rap Album, despite mediocre releases over the past decade – and legacy nominations that don't always get heard through a critical lens and are nominated for the name alone – see the "Hotline Bling" nomination for Best Rap Song. It doesn't discredit the 90% + nominations that merit the nomination. This year just left me floored when there are better albums viable for the award, like The Forever Story by JID and Traumazine by Megan thee Stallion – this includes non-submitted work like Gods Don't Make Mistake by Conway the Machine and Cheat Codes by Danger Mouse and Black Thought.
I can understand the Future and DJ Khaled nominations, but with Jack Harlow, it felt like 2015, where there was little merit within the album to even come up with an argument for its inclusion. It's what you'd expect from some white rapper who wants to be Drake but without much swagger. It was an overall boring album riding the highs of a Drake feature and a dope Fergie sample. Similarly, God Did by DJ Khaled is riding the coattails of a few decent songs, this remarkable Jay-Z verse on the title track, and memes. Future; well, it's sad this is his first Best Rap Album nomination, considering how many great projects he's released over the past decade. I didn't hate I Never Liked You, but it isn't Dirty Sprite 2 or Evol. It just leaves me flustered that they made it look like such a give-me for either of the other nominees, which I wouldn't be mad if either won – Mr. Morale & The Big Steppers and It's Almost Dry.
2022 will be like 2015 all over again, with fantastic performances and a ceremonious win, where the big shock would come if Future upset the two clear front runners. Though one could expect Kendrick Lamar to win, he did lose to Macklemore & Ryan Lewis, so anything is on the table. Unfortunately, Best Rap Album isn't always "locked," and here you could see Jack Harlow sneaking his way in for a win. His tacky apropos style never left anything to the imagination, almost feeling standard in approach – I Never Liked You isn't tacky but is tried and, sometimes, forgettable. I'm here thinking about past years while trying to come to grips with it. And DJ Khaled, mediocre as it is, is forgettable outside that Jay-Z verse, so it leaves me curious about how it got nominated. It doesn't define Hip-Hop/Rap, and frankly, I tune more into the yearly BET cyphers at their Hip-Hop awards, which is a much better and understanding award show about the world of Hip-Hop. Hope Kendrick Lamar wins, and cheers to the nominees…well, most of them.
Here are some past wins and speeches I've loved:
Issa Gold – Tempus II: Mirrors : Review
Posted on November 26, 2022 November 26, 2022 Posted in 4-7 Ratings, Music, ReviewsTagged Album Review, Conscious Rap, Issa Gold, New Hip Hop, New Music, New Review, Rap, ReviewLeave a comment
Following up the self-reflective and self-criticizing Tempus, Issa Gold follows up with Tempus II: Mirrors, an equally self-reflexive album bringing more of the same with more potent lyricism. It has little to gravitate towards besides excellent lyricism, some minor tweaks that boast the production slightly, and an abundance of heart. It isn't an indictment on producers Chuck Strangers, Gates, Two Fresh Beats & Zayland as they deliver what's expected with enough diversity and nuance to keep those who love lyrically focused rap albums. It may limit its audience because one usually gravitates to sound, but as it has been since the 70s, Hip-Hop has been about The Message, and that's what Issa Gold delivers. Tempus II: Mirrors is raw and slick; Issa Gold flows smoothly, becoming one with the beat boasting the emotional complexities of each track as we hear Gold tackling fatherhood, music, and professionalism.
As much as I can herald Tempus II: Mirrors for its profound approach to keeping a balance between engaging the intimate, as sometimes one may not care for the deep layers of an artist's personal problems, with the quality of their music coming first. So the stress builds from making sure the beat one is rapping over can keep the listener engaged; that's why we hear varying songs with depressive anecdotes that have more catchy, captivating elements in their sound, whether through melodies or the production. It isn't the case with Tempus II: Mirrors, where the catchiness isn't profound, but the tweaks within the sonic layers of the beats keep the intrigue level high. Whether it's bringing more focus to piano-driven overtures on "Lamelo" and "Crawling" or letting the electric guitar deliver rustic vibes on "Spiral" and "Lunar." It brings more to the music than potent lyrics, rarely shining brighter than like on "Traded" and "Rockets." Unfortunately, "Traded" isn't as captivating comparatively. Though we get these unique situations where the beats feel more realized, it isn't enough to make you feel like it's something special.
The uniqueness of its production is an adequately smooth touch that allows it to get past the monochromatic atmosphere of these kinds of raps. There is a nuance to them as they show introspective street styles that are moodier and incorporate more than just drum beats – think The Lox and Ultramagnetic MCs, just a little darker. It makes it easier to focus on the vocal layer instead of the production, as its heart stays in that lane. Due to that, it adds an extra layer that allows the music to flourish further.
At its core, Tempus II: Mirrors is for those old heads who prefer lyricists to the dominant Drill and Trap Hip-Hop that fills the airwaves, but Issa Gold offers more than that. He's bringing varying flows driven by Gold's dominant emotion, whether elevated egotistical swagger or pensive perspective, like on the melancholic "Indulge" and "Crawling," which sees him rapping about family and fatherhood. It allows his words to get heard, more so than when he comes through spitting the former. However, there are fantastic tracks where Gold's flexing is on full display. On "Lamelo," Gold uses that melancholia in the beat to make his words feel humbling as his come-up saw him making choices so his music career could grow. As he raps on the track, "I never need the league, I knew the league needed me like Lamelo for the dream," which shows how Issa Gold aims to succeed, despite his niche approach musically.
Tempus II: Mirrors doesn't stand up to the masterclass that was the first, but it's enough to keep the wheels turning as you keep listening. It's a continuation of what Issa Gold does well, even if it isn't as interesting. There isn't much retread, but the production feels more like simple choices and nothing that is there to fit the grander scheme. It's an album one can readily return to if they feel this type of rap, and those will be sufficiently satisfied.
Nas – King's Disease III: Review
Posted on November 13, 2022 November 13, 2022 Posted in 8-10 Ratings, Music, ReviewsTagged Album Review, Conscious Rap, Hit-Boy, New Hip Hop, New Music, New Review, Rap4 Comments
Expected, but when? That was the question following the release of King's Disease II by Nas & Hit-Boy. As we were aware, Nas was too, letting us know on the opening track, "Ghetto Reporter," spitting the line: "Niggas know I don't drop this often so cherish it (So cherish it)." With King's Disease III out now, it makes one feel blessed as a fan with their release of Magic, as it now feels more of a present to them because the third King's Disease is the best of the trilogy. Nas is as raw and lyrically astute as his best work, reminding the world that the tank is never emptying and the Henny bottles never end. But as you hear "Queens in the House" throughout "Thun," you'll quickly learn the mark King's Disease III leaves. Nas shows listeners the pristine condition that his motor remains behind the mic and pen. Past King's Disease albums saw Nas beautifully acquiescing with the evolving sounds of Hip-Hop and implying his talent is akin to a king able to command the flow of society. King's Disease III has Nas taking off his crown, showing us his ferocity as he sways from humbling riches to elegant ammo, and that ammo is never-ending.
Without sputtering and then asking for oil, Nas goes on a tear throughout without seeming to tire out mentally with his verses because Nas is bearing slight shortcuts with the choruses, which don't come off with the same energy as the verses. But Nas is one to quickly return with crisp bars that fluctuate between humbling riches, toying with history, and a barrage of metaphors and slick wordplay to keep you engaged. At one point playing coy with Jay-Z on "Thun," as Nas relays the lines: "In a Range Rover, dissectin' bars from "Takeover"/Sometimes I text Hova like "Nigga, this ain't over," laughin.'" But this is only a sampling of what Nas brings to the table. There are unique allusions to his partnership with Hit-Boy on "Michael & Quincy" and engaging takes on the social-political climate with "Recession Proof," which doubles as advice to his listeners about investing and saving.
However, none of this exists without Hit-Boy's production, which adds subtle details to the beats that allow them to transition from one to the other while keeping it interesting, like on "Legit." "Legit" incorporates live acoustic crowd noises to amplify Nas' bravado – that stoic confidence that allows him to feel rejuvenated and fresh despite age. There are inflections of streetwise boom-ba – ala Boogie Down Productions and Craig Mack – centered jazz rap, and varying type beats influenced by 90s Nas, with Hit-Boy shifting the parameters for Nas to go hard on them. He's able to deliver past the nevers; one minute as is rapping through this delicate take on late 90s New York rap, which incorporated more Soul and R&B, in "Hood2Hood," and another, he's rapping over this luscious boom bap beat on "First Time." Like "Reminisce," Nas gets introspective, giving us a sense of blissful nostalgia as he recounts the first time he listened to certain favorite artists. Despite laying a foundation, Nas brings mirroring relativity to his listeners without feeling tacky or gimmicky.
Unfortunately, as glowing as I've been with King's Disease III, the choruses aren't as strong. It's something you might have to set aside mentally because they aren't consistent. Some aren't as creative or have energizing gravitas, but pushing the weaker ones aside, allows for a more transcendent experience as the music eclipses these hollow points and makes you forget about them for a second. It left me in a daze after a few spins, and that's what Nas aims for, a legacy of records spinning with fresh content no matter the era. So whether it's the drab, emotionless chorus on "I'm on Fire" or lacking energy like on "Get Light," Nas approaches the hooks as simple bridges that aren't supposed to be ear-popping, like how the borough bridges are eye-popping, but they get the job done. That isn't to say he doesn't have some spectacularly hyphy hook delivery, like on "30" and bonus track "Till My Last Breath," which has visceral energy that encourages the inner New York within.
King's Disease III sees Nas continuing to extend his prime, delivering heater after heater without the support of features and amounting to one of his most immaculate albums since 2012's Life is Good. Hit-Boy produces sounds that flip between modern, large-scale Hip-Hop beats and ones that bring nuance to the influential elements of 90s Boom-Bap/Jazz Rap, amongst others. It all acquiesces into one strong gavel to the table as Nas makes an everlasting statement about his lasting legacy that will only grow more, especially with the consistency of the King's Disease trilogy, where Nas assimilates and demolish Hip-Hop sub-genres momentously.
⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐
The Music of 8 Mile: 20 Years Later
Posted on November 8, 2022 November 8, 2022 Posted in Features, MusicTagged 8 Mile, Eminem, Film, Hip Hop, Movies, Rap, RetrospectiveLeave a comment
In the 2000s, it became a blend of the 80s and 90s–we got dance dramas and bleak and realized music dramas that contain violence and more realities of the streets, like pimping and drug slanging, amongst other life choices based on nature. From Honey and Step Up to ATL, Get Rich or Die Tryin', and Hustle & Flow, we got some great films, some duds, and others that fell in the middle. It wasn't like past films, which tried to show how others appropriate the culture, like with the drab Black and White by James Toback. Most of these dramas, which aren't always great, understood how to frame and deliver upon the aesthetic and grounded understanding of their world, specifically in the dialogue. For example, Honey, directed by Hip-Hop/R&B music video director Billie Woodruff, felt homier, less cinematic, and framed simply, unlike Get Rich or Die Tryin', which was the opposite as it felt more like something to appeal to a broader audience. Honey only had the general appeal of a young Jessica Alba, while the other notions felt more inclusive and empathetic to its community, like Stomp the Yard.
In 2002, 8 Mile, the semi-autobiographical drama starring Marshall "Eminem" Mathers, came and made an immediate impact from all angles. From the music to the performances and filmmaking, it felt like this unique moment in 2002 where something outside the norm could come and make gangbusters, considering its monstrous box office return. But 8 Mile was different; it had nuance, the cinematography was enthralling, and it rarely felt artificial. It follows a path where the surroundings and situations boast reasonings for the escalated drama. However, at the crux of the film and the reason for its lasting history is music. The soundtrack is grand, a memorable piece of art that you can have with you after seeing the film in 2002, and like the films of the 80s and 90s, it made sure it kept you centered on reality. It had retention beyond its alignment to the film, keeping a steady progression of tracks you'll return to instantly, like "Rabbit Run."
We return to 8 Mile because of its lead actor and presence in Hip-Hop culture, and proof music dramas of this ilk can be excellent and successful. It has the music and a script with linear direction, even if it doesn't have the overall resounding depth beyond its central figure. None of this absolves 8 Mile for its problematic groundedness with its reflection of heavy homophobia and misogynism in Hip-Hop as leading us through this semi-autobiographical battle rap fairytale. One could excuse its representation of the era–mid-90s–its surface layer, never ushering a discussion with nuance, instead just there as we see Eminem's character Jimmy "Rabbit" Smith Jr come from a choke job to beating the defending champ. 8 Mile isn't some masterpiece of Hip-Hop cinema but left an impression that made it seem artists can gravitate toward their history and deliver a grounded performance in reality in a studio film. But when it's something that has been with you since the beginning, you can't help but express bias-tinted lenses for the enjoyment you get watching it repeatedly, primarily because the final payoff is phenomenal for the exhilarating, emotionally draining moments.
8 Mile had a soundtrack that fluidly incorporated the instrumental Hip-Hop influenced score from the movie impacting the beats, like that of "8 Mile Road" and "Rabbit Run." The former has these eloquent, dark, slow percussion variations that we hear during Jimmy "Rabbit" Smith Jrs.' trip to work on the bus, where he writes and contemplates the next step. Though that moment, it gets reworked and slowed down to fit the mood and aesthetic, while the album version gets slightly sped up. "Rabbit Run" is the most profound, like many tracks and verses in Eminem's career ("Speedom 2.0" by Tech N9ne, for example). It sees Eminem delivering a thin veil of duality as we see Eminem mirroring aspects of his and Jimmy "Rabbit" Smith Jr.'s life for a straight 3 minutes, which at the time, to a young Kevin, was out of this world. Obviously, we've seen better since, like Wayne Brady's constant murder of Sway's Five Fingers of Death or Chiddy Bang's record-breaking 24-hour freestyle, but "Rabbit Run" is explosive. It capitalizes on being the closer as its harsher, bleaker lyricism contrasts the hopeful nature of "Lose Yourself."
But 8 Mile: Music from and Inspired by the Motion Picture came with this plethora of audacious, original rap tracks from various artists, which kept us enthralled. It had tracks from Jay-Z & Freeway, a coy introduction to Obie Trice, and a brand new 50 Cent single, hyping us for his eventual debut with Get Rich or Die Tryin'. We got new RAKIM, some Gangstarr, and Macy Gray, all fitting an aesthetic driven by the tones of the film. The production helps embolden these tones with the dark strings, piano keys, and gripping percussion. Orchestrated by Eminem, the themes and tales the artists deliver match the complexities of the film, even if it wasn't the case with every track. Nas came with a diss track aimed at Jay-Z, who did the opposite and delivered some flare on a reflective song that boasts his change for the better. This distinctive inflection arrives fresh as a reflection point for the underlying beef in the film; it keeps that energy flowing like those final rap battles did for us at the end.
The two main outliers are "Lose Yourself" and "Wanksta." One speaks for itself, and the other was one of 50 Cent's earliest hits. I remember the music video vividly. I was with my cousin, who got the Get Rich or Die Tryin' album, while I had a censored mixed CD. That CD came with the video, and we popped it in his PS2; it further cemented a love for hip-hop, but more so an interest in rap, as before, it was all Eminem for me. It wasn't until later in 2003, on Christmas Eve, when I caught the first few minutes of 8 Mile before my family decided to drive home. And since then, I've had two rotating songs on many playlists in my formative years, "Wanksta" and "Lose Yourself," the latter left a lasting impression through prestigious eyes that can steer discussions about its quality in pop culture discussions. "Wanksta" has a fun and lively demeanor where the swag oozes with each swaggering step as he continues the dissing–in this case, fake gangsters–like the rap battles of the film. It was bombastic, gritty, and beautifully orchestrated. There are its issues, including some modest production, comparatively to said producer's other beats, and themes that meander due to past raps about them. On "Rap Game," where D12 raps about the effects of the industry as artists who aren't seen on the same, a topic we've heard before from varying artists; however, as great as their synergy is, the track isn't as interesting, but it flows.
What can I say about "Lose Yourself" that hasn't been said before? The piano-driven production boasts waves of anger, resilience, and success in harmonic bliss. The lyricism brings resounding depth, wordplay, and beautifully direct storytelling. Blend these two you get a fantastic song with emphatic replay value and memorable lyricism. It also won the Academy Award for Best Original Song, the first Hip-Hop track to do so. Eminem & Luis Resto & Jeff Bass were the winners, and their competition was Paul Simon and U2, two artists who, back then, were more revered and loved than Eminem. He was amidst social scrutiny for his language from a barrage of angry parents, considering his skin color allowed him to have a wider reach compared to the past. A few months prior, he released The Eminem Show, containing "White America," a satirical dig at parents who lambast his music. However, there was a shift here, and though the wins and nominations stay stagnant, having more Hip-Hop songs make the Academy's shortlists is a proper step in the right direction for their inclusivity. It's especially gleeful when not long after the win for "Lose Yourself," we got our following winners: Three Six Mafia for "It's Hard Out Here For A Pimp," beating out Dolly Parton. I feel like many of us reacted the same, if not more enthusiasticallyally than Queen Latifah when she handed them that award.
As the years progressed, we've had plenty crack the shortlist or vie for a nomination, like Kendrick Lamar, Alicia Keyes, and Hans Zimmer, with "It's On Again" from The Amazing Spiderman 2 and "100 Black Coffins" by Rick Ross from Django Unchained. I still find it a travesty that it wasn't nominated, especially with the gravitas and potency of Ross coming off the fantastic B.M.F. album. It boasted by having the stylistic focus of Django Unchained in mind, but eventually, we'll go back to that instead of playing it safe with "Glory" or "Stand Up For Something." We've seen Hip-Hop artists get nominations for non-Hip-Hop tracks, like M.I.A. and Pharrell, for their work in Slumdog Millionaire and Despicable Me, respectively. It didn't so much open the doors, and instead, it made history, along with Three Six Mafia, for winning in years where their style of music may not have been winners; Eminem has a controversial past, and Three Six Mafia…well, "they're pouring me some pimping mang." It is part of its everlasting history and will stay so for years.
Like those who knew of its rerelease, I saw 8 Mile in theaters over the weekend; I felt possessed as I sat there mouthing every freestyle, every verse, and more, due to its personal history with me. But at that moment, punches from the music started hitting harder, and it made me remember the early years; I'd vigorously loop "Rabbit Run" to try and learn every word, even matching the flow, down to the minor breaths in between rhyme schemes. I was one with the music like numerous people have been with the film. We instantly return to the soundtrack, and the final rap battles, before thinking of rewatching the film in its entirety; however, no matter the decision, it's an experience worth revisiting if not for the faint of curiosity but for the music and character details explored with Jimmy "Rabbit" Smith Jr.
Armani Caesar – The Liz 2: Review
Posted on October 26, 2022 October 26, 2022 Posted in 4-7 Ratings, Music, ReviewsTagged Album Review, Armani Caesar, Conscious Rap, Gangsta Rap, Gangster Rap, Hip Hop, New Music, New Review, RapLeave a comment
With hungry MCs in the game, fans have been propping up independent rappers for years before their evidential rise to prominence within the world of pop. Though not everyone aspires to reach these heights, pushing aside notoriety for identity, rappers have been able to define themselves instead of being defined by archetypal trends within their genres. Armani Caesar stands out amongst her contemporaries, bringing natural flows and virtuoso dirty rap lyricism with cadence while disregarding any chance to hit celebrity. Her growth has been subtly grand from the mixtape Hand Bag Addict to The Liz. And The Liz 2 is no joke. Continuing that veracity, Armani Caesar continues to flex, weaving beautiful melodies in between ruthless lyricism over crafty boom-bap-inspired gritty beats that embolden whichever style Caeser evokes through her flow and words.
Inspired by the bravado and influence of Elizabeth Taylor as an auteur, Armani Caesar evokes similar sentiments, taking us through these varied turns that establish her art in the same vein. Evident through oil painting album covers, The Liz 2 sees Armani Caesar feeling rejuvenated after delivering a hard-hitting intro with The Liz. The bars are raw, and the content and styles shift, allowing Caesar to flex in varying ways, like with raw and emotional singing on "First Wives Club," where she expresses her ways of living with relationships and having control instead of vice-versa. It's part of the bigger picture that predominantly sees Caesar talking her shit. Caesar makes sure it's known with the intro, which incorporates an interview with Elizabeth Taylor done by Barbra Walter; the audio clip centers on Taylor's lack of care for the public opinion of her based on attire–think "never enough shoes" mindset, except with jewelry.
[Intro: Elizabeth Taylor & Barbara Walters]
"Elizabeth, I have never seen anything so magnificent as all of this jewelry.
It's just staggering, not to mention what you're wearing
I acquired this about a month ago; isn't it the most gorgeous?
That— it's unbelievable
You bought this for yourself?
How nice of you, you're so good to you
Well, there's not anyone else around
Do people still go out and wear jewelry? Do you still wear this?
Well, honey, I do."
After the intro, Armani Caesar reminds us of her ferocity, followed by a luscious, melancholic beat that complements Caesar and Kodak Black's luxurious flexes on "Diana." Rapping through these darker, intimidating beats and more intimidating verses keeps you engaged, whether the track is two minutes with one verse and a sick intro or a longer construct that explores unique structures and delivery. "Liz Claiborne Jr. 1 & 2" comes fiercely as a nuanced extension of "Survival of the Littest." The latter explores Armani Caesar's growth from working as a stripper to becoming a rapper, throwing modest shade at Cardi B and how she sold her past. "Liz Claiborne Jr. 1 & 2" establishes these contrasting perspectives, one that explores the ferocity she has to gain respect amongst her peers, and the second shows us Caesar understanding her worth.
Though these flexes have inherent value, themes get coded deep within the confines of the album's progression. After the crisp duality of "Liz Claiborne Jr. 1 & 2," "Meth & Mary" continues to establish Armani Caesar's person, defining her loyalty for those she's been close with for ages. Furthermore, Armani Caesar delivers content related to success, materialism, and differentiating mentalities. It's pertinent with tracks like "Big Mood," "Mel Gibson," and "Snofall." We hear Caesar express how extended that clip is as she walks with a bag she copped from Saks Fifth rather frequently. Despite its shift in thematic approach, at times, there is no denying that The Liz 2 contains some repetitive bars; however, that doesn't always constitute a dip in quality, as The Liz 2 is quality.
The Liz 2 continues to show Armani Caesar's wicked talents through various beats, elevating her lyrical craft further. It's a testament to the consistency in the Griselda collective/label, and I'm here for it. I'll be spinning this as frequently as others from the area, like Che Noir, and I hope you hop on this train too, as these artists have something artists like Cardi B and Drake don't, raw lyrical prowess beyond the boujee.


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August is National Immunization Awareness Month. Why immunize? Immunizations protect you and others against many serious and sometimes fatal diseases. Immunizations are not only for children, there are many immunizations that adults should receive throughout their lifetime as well.
April is Distracted Driving Awareness Month Everyone from law enforcement to parents, from your boss to your spouse are becoming aware of distractive driving. The main culprit are our smart phones, smart watches, and tablets.
June is Migraine and Headache Awareness Month. Did you know that migraines are hereditary? According to WebMD four out of five migraine sufferers have a family history of migraines. If one parent has a history of migraines the child has a 50 % chance of developing migraines, if both parents suffer from migraines the risk is increased to 75%.
Any guesses where our state ranks in chances of a deer collision? http:\/\/st8.fm\/ATm.


Acupuncture is usually a method of treatment that consists of inserting very skinny needles through a person's pores and skin at certain points around the human body, to numerous depths.
Acupuncture includes inserting needles at specified factors in the overall body.
An acupuncurist will insert needles into a person's overall body with the intention of balancing their power.
This, it can be claimed, may also help enhance wellbeing and should treatment some health problems.
Ailments it really is useful for consist of different forms of suffering, this sort of as headaches, blood pressure level difficulties, and whooping cough, between other individuals.
Standard Chinese drugs explains that wellbeing is definitely the end result of the harmonious equilibrium with the complementary extremes of "yin" and "yang" of the everyday living power recognised as "qi," pronounced "chi." Health issues is said to generally be the consequence of an imbalance in the forces.
Qi is claimed to circulation by meridians, or pathways, from the human human body. These meridiens and electricity flows are available as a result of 350 acupuncture points within the entire body.
Inserting needles into these factors with correct mixtures is said to convey the vitality flow back into good harmony.
There is certainly no scientific proof the meridians or acupuncture points exist, and it is hard to confirm which they both do or never, but quite a few experiments recommend that acupuncture is effective for many ailments.
Some authorities have utilized neuroscience to clarify acupuncture. Acupuncture points are seen as locations in which nerves, muscle tissue, and connective tissue can be stimulated. The stimulation increases blood flow, while at the very same time triggering the activity on the body's normal painkillers.
It is actually difficult to set up investigations using appropriate scientific controls, due to the invasive character of acupuncture. In a scientific review, a manage team must bear sham cure, or perhaps a placebo, for results being when compared with those people of legitimate acupuncture.
Some scientific studies have concluded that acupuncture provides related advantages to a patient to be a placebo, but other individuals have indicated there are some serious added benefits.
Analysis completed in Germany has revealed that acupuncture could enable relieve rigidity problems and migraines.
They listing further conditions that will reward from acupuncture, but which have to have further more scientific affirmation.
In 2003, the planet Wellness Group (WHO) shown a number of ailments during which they are saying acupuncture continues to be confirmed productive.
The WHO also suggest that it may well enable handle numerous infections, together with some urinary tract bacterial infections and epidemic hemorrhagic fever.
Carried out correctly, it is actually protected.
You'll find quite couple of unwanted effects.
It might be successfully put together with other treatment options.
It can regulate some varieties of pain.
It could assist sufferers for whom suffering medicines aren't suited.
The NCCIH suggest persons to not use acupuncture in lieu of looking at a standard wellness treatment service provider.
An acupuncturist will analyze the affected person and assess their condition, insert one or more slender, sterile needles, and present assistance on self-care or other complementary therapies, this kind of as Chinese herbs.
The affected individual will probably be asked to lie down on their own back again, entrance, or just one side, relying on in which the needles are to get inserted. The acupuncturist should use single-use, disposable, sterile needles. As each needle is inserted, the affected individual could sense an extremely transient stinging or tingling sensation.
After the needle is inserted, there is occasionally a uninteresting ache on the foundation from the needle that then subsides. Acupuncture is generally comparatively pain-free.
At times the needles are heated or stimulated with electrical power just after insertion.
The needles will stay in place for in between 5 and half-hour.
The number of remedies desired depend upon the individual. An individual which has a long-term affliction could require one to two treatment plans a week above numerous months. An acute issue commonly enhances just after eight to 12 classes.


text:
Convention Festival of Ideas-Holistic Wellness Conference
HOLISTIC WELLNESS CONFERENCE
DR. ANDAL
is a specialist in obstetrics & gynecology. Presented a paper on "Psycho social reasons for increase in incidence of Cesarean sections & remedial measures" in national clinical psychologists' conference at SRMC in 2006. Won gold medal for best paper. Research work on recurrent spontaneous abortion which has been published in international journals such as 'Human Reproduction', 'Tissue Antigens', 'PLOSONE' (5 Publications). YouTube Channel: Andal Fertility Channel on Women's Health Problems. Television: Produced 13 episodes of television serial in 2001 called "O Papa Lali" for infertility patients. Produced 24 episodes of television serial on pregnancy called as "OM MathrudevoBhava" which was telecast in Gemini channel in 2008 with national and international viewership
DR. M BALA THARMALINGAM
@ Dr. Bala, MBBS completed his medical degree from Bangalore, India in 1993 and went on to complete his masters in Healthcare Administration and Science (Yoga). He has served as a medical doctor under the ministry of health (MOH), Malaysia as principal assistant director in traditional & complementary medicine division. His research interests are in comparative theology & interreligious harmony, traditional Indian medicine & yoga for human excellence, Hinduism with particular focus on Saiva Siddhantam and Thirumanthiram, Indian classical music with keen interest in ancient Tamil music and management science lessons from Indian scriptures, especially Thirukural
DR. MUNUSAMY
completed his degree in Doctor of Philosophy (Ph.D) for Alternative Medicine, Ayurveda Vachapasti M.D (Ayurveda) – Dravya Guna. He holds training certificates at Kementerian Sumber Manusia and Sijil in ' Terapi Panchakarma Ayurvedik, 'Operasi Latihan Vokasional. He acts as the Vice President of Pusat Aduan Rakyat (PAR) Malaysia. He had attended several seminars and Conference at TCM & Ayurveda including the ayurveda therapy and pharma workshop by the World Ayurveda Congress in 2010. He is the founder of LK Ayurveda Research training Centre.
MAHAWIN
is a healer, varma & reiki therapist. He completed his degree in Bsc Arts & Science in Psychology, University of Lethbridge 2009. He also has a diploma in thodu Varmam from Bharat University, Reiki Master (Usui) 2014, Reiki Master (Celestial Healing) 2016.He has been a healer & director of Sakthi Healing Centre (2015-2018), president of Sakthi Healthy Life Sdn. Bhd., and the owner of first Varma Touch centre in Malaysia. He practices Thodu Varmam, Reiki Master (Usui & celestial healing), Varma touch, integrity alignment and interpersonal counselling. His practice has a strong basis in identifying the root cause of illness or dysfunction, and then applying a multi-level holistic treatment.
KAVI AMUTHA KATHIRAVELO
is graduated in Education at Tuanku Bainun Teachers College, Penang. Currently pursuing her degree in Education at OUM, Bangi and Diploma in Varma Kalai at Malaysia Varma Kalai Association. She has completed Yoga teacher's training and Varma therapy for learning disability. Her seven years of passionate and dedicated experience has molded her as an innovative remedial class teacher at SJKT Kampong Pandan, Kuala Lumpur. Merging various types of our traditional treatment method in line with 21st century education system (PAK 21) have helped her gain tremendous results in teaching of remedial class children.
MUMASE
known as Gurudev Muthukothala Mariappa Selvaraj completed his B.A in Administration, Postgraduate Diploma in Industrial Law & Personal management, and Diploma in mechanical engineering of IAF. He learnt siddhar studies in depth and researched cosmological relationship with cell body, Siddha Consciousness that is the Siddha Mind Energy and found out a structural breathing technique known as "Oouthumurai". He teaches his Siddhathma yoga techniques as Selvarajitham for the past four decades. He has written more than hundreds of books related to Siddha Way of Life. He has delivered lectures and demonstrated Siddha Consciousness oriented spiritual techniques in various reputed Colleges & Universities in TamilNadu, India and Malaysia.
VENKATACHALAPATHI MUNUSAMY
is an experienced Manavalakalai Professor. He has been in this field for more than 20 years. He was born in Chennai Tamil Nadu, India. In the year 2016 he had contributed to an article titled ''Oon Udambu Aalayam'' in University Malaya. He won the online world record (yoga day) in the year 2016. With his guidance, today 10 Tamil schools in Negeri Sembilan are conducting Yoga and Manavalakalai classes. Another 16 schools have requested for these classes after UPSR 2019 as well as Secondary High Schools.
DR. S. SURESH
iM.D., D.V.M.S completed his Bachelors and Masters in Siddha Medicine with specialization in Noi Naadal which includes Siddha Pathology and Diagnosis from Government Siddha Medical College, Palayamkottai, Tirunelveli affiliated by TamilNadu Dr.M.G.R.University. He also completed his Diploma in Varma and Massage Science and is currently working as an Associate Professor at Velumailu Siddha Medical College & Hospital, Sriperumbudur.He has eight years of teaching experience and twelve years of clinical experience. He is well versed in traditional satiric medicine preparations like Pathangam, Kattu, Parpam, Chendhooram and external oils. He has renowned experience in naadi diagnosis.
DR. SUGUNTHAN SUBRAMANIAN
completed his Bachelors in Siddha Medicine from Velumailu Siddha Medical College & Hospital, Sriperumbudur and his Masters in Siddha Medicine with specialization in Sirappu Maruthuvam which includes Siddha Varmam from Govt Siddha Medical College, Chennai, affiliated to the Tamil Nadu Dr MGR Medical University, Chennai. He is currently, working as a Varmam Expert at the National Institute of Siddha, Chennai. He has more than twelve years of clinical experience and has been associated with Thirumoolar Varmam Research and Therapy Centre, Coimbatore since 2008, focussed on patient consultation, Varmam and other external therapies, literary research and clinical research. He has delivered many lectures about health and Varmam medicine to public and students and has contributed as a Medical Varmalogy trainer in classes conducted by Thirumoolar Varmalogy Institute, to educate and teach Varmam techniques for Siddha and Ayurvedha Physicians.
DR. G.K.
THIRUMENY
qualified with DEEE in MNGP of Pondicherry, India. He is well experienced in this field with more than 20 years' experience. He is an expert in solving Chronic Diseases. He is a conventional physician and runs a Clinic in Pondicherry, India, providing Excellent Treatment for several acute and chronic ailments such as renal disorders, gall bladder, liver disorders, pediatric problems, arthritis, cardiac problems, skin disorders, Male & female infertility and all type of gynecological problems with simple and affordable medication & lifestyle corrections, thereby avoiding surgery. He has come across various different cases of his patients which has helped him to develop his practical knowledge of treating ailments. Some of his patients have also been treated just by counseling without prescribing any medication.
DR. CHANDRAN VERAMUTTHU
is the President of Universal Peace Sanctuary Malaysia.
YOGANANDA VR KRISHNAN RENGASAMY
is a Yoga Instructor certified by Maruthi Yoga Training Centre, India. He teaches Yoga on a full-time basis. He is also the Coordinator of World Cultural and Yoga Academy, Malaysia Wing.
DR. G. ANBUGANAPATHI
M.Sc., Ph.D., ESMP., PG(Dip) VARMA, TTC (Yoga), enlisted in TamilNadu Siddha Medical Council (1987) and is a registered traditional siddha medical practitioner, approved by the Government (Enlistment No.192). He analyses and practices siddha system of medicine and his continuous scientifi c research studies design and develop proprietary siddha medicine. Moreover, his analysis of combination of yoga with siddha medicine enabled him to evolve the "SIDDHAYOGA" system. His Ph.D. in Toxicology, gave him focus on scientifi c evaluation and revalidation of the effi cacy of the combination of siddha medicine and yoga in siddha practice. He presented his research papers in conferences, symposium, and seminars and published research articles in scientifi c journals. He has appeared on several TV programmes in India to present health talks

redpajama_set_name: RedPajamaCommonCrawl


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text:
The Economic Holiday Wrap-Up 2018
A look back at 2018 thus far
The year in brief. Last December, market prognosticators polled by Barron's forecast a 7% advance for the S&P 500 in 2018. That prediction may come true. By early November, the S&P was up only about 5% for the year. Wall Street began 2018 in rally mode: happy to see large tax cuts for corporations, anxious to see whether a booming economy would lead to rising inflation pressure and recurring interest rate hikes. What Wall Street did not see coming late in 2017 were the 2018 trade wars involving the U.S., China, Canada, and the European Union; appreciable headwinds emerged as punitive tariffs were placed on various imports. The fundamentals of the economy remained strong, but bulls faced challenges as the year proceeded.1,2
Domestic economic health. If the economic recovery from the Great Recession was not at its peak in 2018, it certainly seemed close. After expanding at a middling 2.2% pace in the first quarter, the economy grew 4.2% in Q2 and 3.5% in Q3. (That Q2 GDP reading was the best in nearly four years.)3
The ranks of the unemployed thinned further. The headline jobless rate dipped below 4% in the first half of the year, then declined from 4.0% to 3.7% across the five months ending in October. The U-6 rate, tracking the unemployed plus the underemployed, was 8.0% when 2017 ended; ten months later, it was down at 7.0%.4,5
Personal spending data also affirmed the strength of the economy. In the first three quarters of the year, it contracted just once (0.1% in February). From March through September, consumer spending rose 0.4% or better every month.6
Households were especially confident in 2018, as the two most well-regarded monthly consumer sentiment indices pointed out. During the first ten months of the year, the University of Michigan's index topped 100 twice (March, September) and fell below 96 only once (January); its historical average reading is 86.4. The Conference Board's monthly gauge has been trending upward ever since a slight dip to 111.6 at the start of 2017; it spent the first ten months of 2018 climbing from 125.4 to 137.9, indicating widespread optimism.7,8
A look at the Institute for Supply Management's purchasing manager indices for the service and factory sectors shows an economy running on all cylinders in 2018. These two indices, watched worldwide, indicate sector growth when they are above 50 and sector contraction when they are below 50. ISM's factory PMI hit a remarkable peak of 61.3 in August, and in October, it was at 57.7 (actually, its second-lowest mark of the year). ISM's service sector reached a record 61.6 in September and came in at 60.3 for October; its YTD low was 55.7 in July.9,10
The 10-year Treasury yield hit 3.0% on April 24, and in the fall, it drifted between 3.0%-3.3%. The federal government's Consumer Price Index showed yearly inflation at 2.1% in January; in June and July, it reached 2.9%. By September, however, falling fuel costs had helped moderate annualized inflation to a rate of 2.3%.11,12
2018 was a year of major tariffs, instituted mainly in spring and summer. June 1 saw the U.S. put tariffs and quotas on $48 billion of metals imports from Canada, Mexico, and the European Union. A month later, America put $50 billion in tariffs on assorted Chinese imports, triggering an import tax response on American goods by the P.R.C. ($50 billion in immediate response and an additional $60 billion in August). It was also a year in which a major trade pact started to come together: the United States-Mexico-Canada Agreement (USMCA), informally referred to as NAFTA 2.0. It could be in place by early 2019, if approved by the legislative bodies of all three nations. The accord could bring more manufacturing jobs to America, especially in the auto industry.13,14
In November, the federal funds rate was between 2.00% and 2.25%, a percentage point higher than it was a year earlier. The Federal Reserve, now in the Jerome Powell era, was widely expected to make its fourth quarter-point hike of 2018 in December.2,15
Global economic health. 2018 may be remembered as a year of deceleration for key economies outside North America. By October, China was on pace for 6.5% annual growth, and its Q3 growth pace of 1.6% represented its weakest quarter in nearly a decade. The nation's export orders declined to a low unseen since early 2016 as fall started, and the nation's powerful manufacturing sector was nearly contracting. The yuan also slipped to its weakest level since 2008 versus the dollar.16,17
While euro area joblessness was at a 10-year low of 8.1% at the end of the third quarter, the rate of economic expansion halved in the European Union during the same three months, with consumer inflation ticking up from 2.1% to 2.2% as the fourth quarter began. The European Central Bank announced plans in December to conclude its long-running economic stimulus.17,18
World markets. On the whole, our stock indices fared much better than their peers overseas. In early November, nearly every consequential European index was in the red, YTD. The Stoxx Europe 600 was down 6.8%. France's CAC 40 was 4.5% lower on the year; Germany's DAX, 11.1%. Italy's FTSE MIB was down 11.8% YTD; Spain's IBEX 35, 10.5%; United Kingdom's FTSE 100, 8.4%. India's Sensex was the only Asia-Pacific index displaying a YTD gain, an advance of 2.7%. South Korea's Kospi had slumped 15.3% for the year; the Philippines' PSEi, 16.1%; Hong Kong's Hang Seng, 12.7%; China's Shanghai Composite, 19.6%. Australia's All Ordinaries was off just 3.4% for the year, and Japan's Nikkei 225, only 2.7%. Canada's TSX Composite and Mexico's IPC All-Share were respectively 5.7% and 6.1% lower for the year in early November. Bucking the global trend, Brazil's Bovespa was up 16.1% YTD, and Argentina's Merval had posted a 3.0% YTD advance.19
Commodities markets. The U.S. Dollar Index had gained 5.5% for the year through early November, and that dollar strength was among the factors weighing on commodity performance during 2018. In the second market week of November, gold had lost 7.9% for the year to fall to $1,227.40 on the COMEX; silver, 16.6% to $14.56. Copper was down 18.1% YTD and platinum, 8.2% YTD. Palladium was an exception, posting a 7.1% YTD improvement. WTI crude displayed a 6.0% YTD advance through early November with a value above $61 a barrel on the NYMEX. Natural gas emerged as one of 2018's best performers, up 17.7% for the year during the first full market week of November. Simultaneously, cocoa stood out among the softs with a 22.8% YTD gain; cotton was up 6.0% YTD. Unfortunately, sugar and coffee were respectively 17.1% and 15.4% lower on the year.2,20
Real estate. Expectations of sellers and buyers differed in 2018, and that difference affected the pace of existing home sales. Prospective buyers found few affordable properties and went to the sidelines; sellers waited a little longer for their homes to move. Resales declined 4.1% over the 12 months ending in September, by the estimation of the National Association of Realtors. Additionally, mortgage rates approached 5% in the fall: the average rate on a 30-year home loan, according to Freddie Mac, was 4.83% on November 1. That compares with 3.95% on January 4.21,22
New home sales also cooled. They were down 13.2% year-over-year through September, according to Census Bureau data. Even so, residential construction activity did not exactly taper off during this time: another Census Bureau report shows a 3.7%, 12-month rise for housing starts through September, albeit a 1.0% slump for building permits.23,24
Looking back, looking forward. This year marked the return of significant volatility. The S&P 500 has seen two corrections (February, October), yet it also reached all-time peaks (at this writing, its last record close was on September 20). While the residential real estate market is showing signs of weakness, other economic gauges are still strong, which gives investors something to be bullish about for the holidays. At this writing, 2018 will likely be remembered as a slightly subpar year for equities, but who knows – this very old bull market might just gain some fresh legs as we proceed toward 2019.25
Citations & Disclosures
1 – tinyurl.com/y9abml5d [12/9/17]
2 – markets.wsj.com/us [11/7/18]
3 – tradingeconomics.com/united-states/gdp-growth [11/6/18]
4 – ncsl.org/research/labor-and-employment/national-employment-monthly-update.aspx [11/6/18]
5 – ycharts.com/indicators/us_u_6_unemployment_rate_unadjusted [11/7/18]
6 – tradingeconomics.com/united-states/personal-spending [11/6/18]
7 – tradingeconomics.com/united-states/consumer-confidence [11/6/18]
8 – investing.com/economic-calendar/cb-consumer-confidence-48 [11/6/18]
9 – instituteforsupplymanagement.org/ISMReport/NonMfgROB.cfm [11/5/18]
10 – instituteforsupplymanagement.org/ISMReport/MfgROB.cfm [11/1/18]
11 – treasury.gov/resource-center/data-chart-center/interest-rates/Pages/TextView.aspx?data=yieldYear&year=2018 [11/6/18]
12 – tradingeconomics.com/united-states/inflation-cpi [11/6/18]
13 – washingtonpost.com/news/monkey-cage/wp/2018/09/13/for-donald-trump-it-was-a-summer-of-tariffs-and-more-tariffs-heres-where-things-stand [9/13/18]
14 – csmonitor.com/Business/2018/1105/NAFTA-2.0-what-the-Trump-brokered-deal-may-mean [11/5/18]
15 – arkansasonline.com/news/2018/nov/06/fed-interest-rate-increase-viewed-as-li/ [11/6/18]
16 – cnbc.com/2018/10/19/china-q3-gdp-china-posts-economic-data-amid-trade-war-with-us.html [10/19/18]
17 – bloomberg.com/news/articles/2018-11-02/a-synchronized-slowdown-is-looming-world-economy-this-week [11/2/18]
18 – ec.europa.eu/eurostat/web/main/home [11/7/18]
19 – online.wsj.com/mdc/public/page/2_3022-intlstkidx.html [11/6/18]
20 – barchart.com/futures/performance-leaders?viewName=chart&timeFrame=ytd [11/7/18]
21 – ycharts.com/indicators/existing_home_sales [11/7/18]
22 – freddiemac.com/pmms/archive.html [11/7/18]
23 – 247wallst.com/housing/2018/10/24/september-new-home-sales-plummet-prices-remain-nearly-flat/ [10/24/18]
24 – census.gov/construction/nrc/pdf/newresconst.pdf [10/17/18]
25 – tinyurl.com/y7egwdqf [10/25/18]
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