Got this one in my DMs a couple days back. Give it a burn. Nice remix of Kanye's "Real Friends"
Got this one in my DMs a couple days back. Give it a burn. Nice remix of Kanye's "Real Friends"
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New Music: @s500show - "Real Friends"
Got this one in my DMs a couple days back. Give it a burn. Nice remix of Kanye's "Real Friends"
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New Music: @seefrvncis - "All I Ever Wanted" (feat. @MisterRado)
see.francis returns with some newness. This Osym-produced track, featuring Rado, is a nice jazzy track (kinda in an early Tribe-meets-TPAB Kendrick vibe) that gives us a theme that anyone can relate to: just chilling, getting the necessary praise for your greatness, and so on. I mean, who among us hasn't just wanted to end the BS and get "a bad chick/with a phat ass and some nice tits?" Don't lie. Check the track out below.
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New (To Me) Music: @lorenzoraps - Social Colour
19-year old Lorenzo Moore (pictured above), better known as The Renaissance, dropped this tape last year. A college student who's dropping some dopeness (I can relate, so disclosure: I'm slightly biased towards feeling the energy because of this), The Renaissance's Social Colour tape feels like some new-school jazz-rap mixed in with "the old Kanye" and a bit of a young Big K.R.I.T. (read: around the time around the KRIT wuz Here album). So, if you like either one of those artists, check this one out. Even if you're not a big fan of the aforementioned, you should give it a listen. Some of the standout tracks include the intro "Beginning of the End,""Way Back," (featuring a smoothed-out sample of Denzel Wansel's "Time is the Teacher") his freestyle over the "Amsterdam" beat called "Mentality," and "Social Media."
Keep an eye out on this young man. Trust me.
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New Music: @FuckTyler x @asvpxrocky - "What The Fuck Right Now"
Well shit. This goes.
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WIRTB Review - J. Cole's Born Sinner
Since I unabashedly said that my entire discography was better than Cole World, it behooves me to look at his second album, 2013's Born Sinner. Why? Well, you can't just say that your entire lo-fi rap collection is better than someone's first mainstream album and not look at their discography, right? Plus, you know, I find it both fun and cathartic to analyze J. Cole's music as a music fan who neither blindly capes for Cole nor blindly hates the man. So, without any further stalling, let's revisit Born Sinner.
On a whim, in mid-2009, I copped all of Cole's projects available. So, the first time I heard J. Cole, he referred to himself as the man who has "a set of horns and a halo," reflecting the duality of humanity. I became a fan. I knew his shortcomings, but I felt some of his strengths could--and would--eventually shine through en masse. Cole, evolving from the hoop dreams-infused series of projects prior to Sinner, plays up that duality on this project. Additionally, when the album was released, it was the more-subdued yin to Yeezus's lo-fi, over-the-top yang. A project that evolved with its artist, Born Sinner was slated to be the album which put Cole on the lofty pedestal he's been playing around with since The Come-Up. But, does it?
The intro, "Villuminati" is probably more known these days for its use of "the (other) f-word" than anything. Well, at least he's not boring anymore, I guess. On a serious note, I get what Cole was trying to do with his use of the word. However, like his "artistic/autistic, retarded" line from the Jodeci Freestyle (and, funnily enough, his "next three bars for the retards" line in this very song), Cole's intentions didn't match his intellect on this one. On this project, we were supposed to get a "way darker," more mature Cole. If you take this intro as a testament of that maturation, it seems like Cole's going back to the same places he went in Cole World (cheesy jokes, overly-intricate "mansplanations" that don't really mean shit, etc.)
Until, that is, you get to the third verse. It's not the most lyrically in-depth verse, but we get a view into Cole's head. He's a dude who wants the fame, but wants his "soul" back as well. He wants to make the radio tracks but also make the anti-radio tracks that still get burn. Ultimately, it sets up, without being overly dramatic, the theme of the album: a young man in the 2010s who wants to be all-encompassing but wants to do so without being completely compromising. Sure, we get the cringeworthy punchlines, mansplaning and whatnot, but there's more of a balance between that stuff and the lyrically introspective artist fans love Cole to be.
Cole's ability to flesh out a concept has improved since CW, and that's best displayed in the placement of "Villuminati," the "Kerney Sermon" skit, and the next track, "LAnd of the Snakes." It's a bit hamfisted, in that the song after we spell out the dualities and falsehoods of both some sects of organized religion and the music business, we get a song about (what else?) sex, how people seem to "come out the womb with [their] dick hard," and possibly an allusion to the "snakes" in L.A. It has some pretty "eh" lines, but nothing as blatantly "ugh" as "Stevie with his glasses off/cause I still don't see hope." Seems like we're seeing some progress as Cole as an artist.
After this pseudo-breakthrough, we get "Power Trip," the half-stripper anthem, half-"love letter to my love and my music" song. I remember when this joint dropped, I went to the strip club with some friends and there was this dancer who danced to this track, followed by "Wicked Games" and "Panty Wetter."
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| Seems accurate. |
The "Mo Money" interlude plays into this theme in some ways. It also acts as a shift in the mood back from Fifty Shades of Cole to the "people robbing people for hope money while the world's both crookedly evil and crookedly beautiful" theme of the album. "Trouble" compounds this idea while pushing past some of the groan-inducing corniness we saw on Cole World. Do we see lines like "I'm Koppa, I'm not the Mario (marry-yo) type" when talking about Cole's desires? Yeah. It wouldn't be Cole without a punchline that slaps you in the face with its dick of obviousness. But, the good outweighs the bad on this one, thus far.
I think that Cole's problem in these early projects was that, while you've gotta respect him for talking what he knows, his topics were stilted. It's usually some combination of "I hate the limelight and what it can do to me,""humans have evil tendencies," discussions on religion, and "I'm a legend in the making." But, even for these limitations, he manages to turn "Runaway" into a poignant discussion on sin (mainly adultery) and racial tension, discussing the similarities and the differences that create racial issues.
And then we're taken right back to the sex and monogamy issues in "She Knows." It's a spooky-sounding track because of its choral usage. And we, at least, get a different take on the matter (it's less about "I'm cheating on my girl" and more about "I'm not cheating on her for you"). But, for an album that's supposed to be the antithesis of Cole World, this track feels pretty radio-friendly. This sets up "Rich Niggaz," the thematic counterpoint to the radio-ready "She Knows." Just listen to the track.
"Where's Jermaine?"/"Forbidden Truth" comes back to the spiritual side of things. While I was, admittedly, a bit blown that Kendrick Lamar didn't get an actual verse on this track, it makes sense. No, not just in the "no guest appearances, what's the result? Crowned top lyricist" sort of way. Kendrick's chorus is warping and sets the back-and-forth mood on this track. Yes, it also delves into another sex-related discussion, but at least we get a "modern day Adam" for our troubles.
"Chaining Day" feels like it could've and should've featured Stalley's verse from "10 Jesus Pieces." That's really all I can say about this track. It's a simplistic set-up and it's executed well. I just feel like Stalley or K.R.I.T. or someone could've sent this one over the edge of glory. But, hey. Cole wanted to do it mostly on his own, so who am I to judge?
"Ain't That Some Shit" is...it's part "old Cole" (with the Syience beat, for starters) and also shows that transition from dark Cole to enlightened Cole. We get some Cole tropes, but it sets up "Crooked Smile" perfectly. "Crooked Smile" is "Nobody's Perfect" part two (down to the 90s features). However, this track works a bit better than "Nobody's Perfect," even with more mansplaining hilarity, mainly because of its third verse. Veering off the path of "let's just celebrate each other's imperfections" straight into "this game is fucking biased but still, I'm going to try and make my mark" territory, "Crooked Smile" is unashamed in what it represents.
As I've discussed "Let Nas Down" in a previous piece, I'm going to skip over that and go straight into the album's finale (the rest of the tracks shown are bonus tracks which form the Truly Yours 3 EP), the title track "Born Sinner." This song's beat is one which always gets me. Honestly, I've a soft spot for gospel-esque tracks and gospel as a whole (yes, even though I'm not exactly the "model" Christian). It's fitting that this track ends off BS, as it's the summation of the album's concept. Cole's growing as a man and an artist. It's the shit that gets you excited for 2014 FHD.
So, was Born Sinner really that bad?
Is it a perfect album? No. Does it trump Cole World in just about every way imaginable? Yes. So, was it really that bad? Nah. It was a lot better than June 18th, 2013's other release. Just off the strength of that alone, it's good. It's the album Cole should've dropped as his debut. Is it a classic? No. In fact, just like Cole World, simplistic set-ups, analogies, and lyrics you could see Cole saying "oh, my nigga, this is genius" to even if someone else might disagree, keep it from that tier. But, it's a decent album and a follow-up which ups the positives about Cole's 2011 release. No, I'm not reviewing 2014 FHD. Go check it out.
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George Washington: Hero or Hypocrite
By Drizzle Sez
In this piece, part of a new segment on SpeedontheBeat.com entitled "Hero Or...," SpeedontheBeat.com contributor Drizzle Sez discusses the legacy of George Washington and asks "is Washington more hero or hypocrite?"
"... And im proud to be an American, where at least I know I'm free. And I won't forget the men who died, who gave the right to me..."
For any proud patriot, this is a deep quote to a good song. But, listening to it, I'm brought to the following question: was George Washington a hero or a hypocrite? To some people, just asking the question is more blasphemous than pissing on the cross. I obviously don't agree, but I understand.
George Washington: founding father, general of the first American army, without him there is no America. Literally, the first American hero. History tells little American children that George Washington led the then Continental Army to victory against the oppressive British and became the first President of the newly formed and freed United States of America. 'Merrka. All that is true, but the devil of George Washington's history is in the details.
Before he was the American hero we make him to be, George Washington was a British Army officer. He literally was an instrument for the oppressive regime he later went on to defeat. He the defected from that army and went to lead the opposing army. If any person did that today, he'd be labeled the worst person alive and be ostracized if not outright killed. George is a hero in this regard because that was also true back then but he left to fight for what he believed was right anyway even though the chances of him losing were nearly 98%. We need more people like that today.
But, let's backtrack. What made the British so oppressive that one of their star officers defect to fight what was nearly an impossible war against the largest army on Earth? The answer lies in the original Bill of Rights. All the original 10 Amendments were in response to the things the colonial Americans thought the British did to oppress them. Freedom of speech, taxation without representation, quick and fair trial, etc. All these were denied colonial Americans. Though the war was started over taxes, George Washington left because of the atrocities he personally witnessed being done by the British army. Which, again, makes him a hero.
Everyone knows how the war ended. America wins. Then what happens? George Washington becomes the first president. So why ask if he's a hypocrite? Historically, he ended an oppressive regime on the continent and replaced it with another oppressive regime. The difference is, the oppressed peoples changed.
During the Revolutionary war, Washington was responsible for the Sullivan Expedition, which destroyed over 40 Iroquois villages. After the Revolutionary War, the new United States of America was nearly broke and no longer had the backing of a major and respected Empire. Under today’s circumstances a country like that would go belly up in a few years from economic ruin and all the richer, more powerful nations would pick it up as they pleased. Back in the days after the war, George Washington and the Continental Congress were not worried about this in the slightest. The economy of America revolved around agriculture, textiles, and mining. These things were all relatively cheap enterprises because of the existing free labor force: slaves. I can leave the ugly history of that out of this look.
In 1784, at the end of the Revolutionary War, the newly formed United States of America was on the 3rd most-valuable landmass in the world (behind South America and India). It was large and resource rich. To any white culture interested, the only stopping a huge grab was its existing population. In order to expand, George Washington's cabinet encouraged citizens of America to go out into the frontier zones and literally grow America. This is a relatively benign policy by itself. But, the rest of the policy was that the United States military would assist if the effort was met with backlash by the natives.
This is the equivalent to someone coming into your home today and the military coming to shoot you if you say "no." Such a policy is in direct violation of the 3rd Amendment, one of the Amendments that George Washington fought so hard to create. Why did the first president ignore these rights when it came to the native population?
Although George Washington was not directly behind the policies, the results still occurred under his rule. The mass migrations and oftentimes destruction of the native population was the norm during his tenure as president. George Washington fought to end oppression but in the end, create a country that was built on oppression. The expansion of the United States would not occur without oppressing Native Americans and the economy would have failed if not for the slaves. George Washington built this nation with pretty words as his hammer and oppressed people as the nails.
The "freedom" (because they still aren't 100% free) of the people oppressed under his rule did not come until long after he was dead. Oppressing people after fighting oppression makes him a hypocrite. I hear that song I mentioned in the beginning and realize that George Washington and the founding fathers did not fight and die for my freedom.
Abraham Lincoln did. Martin Luther King did. Many people did. But George Washington maintained my people's oppression and used it to his advantage. For that, he will always be an important historical figure…but to me? He's a hypocrite, not a hero.
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Rem's Rant: Women in Music
OK, so I've done what I believe to be a good job of avoiding angering a particular group of Stans but today? NO MAS! It's time to address the elephant in the room in regards to the emerging female talent in R&B. From newcomers like SZA, Alina Baraz, and Yuna to the more seasoned songstresses like Rihanna, Jazmine Sullivan, and Jhene Aiko to name a few. Though all not commanding the same unit sales, these particular artists have given us a bit of relief from the normal Beyoncé barrage of content circulating in mainstream music. And I must say, I am adequately impressed with their own individual abilities to stay afloat amidst the sea of critics that believe only Beyoncé is worth the listen.
As a disclaimer, I am in no way, shape, or form trying to pit any artist against the next and even more so in the realm of women artists as I know it can create a bit of a disconnect. I am well aware that all artists can coexist in their respective lanes but over the years we've lost sight of what creativity is in the music game with its women. But--bold statement alert!--I've never heard a "complete" album from Beyoncé. On top of that, for me, she vocally lacked until 4 dropped a few years back. Now, back to your regularly-scheduled program.
I definitely feel as if I have to say at some point that I don't particularly hate Beyonce's music rather the timing and antics that go along with it. As stated in the aforementioned disclaimer, I am aware that artists can coexist. But, she OBVIOUSLY does not. I've watched Queen Bey utterly obliterate the competition solely based off her own APPEAL with no regard for where their careers end up (Hey Miss Keri baby. Shit, talk about comradery). But, for some strange reason, this bunch of women refuses to go anywhere.
It's pretty impressive how staged everything surrounding her is but what's more impressive is how people praise the music outright before listening because of who it is. Ahead are examples of who these women are and what they've brought to the forefront besides a borrowed style. Sorry Bey, doesn't look like that “Formation” will be happening anytime soon.
As far as I'm concerned, anytime I get to plug SZA in one of these articles, I will, until the world knows (if they don't already) how great she really is.
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I won't go back into an origin story for my "bride to be." But, we can take an extra second to bask in what is apparently refreshing to all her listeners. SHE CAN FUCKING SING! And no, not like a few runs and a cool falsetto, I'm talking like the real deal! Of course, we can credit her penmanship as she's already written a record that stuck for Nicki and Bey ("Feeling Myself") this early on. But, I don't think I'm reaching when I say we care more about her own music. From the teaser verses on D.R.A.M.'s "Caretaker" to the back-and-forth trading lines with Jill Scott on "Divinity,” SZA is definitely one of a kind and here to stay. But real quick, WHEREDAALBUM?
I won't go back into an origin story for my "bride to be." But, we can take an extra second to bask in what is apparently refreshing to all her listeners. SHE CAN FUCKING SING! And no, not like a few runs and a cool falsetto, I'm talking like the real deal! Of course, we can credit her penmanship as she's already written a record that stuck for Nicki and Bey ("Feeling Myself") this early on. But, I don't think I'm reaching when I say we care more about her own music. From the teaser verses on D.R.A.M.'s "Caretaker" to the back-and-forth trading lines with Jill Scott on "Divinity,” SZA is definitely one of a kind and here to stay. But real quick, WHEREDAALBUM?
Next up isn't necessarily one of my favorites but I do appreciate and respect what she's been able to offer music since "Pon De Replay." That's right, Rihanna (I didn't magically forget I gave ANTI a rather "stern" review. It really did suck). But, what didn't suck is how "Work" shot to #1 in less than 90 minutes of its release.
Say what you want about the "Jay Z-esque" Samsung deal to sell the album, you cannot deny Rihanna's ability to make current chart toppers seem as if they're cutting basement quality records. She in my opinion is the only artist that could take on Beyoncé head-to-head and potentially win in album sales. How? Why? Rihanna, like Bey in her absolute prime, currently runs mainstream everything surrounding her. Jordan/Kobe comparisons anyone? Rihanna is a stacked deck all by herself and I see no sign of letting up anytime soon. I know I didn't cite any music outside of “Work.” But, Rihanna stans are just as bad as the Beyhive. So, I’ll leave it to them to sift through what they love over what they hate (if anything).
Now, I won't bore you all with an in-depth breakdown of each of these artists as I believe you may get the point. A near perfect representation of artists to come alongside the poster of artists already cemented. The absolute best of who's new, coupled with the ceiling of the same genre, we are experiencing a new wave of women making their mark on what we consume daily. I, for one, love everything about new legends but in order for that to happen we have to force the elder ones to move over.
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New Music: w a l e. - "L.A. Nights\Untitled"
New music from 19-year-old Maryland producer w a l e.. I just heard of this young man via an email submission (H/T to Huntington Williams for this). The cryptic description indicates that this is "just the beginning." If so, it may be wise to keep some ears open for this young man's work.
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PA Vol. 36: Nas versus Jay
NSFW Warning/Disclaimer:
PA (short for "Profound Assholes") is a series on SpeedontheBeat.com where I have a no-punches-pulled conversation with a friend about a hot-button issue (yay cliches!). That friend is usually none other than Drizzle Sez formerly of DrizzleSez.wordpress.com, who co-created the PA format (go check out his site. It's still live and still kicks much ass to this day). Today, we discuss one of the biggest rap feuds of all-time: Nas versus Jay Z.
Drizzle: So, you know when you're sticking your--
Speed: I'm at work. Let's not get too graphic with descriptors.
Drizzle: Anyway, we grew up in a time period where songs like "Juicy,""Is That Your Bitch,""How Do You Want It," and so on were radio bullshit hip-pop. Here's where I wanna go, though. Music is trash today. Why? Fans are trash today. And it's those fans who need this PA.
Speed: You don't mean?
Drizzle: Yep. Jay Z or Nas?
Speed: Uh-oh.
Drizzle: Now, I said what I said about rappers back in the way back because fans today can't fathom having radio cuts be fucking classics like that. I'm looking at the Thugger and Rae Sremmurd fans out there. They make tracks for now. You won't remember a lot of them this time next year. Don't believe me? Where did Migos go? It's a lot of interchangeable stuff out there. And since that's what it is now, I'll be honest. I don't care what your opinion about the upcoming PA is if you can't remember when "Can't Knock The Hustle" or "Nasty" hit the radio. If you wasn't watching it unfold, keep your mouth shut. Now, Jay Z versus Nas. Who won?
Speed: Lyrically, I've gotta say Nas...mostly. Businesswise? Give it to Hov. But, like we've discussed, you can't just judge a battle off business. If so, Puffy would be the "GOAT." However, the business side--especially sales--is what speaks to people because of the fans. Fans bought BP1, they bought Stillmatic. People still quote "Ether" and "Super Ugly." Truthfully, I'd go with Jay by a nose. Pun intended. Lyrically, though? Nas. Feel free to make me reconsider my opinion.
Drizzle: I didn't ask who was better, nor did I ask your thoughts now. I want your 90s/2000s brain. At the time, who won?
Speed: Aight, aight. Nigga, Jay won. Nas has "Ether." But, Jay? Jay had a whole album that was pretty much a "Fuck You!" to Nas. In fact, he kind of had two.
Drizzle: Via our perspective at the time, Jay won. Hands down. Because back then? Hippity-hop was as much about real life as it was the music. "Can't say it if you ain't lived it" and shit. If you said it on a song, it was supposed to be real. If you said you were gonna knock someone's block off, we needed to believe that shit was a possibility. So, when it ultimately came time to choose a victor, the choice was stupid simple.
Who ended working for who? Who was actually made the other's "bitch" in life?
Speed: Jay wins. Now, looking back now? It's a bit more nuanced than that.
Drizzle: Is it really, though?
Speed: Well, kinda. Now, you've gotta look at lyrics, punchlines, sales, structure, concepts, all that "adult" rap/millennial bullshit analysis you see on the big sites that get millions of views a day.
Drizzle: Fine. Ether. What's the most Jay-killing line in that song?
Speed: Well...it was a better song, lyrically. 'Dem bars and shit, right? But, uh--
Drizzle: I'll wait. Pick one.
Speed: Truth be told? There were a lot of points brought up. A lot of disses. But, none of the lines are really that killer. They bring up points. But, it's not really as hard-hitting of a diss as people say. Hell, as I say.
Drizzle: I know. So, his best point. What was it? What did he say that made Jay say "damn, son. That hurt my soul?"
Speed: He called Jay gay and challenged Jay's street status?
Drizzle: That's a generality. Give me a point.
Speed: "Eminem killed you on your own shit?""Beans is better than you?""You got dick-sucking lips?""I rock hoes, you rock fellas?"
Drizzle: So, in other words, you can't pinpoint one. That's real.
Drizzle: He gave a lot of truth-based opinions. But, Takeover and stuff, it went for the jugular in a way that even the epic lyrical display of "Ether" couldn't. Damn, never knew how easy it was for me to switch on this topic.
Drizzle: Well, you're thinking with your brain brain and not just your heart brain. Helps you think clearer and shit. Out of all the songs Jigga put out about Nas, mentioning Nas, et cetera, this hurt him the most: "Is it 'Oochie Wally' or is it 'One Mic'?/Is the little black girl lost or do she owe you for ice?" In two bars--two fucking bars--Jay Z exposed nas for what it was. He didn't namecall. He didn't laugh. He didn't make accusations. He just asked a simple, game-breaking question. Nas, who is proud of his deepness and is prouded for such, had his lack of such put on display.
Speed: But, what about "In 88, you was getting chased through your building/Calling my crib and I ain't even give you my numbers/All I did was give you a style for you to run with/Smiling in my face, glad to break bread with the God?"
Drizzle: Now, what do those accusations allude to?
Speed: Jay being fake and wanting Nas to keep him from getting murked?
Drizzle: Now, think about that. Nas. Nas, the man who was in Queens. Nas, the man who was in Queens and preaches about nonviolence? He's the one saying this? Oh, ok.
Speed: What about "you 36 in a karate class?" Or the numerous allusions to Jay being Nas' son.
Drizzle: Hol'on. I'm reciting "Ether" in my head. Oh, yeah. It was before Tae-Bo. Anyway, name calling. Point I'm making is that "Ether," though a damn good diss, it had no points that gave Jay a BSoD.
At its core? For really, it's a schoolyard diss, not a millionaire smackdown!
Speed: And we really just referenced the BSoD in a rap discussion.
Drizzle: "Blueprint 2" was a millionaire smackdown. But, you get me, though. At no point did Jay Z put his head down and say "damn, I don't have a response."
Speed: True. He showed the resilience of a cockroach. Nas got some hits in, but Jay stayed moving and breathing.
Drizzle: But that one line from "Blueprint 2" had Nas with his head down, like Cole, saying "well, uhh...th-the label sorta kinda made me do it."
Speed: "Ether" was supposed to be a slow burn. But, Jay's still around now, for better or worse.
Drizzle: If you're gonna talk about Jay's next project after BP2, it was that little Black album. Nas' next project was God's Son, which was also good. But, after that? "Hi, Mister Nas. I'm Jay Z, your new boss. Go get my coffee."
Speed: Well, to be fair, Nas didn't fully release a Def Jam project solely on Def Jam until, what, Life is Good?
Drizzle: He was probably too busy getting Jay's coffee. Sounds like a personal problem.
Speed: Nah, it was a personnel problem.
Drizzle: Credibility. Jay Z--or "Mister Carter"--erased Nas' credibility when that couplet went down. And when you look back, that was ALWAYS his goal. He didn't name call or whatever. He just told a truth. Nas made discrediting Jay an afterthought. Jay made it a GOAL. So, Nas. What makes his lyrics so great that, even though he doesn't have too many real accolades, everyone dickrides for him. Because, as I've said, where were his fans when it was time to buy records?
Speed: He's a good storyteller. He pulls you into the world. Most of the time, anyway. Fuck "Who Killed It?" with a spike-lined dildo. But, most Nas fans these days seem to be Nasir-come-latelies. They discover him later on and then ride the dick.
Drizzle: So, Nas has...a bunch of late bloomers who heard he was nice, but never explained why?
Speed: Eh...not really. I mean, he's got alliteration, rhyme schemes, punchlines that pack a punch, flow, et cetera. Shit, look at "Message to the Feds." He goes from typical NY nigga flow to a chopper flow on the random.
Speed: So, to you, what it boils down to is this. Nas, for you, is your stereotypical struggle rapper with shades of dopeness that sometimes seep through?
Drizzle: Yep. He usually fails at making "mainstream" songs unless he's completely contradicting his moral compass. So, seriously. You know my opinion. I'm willing to hear yours.
Speed: Nas is reflected upon greatly because of rose-colored shades and hipsters. That's not taking Nas and saying he's a shit artist or whatever. I like Nas. He's one of my favorite lyricists. He's got bars out the ass. But, many people seemingly champion him as the Rap Savior without acknowledging the "U Owe Me" side of things.
Drizzle: Nas is a rap great. When it comes to his radio cuts, though? He's a rap sell-out. Made tracks for the radio that were wayyyyyy off his lane. Worse for Nas is when people use his radio cuts as an argument for being the best. Just proves they don't know what they're talking about. "Oochie Wally" isn't a god track and "Ether" isn't a god diss. Nas has a lot of god songs. These two ain't it.
Speed: I've gotta laugh at "Oochie Wally," though. Who the fuck ever called that a God track. Nah, let's be real here. If you're doing that, you don't know shit and should probably just shut your mouth or educate yourself. I would've said "shoot yourself." But, no. Suicide isn't something to joke about.
Drizzle: That's the reason why we started this one. 92Q held a poll and people said, on the internet, that "Oochie Wally" was a god track.
Speed: Wait, wait. What the fuck? "Oochie Wally?" Oochie-fuckin'-Wally?! The song where Nas didn't even have the best verse? The song that had the most-laughable chorus in hip-hop history that isn't "Crank Dat?" Fuck outta here.
Drizzle: I bullshit you not. But, youngins, dug (Ed. Note: "Dug" is how some Baltimoreans pronounce "dog"). Youngins.
Speed: But, still 'doe. We were young once. But, yo, that shit still sucked.
Drizzle: I'm still waiting for the Nas counterpoint.
Speed: Without Nas, there'd be no Kendrick?
Drizzle: No, be serious. Is there a real pro-Nas argument to be had here?
Speed: Well, I never really had that much of a pro-Nas argument. Ever since stuff like "U Owe Me" or whatever, I've looked at Nas like this. "What side are you on?" I'm all for diversity in your work. I like that Kendrick did "Problem" and "Poetic Justice." I like Wayne doing introspective shit. But, do it well and do it without straight-up compromising what you've set up for yourself.
That's my biggest qualm with Nas. I love the guy's work. But, as you've said, most of his radio hits are just that. There are exceptions, such as "One Mic" and "I Can," but most of the hits are just "hits." I get that every artist transforms and grows. Nas, in his transformations from street knowledge kicker to Mafioso to party-and-bullshit Nasty Nas and back, he sometimes loses what makes him great.
Life is Good was great! After a bunch of albums, he found that perfect mix of radio songs and real Nas god-like tracks. Illmatic was great because there was no compromise and Stillmatic was a prototype for LiG. But, yeah...should I say it?
Drizzle: Nas lacks consistency. And before you start on Blueprint 3, it was good. Not Jay good, not at all. But, it was good.
Speed: Ehhhh...maybe it's because I had high expectations after American Gangster. But, BP3 was trash for me, even with a moment or two.
Drizzle: But, it was great next to everything else out.
Speed: But, does that make it a good album overall?
Drizzle: Either way, it makes Jay win. Overall. And against Nas. If your shit is shinier than their platinum, you win.
Speed: Can I go on a mini-rant about Nigger/Untitled?
Drizzle: Fine.
Speed: It wasn't that good. It got over because of the controversy in a lot of ways. When it dropped, it was a neutered attempt to discuss race relations. And that is wrapped around songs like "Hero" and "Money Makes the World Go 'Round." I remember when I copped that album. I got it when it dropped. Shit was in the trash a couple hours later. Call me a "no-nothing rap fan," but it was trash. Fuck your opinion.
But, back to Jay versus Nas. I've always fucked with him. But, unlike a lot of superfans, I knew he wasn't the complete package. Bars alone can't win all the time. You've gotta have it all to be successful and truly be great. The bars, though. They're well put-together and stuff. But, sometimes, they end up not saying as much as they could if he truncated the imagery or the alliteration.
Drizzle: "Just cause you don't understand him, don't mean that he nice..."
Speed: What about the storytelling?
Drizzle: "Meet the Parents,""Moment of Clarity,""It Was All a Dream," these are a few of Jay's storytelling tracks.
Speed: The flow?
Drizzle: Jay switches up a lot too.
Speed: So, "A Message to the Feds" gets lost in translation?
Drizzle: No. But, Jay does switch it up too. So, for me--and it looks like, for you as well--Jay wins.
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Rem's Rant: Put a Title on It
Let's talk relationships. Specifically, let's talk "titles." Now, I've heard people saying "Oh, a bond is better than the title." I've got to LOL at this.This sentiment is trash for a plethora of reasons. But, instead of calling you (the reader) "trash" for potentially agreeing, here are a few reasons why I personally don't agree.
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The applied logic involving a "title" not so much to define a relationship versus simply giving it an identity is the respective party's level of commitment. Whereas for a man to place a tag on his union is like the end all to the pursuit of all other women during the course of a relationship. This is in contrast to, from what I've observed, a woman's motive behind giving her union a name. I've learned over the years that there's always some divine form of planning when it comes to anything a woman does. And putting a name to her relationship is definitely one of those things. Correct me if I'm wrong--and I'd even welcome the scrutiny in the unlikely event--but for a woman to identify a man as her own he'd have to meet a series of requirements.
These 3 "simple" questions, believe it or not, will lead you down the path to relationship's perdition or paradise. That is because where your eyes see "simple," I see complex. There are no easy answers to these questions. This is why the general consensus surrounding relationships is that, "we just talk" or "he/she holds me down. So, there's no need for a title." I almost forgot my personal favorite: "What's understood doesn't have to be explained." These handles and ideas, when describing the extent of a union, will all send you straight to perdition even with the greatest of intentions.
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As a prior serviceman, I know a thing or two about titles. You wouldn't go to work and do your job as the supervisor to be referred to as anything less. So, why does it suffice to put forth the active effort to be a significant other to have it downplayed and have you looked upon as just somebody I "talk" to? Do you think that the POTUS goes in to work every day as the Leader of the Free World to be addressed as just "Barack" or "Barry?" Of course not! His point of address is "Mr. President."
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And, I'm definite that he doesn't compromise that to appease those who call him something meaning less than he is worth. So why do we? No, really. Why do we?
I'd like to propose something. The underlining factor to it all, relationships, "titles," and so on, it has everything to do with commitment. Would you profess your love to the masses or are you too encapsulated by the facade that thinks everyone else's opinion is more valuable than that of the individual that you're guilty of investing in? Granted we've all been led to believe that titles mean nothing but in the event that infidelity is introduced need I remind you that it cannot exist without a handle. I can't "cheat" on a person that I have no tie to regardless of the unspoken agreement that's been established. So, fidelity and a title must coincide; it will surely be a factor in determining how a person responds to attention garnered by the opposing sex. In fact, at some point, it becomes absolutely necessary to tag a relationship to make it successful.
The applied logic involving a "title" not so much to define a relationship versus simply giving it an identity is the respective party's level of commitment. Whereas for a man to place a tag on his union is like the end all to the pursuit of all other women during the course of a relationship. This is in contrast to, from what I've observed, a woman's motive behind giving her union a name. I've learned over the years that there's always some divine form of planning when it comes to anything a woman does. And putting a name to her relationship is definitely one of those things. Correct me if I'm wrong--and I'd even welcome the scrutiny in the unlikely event--but for a woman to identify a man as her own he'd have to meet a series of requirements.
- What does HE have to offer?
- What is HE doing to better himself?
- How it all correlates to ME?
As a prior serviceman, I know a thing or two about titles. You wouldn't go to work and do your job as the supervisor to be referred to as anything less. So, why does it suffice to put forth the active effort to be a significant other to have it downplayed and have you looked upon as just somebody I "talk" to? Do you think that the POTUS goes in to work every day as the Leader of the Free World to be addressed as just "Barack" or "Barry?" Of course not! His point of address is "Mr. President."
And, I'm definite that he doesn't compromise that to appease those who call him something meaning less than he is worth. So why do we? No, really. Why do we?
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New Music: @AMOGetItDone - "Millions, Billions, Trillions"
New music from AMOGetItDone.
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New (To Me) Music: @TomMisch - Beat Tape 2
I'm a sucker for beat tapes. This much is, like, fact. So, in stumbling around the Internet for some new releases for Boi-1da.com, I came across this twelve-track project from twenty-year old Londoner Tom Misch. There's a reason why I'm not posting it over for my Boi-1da.com fam. It's an older release and we try to keep things new and recent. However, I've got to write about this multi-layered project. It's like Dilla had a baby with Prince who was raised by Nujabes and a jam session band. It's equal parts bouncy and moody boom-bap and atmospherically intricate. If you need some new vibes in your life, check this one out.
Now.
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#HipHop4Flint DC This Saturday
Per WillRap4Food:
For more details, please visit hiphop4flint.com and be sure to donate to WillRap4Food. They do some really great things for the community at large.
This Saturday, March 19th, 52 cities around the world, including Washington, DC, are joining together for a day of global unity in solidarity with Flint, Michigan in response to the ongoing water crisis. HipHop4Flint was organized by Queen Yonasda (Min. Farrakhan's granddaughter) to collectively raise funds to buy home water filters for at least 500 households. This historic event will be livestreamed on several websites, and covered by national press. Please post on Twitter, Facebook, Instagram, SnapChat, Tumblr, and text to your friends. Together we can bring out a crowd that generates an exponential donation.
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An Open Letter In Light of My Ariana Grande Discussion
Dear World:
Let it be known that I'm not part of "Woke Twitter." I just call bullshit like I see it. If that makes me "woke" in your eyes, so be it. But, I'm not out here perpetuating the stereotypes people have about "Woke Twitter."
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I don't see racism and attacks on Blackness in every thing out there, just the things that I speak on in this nature. I see every Black person who's trying to do great as a King or Queen (and those who are misguided, I feel they just need a push back onto the "right" path for them; God don't make no junk, as 92Q DJ Konan used to say). Now, within the "Woke Twitter" and "Hotep Twitter" spheres, there are some great people in there, like any segment of life, and some weird ones. Personally, I'd rather just be SOTB! and talk on whatever I talk on.
Also, let it be known that I have enjoyed Ariana Grande tracks and her collaboration with The Weeknd was a great introduction of Weeknd to "non-urban" markets; I didn't just "attack" Ms. Grande "because reasons and 'wokeness.'" Hell, if my discussing this, calmly and mostly intellectually, is an attack, I would've hated to see these individuals during my "feud" with Andy Milonakis.
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My God, I was, as the children say, a "savage." While I didn't really like Andy's style or approach to, well, anything, I probably shouldn't have thought he'd die from random diseases in the mid-2000s. My bad. I'm really sorry. I crossed a line that shouldn't be crossed, as death is one of those things that shouldn't really be joked about. There, I finally admitted I was an asshole during that time (and not really a profound one, at that). Blame it on my youthfulness.
But, you're not here to hear me apologize for youthful fuckery from which I've grown to be a pretty kick-ass adult. Ironically, it's some of that youthful fuckery, from the outside being thrown back at me because karma, probably, that prompted me to this discussion.
A few days ago, I did a bit of a social experiment on Twitter involving Ariana Grande.
During the whirlwind of controversy surrounding Ariana Grande's appearance on SNL, I made commentary about her parody (and yes, impersonations are a form of parody--one of the basic forms, at that; please do some research or something) of Rihanna and the song "Work" during the "Tidal" skit. Like clockwork, the trolls and superfans emerged. A mostly wild and profoundly loyal bunch, consisting of individuals between 15 and 30 (based on an assumption; not necessarily true), they proceeded to light up my mentions with bland threats, banal comebacks, and an overall misunderstanding of how the world works--musically and otherwise. I kind of admire their naivety but also wish they'd open their eyes and stop caping. But, I digress. I'll get to that later.
Ultimately, after a day or so, I'd had enough mentions and discussions to begin dissecting them and possibly finding some sort of meaning within them. Through the "fuck you," the "u stupid. Why u hate Ariana," and the "you don't no patois fuckbwoi" [sic] tweets, I began to see a trend. While non-Black individuals kept things short and sweet (usually a simple tweet along the lines of "u don't know what u talkin bout"), Black (read: individuals who are descended from Africa; y'know, like Caribbeans, some Spanish-speaking individuals, "Black Americans," and so on) commentators proceeded to challenge me the most. In addition, these children, teens, etc., proceeded to be blind to the pseudo-blackface performance from Grande, saying it's no big deal while attempting to speak for all Blacks and "Islanders" (hopefully, that doesn't sound to pejorative). That's something you just can't do, speak for everyone. But, that's not why we're here.
Blackness, or the concept of "Blackness," is, within some groups and some topics, attacked just as much by people who look and, according to many Census statistics, are Black themselves. You could argue that it's self-hatred. You may be right. Some non-American Black people look down on "Black Americans." To paraphrase the controversial rapper NYOIL's "Y'all Should All Get Lynched," even Africans (and others) call Black Americans "niggers." It feels as if it's because of colonialism and the dissemination of information about the negatives surrounding "them niggers over there [in the U.S.]."
Hell, even within America and Black America, you've got people like Ben Carson, a brilliant mind and a legendary surgeon, calling our youth thugs and agreeing with those philosophies. When I was a kid growing up in Baltimore, in a situation similar to his upbringing, I looked up to Ben Carson. I said "hey, I don't believe in idols. But, his output to humanity is something that's great." Twenty-some years later, I'm close(ish) to thirty and I can't really say that I feel the same way about Carson, knowing some of his thoughts about the Black community at large. He's still a great surgeon and a genius. However, I don't want my kids to grow up like him. I don't want them to grow up like "random gangbanger #40" either...but, yeah. Carson, for me, becomes less of a great role model because of his willingly blind look and blanket terms for the community I consider myself a part of.
However, this sort of thing, this "hatred," if you will, of Blacks and Blackness hurts me. It hurts me two-fold. First, if you are descended from Africans, in any way, shape, or form, you are black. That doesn't mean for you to disown your own culture. Nor does it mean that I'm trying to homogenize the Black experience. I'm just saying that those out there who look down on "Black Americans" are just as Black, when you break it down to a base level, as me (I identify as Black, regardless of my parents' wonky lineage). To say "oh, fuck you, nigger. You don't know anything about XYZ," you're on the same wavelength as those prejudiced and racist individuals who may've chastised you because of your skin color, your background, et cetera. You're perpetuating foolishness and ignorance that doesn't need to be perpetuated--especially within communities of similar individuals. If I don't know something, teach me. Educate me on your definition of Blackness or whatever. I may not agree, but at least my brain will be that much better for knowing it.
Second, this sort of craziness hurts me because these are kids and young adults saying this shit. What does that mean for my kids? Hatred is a learned trait. Babies don't come out the womb saying "fuck everyone who don't look like me." That sort of thing is taught by the environment in which these children are brought up in. If you've got this sort of foolishness going on en masse around the next generation, it's bound to spread and continue on wreaking havoc on the Black community as a whole (society as a whole as well, but we're talking the Black community at the moment). It scares the shit out of me and hurts me to think that my sons could, potentially, see that hatred from people who look like them and people who don't look like them.
Let me tell you a story. My oldest, he goes to a preschool where he's one of a few "Black Americans." He's friends with all sorts of people, but is a bit shy because some of the children don't exactly look like him or his family. I tell him that a person's heart and mind make them great, not their skin. But, I don't know what those other kids' parents are talking. I don't want his friends, who come from a wide variety of ethnic backgrounds, to discriminate against him because he's Black. We've got enough of that crap on "that" side of things from the racists and prejudiced individuals out there who aren't brown. Be proud that your Blackness permeates through various people and multiple forms, from dark brown to lightskinned, from tall and caramel to short and milk chocolate. Be proud that your Blackness goes from random writer on the internet who used to rap to a Drake to a Kendrick Lamar to a Gil Scott-Heron to a Nelson Mandela. Revel in the amazing greatness it is to have that history.
So, what I'm calling for is simple: unity and understanding. Now, bringing it back to Ariana, was I wrong for saying Ms. Grande's performance as Rihanna was borderline blackface? Eh, perhaps I stepped over a line myself. However, it felt that way to me and I opened myself up to criticism because of it. That's what I wanted, as I was open to hear a conversation with the group of fans who came to me with disdain. I wanted that conversation, needed it even. I wanted to help the youth--and the oldheads--understand that some shit just doesn't fly, regardless of who's doing it.
Would I call out a Black artist for saying some off-the-wall stuff that seems as an attack? Yeah. For instance, Chris Rock's Asian jokes at The Oscars were out of pocket and out of line (just like the use of Stacey Dash, but...yeah). Do I feel that "Blackness" is being sniped at on a regular basis? At times, yes. Other times, I don't see it as much as some people. Maybe I am "sleep" sometimes. Maybe it's because I'm not out here, like some "activists," blindly saying "Black Lives Matter" because it sounds catchy. I don't know.
However, I do know it's there, just like anyone's "attack" on a person's heritage. Do I feel that the celebration of "Blackness" is a spit in the face to "Whiteness?" No, not really. While I can see where people who say that sort of thing could come from, I feel that the unification and celebration of "Blackness" isn't detrimental to White people. That is a thing that needs to happen: unification of all Blacks to achieve a common goal, which would be doing our part to bring on further greatness in our communities and the world at large.
All in all, I'm a humanist. I love humanity. I am proud to be Black. I'm proud to be an American (I'm not a bleeding-heart patriot or anything, but I do love and respect this country--along with any country). I just wish that we, as humans, can stop being so ass-backwards when it comes to "race," ethnicity, and prejudices--on all sides. That sort of thinking limits our overall potential, dooming us to repeat the mistakes of our forefathers.
And to the Ariana Grande superfans who cursed my name, as much as I don't understand blind caping, you guys are alright with me. Do you.
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You're wild and insanely passionate about her to the point I don't understand it. But, you're young and you're allowed to be like that. Just, for the love of pie, please be receptive of other peoples' opinions as you grow up. You don't have to agree with anything I or anyone else says. But, at least try to put yourselves into someone else's shoes and see what's going on through their eyes, especially if they're coming from a place of respect for their community and dignity. Open your ears and not your mouths.
That's advice good enough for everyone.
With love to all of you in this wild-ass world we live in,
Speed on the Beat
Let it be known that I'm not part of "Woke Twitter." I just call bullshit like I see it. If that makes me "woke" in your eyes, so be it. But, I'm not out here perpetuating the stereotypes people have about "Woke Twitter."
I don't see racism and attacks on Blackness in every thing out there, just the things that I speak on in this nature. I see every Black person who's trying to do great as a King or Queen (and those who are misguided, I feel they just need a push back onto the "right" path for them; God don't make no junk, as 92Q DJ Konan used to say). Now, within the "Woke Twitter" and "Hotep Twitter" spheres, there are some great people in there, like any segment of life, and some weird ones. Personally, I'd rather just be SOTB! and talk on whatever I talk on.
Also, let it be known that I have enjoyed Ariana Grande tracks and her collaboration with The Weeknd was a great introduction of Weeknd to "non-urban" markets; I didn't just "attack" Ms. Grande "because reasons and 'wokeness.'" Hell, if my discussing this, calmly and mostly intellectually, is an attack, I would've hated to see these individuals during my "feud" with Andy Milonakis.
My God, I was, as the children say, a "savage." While I didn't really like Andy's style or approach to, well, anything, I probably shouldn't have thought he'd die from random diseases in the mid-2000s. My bad. I'm really sorry. I crossed a line that shouldn't be crossed, as death is one of those things that shouldn't really be joked about. There, I finally admitted I was an asshole during that time (and not really a profound one, at that). Blame it on my youthfulness.
But, you're not here to hear me apologize for youthful fuckery from which I've grown to be a pretty kick-ass adult. Ironically, it's some of that youthful fuckery, from the outside being thrown back at me because karma, probably, that prompted me to this discussion.
A few days ago, I did a bit of a social experiment on Twitter involving Ariana Grande.
 |
| IKR. |
During the whirlwind of controversy surrounding Ariana Grande's appearance on SNL, I made commentary about her parody (and yes, impersonations are a form of parody--one of the basic forms, at that; please do some research or something) of Rihanna and the song "Work" during the "Tidal" skit. Like clockwork, the trolls and superfans emerged. A mostly wild and profoundly loyal bunch, consisting of individuals between 15 and 30 (based on an assumption; not necessarily true), they proceeded to light up my mentions with bland threats, banal comebacks, and an overall misunderstanding of how the world works--musically and otherwise. I kind of admire their naivety but also wish they'd open their eyes and stop caping. But, I digress. I'll get to that later.
Ultimately, after a day or so, I'd had enough mentions and discussions to begin dissecting them and possibly finding some sort of meaning within them. Through the "fuck you," the "u stupid. Why u hate Ariana," and the "you don't no patois fuckbwoi" [sic] tweets, I began to see a trend. While non-Black individuals kept things short and sweet (usually a simple tweet along the lines of "u don't know what u talkin bout"), Black (read: individuals who are descended from Africa; y'know, like Caribbeans, some Spanish-speaking individuals, "Black Americans," and so on) commentators proceeded to challenge me the most. In addition, these children, teens, etc., proceeded to be blind to the pseudo-blackface performance from Grande, saying it's no big deal while attempting to speak for all Blacks and "Islanders" (hopefully, that doesn't sound to pejorative). That's something you just can't do, speak for everyone. But, that's not why we're here.
Blackness, or the concept of "Blackness," is, within some groups and some topics, attacked just as much by people who look and, according to many Census statistics, are Black themselves. You could argue that it's self-hatred. You may be right. Some non-American Black people look down on "Black Americans." To paraphrase the controversial rapper NYOIL's "Y'all Should All Get Lynched," even Africans (and others) call Black Americans "niggers." It feels as if it's because of colonialism and the dissemination of information about the negatives surrounding "them niggers over there [in the U.S.]."
Hell, even within America and Black America, you've got people like Ben Carson, a brilliant mind and a legendary surgeon, calling our youth thugs and agreeing with those philosophies. When I was a kid growing up in Baltimore, in a situation similar to his upbringing, I looked up to Ben Carson. I said "hey, I don't believe in idols. But, his output to humanity is something that's great." Twenty-some years later, I'm close(ish) to thirty and I can't really say that I feel the same way about Carson, knowing some of his thoughts about the Black community at large. He's still a great surgeon and a genius. However, I don't want my kids to grow up like him. I don't want them to grow up like "random gangbanger #40" either...but, yeah. Carson, for me, becomes less of a great role model because of his willingly blind look and blanket terms for the community I consider myself a part of.
However, this sort of thing, this "hatred," if you will, of Blacks and Blackness hurts me. It hurts me two-fold. First, if you are descended from Africans, in any way, shape, or form, you are black. That doesn't mean for you to disown your own culture. Nor does it mean that I'm trying to homogenize the Black experience. I'm just saying that those out there who look down on "Black Americans" are just as Black, when you break it down to a base level, as me (I identify as Black, regardless of my parents' wonky lineage). To say "oh, fuck you, nigger. You don't know anything about XYZ," you're on the same wavelength as those prejudiced and racist individuals who may've chastised you because of your skin color, your background, et cetera. You're perpetuating foolishness and ignorance that doesn't need to be perpetuated--especially within communities of similar individuals. If I don't know something, teach me. Educate me on your definition of Blackness or whatever. I may not agree, but at least my brain will be that much better for knowing it.
Second, this sort of craziness hurts me because these are kids and young adults saying this shit. What does that mean for my kids? Hatred is a learned trait. Babies don't come out the womb saying "fuck everyone who don't look like me." That sort of thing is taught by the environment in which these children are brought up in. If you've got this sort of foolishness going on en masse around the next generation, it's bound to spread and continue on wreaking havoc on the Black community as a whole (society as a whole as well, but we're talking the Black community at the moment). It scares the shit out of me and hurts me to think that my sons could, potentially, see that hatred from people who look like them and people who don't look like them.
Let me tell you a story. My oldest, he goes to a preschool where he's one of a few "Black Americans." He's friends with all sorts of people, but is a bit shy because some of the children don't exactly look like him or his family. I tell him that a person's heart and mind make them great, not their skin. But, I don't know what those other kids' parents are talking. I don't want his friends, who come from a wide variety of ethnic backgrounds, to discriminate against him because he's Black. We've got enough of that crap on "that" side of things from the racists and prejudiced individuals out there who aren't brown. Be proud that your Blackness permeates through various people and multiple forms, from dark brown to lightskinned, from tall and caramel to short and milk chocolate. Be proud that your Blackness goes from random writer on the internet who used to rap to a Drake to a Kendrick Lamar to a Gil Scott-Heron to a Nelson Mandela. Revel in the amazing greatness it is to have that history.
I love my blackness. And yours pic.twitter.com/nHcskaDrS3— B Tran (@bm0nique) July 13, 2015
So, what I'm calling for is simple: unity and understanding. Now, bringing it back to Ariana, was I wrong for saying Ms. Grande's performance as Rihanna was borderline blackface? Eh, perhaps I stepped over a line myself. However, it felt that way to me and I opened myself up to criticism because of it. That's what I wanted, as I was open to hear a conversation with the group of fans who came to me with disdain. I wanted that conversation, needed it even. I wanted to help the youth--and the oldheads--understand that some shit just doesn't fly, regardless of who's doing it.
Would I call out a Black artist for saying some off-the-wall stuff that seems as an attack? Yeah. For instance, Chris Rock's Asian jokes at The Oscars were out of pocket and out of line (just like the use of Stacey Dash, but...yeah). Do I feel that "Blackness" is being sniped at on a regular basis? At times, yes. Other times, I don't see it as much as some people. Maybe I am "sleep" sometimes. Maybe it's because I'm not out here, like some "activists," blindly saying "Black Lives Matter" because it sounds catchy. I don't know.
However, I do know it's there, just like anyone's "attack" on a person's heritage. Do I feel that the celebration of "Blackness" is a spit in the face to "Whiteness?" No, not really. While I can see where people who say that sort of thing could come from, I feel that the unification and celebration of "Blackness" isn't detrimental to White people. That is a thing that needs to happen: unification of all Blacks to achieve a common goal, which would be doing our part to bring on further greatness in our communities and the world at large.
All in all, I'm a humanist. I love humanity. I am proud to be Black. I'm proud to be an American (I'm not a bleeding-heart patriot or anything, but I do love and respect this country--along with any country). I just wish that we, as humans, can stop being so ass-backwards when it comes to "race," ethnicity, and prejudices--on all sides. That sort of thinking limits our overall potential, dooming us to repeat the mistakes of our forefathers.
And to the Ariana Grande superfans who cursed my name, as much as I don't understand blind caping, you guys are alright with me. Do you.
_(cropped).jpg)
You're wild and insanely passionate about her to the point I don't understand it. But, you're young and you're allowed to be like that. Just, for the love of pie, please be receptive of other peoples' opinions as you grow up. You don't have to agree with anything I or anyone else says. But, at least try to put yourselves into someone else's shoes and see what's going on through their eyes, especially if they're coming from a place of respect for their community and dignity. Open your ears and not your mouths.
That's advice good enough for everyone.
With love to all of you in this wild-ass world we live in,
Speed on the Beat
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Rem's Rant: The Root of Womanizing
"A man is related to all nature.
-Ralph Waldo Emerson
This vile, lecherous, and manipulative creature is God's test to women distorted by Satan's influence. The user, abusing the very essence of what it means to be a woman for personal gain. The lesser "man" judged based upon his methods of "consolation" with his counterpart. But in the eyes of whom?
Society's double standard has dictated two things to today's mind;
But things couldn't be any more wrong. Deeply-rooted within the man who uses women for any sort of gain lies a child. Not just any child--as we've come to cast out any man lacking the maturation matching his age instead of experience--but a scorned child. A hurt child, not seeking a crutch or a future dictated by a past but a present lacking absolution. A child right now without closure for past transgressions is what breeds this type of man. The underlining question becomes; At what point does this man set aside his yesterday for a today that's conducive to a better tomorrow?
Which brings about the elephant in the room disguised as the follow-up question; How does one pursue a needed past resolution to seek a present change? In most instances the first line of vision is set on this man's family situation. Immediately turning a focus to the relationship this man has with his mother, a mother is a young boy's first example of what coming women will or won't be. How she adapts to circumstance be it man, finance, emotion, or simple everyday life. The most important aspect to focus on is how she deals in emotion in correlation to man. This will set the bar as to how this young boy perceives women.
But, this is where things turn.
The root word here is "WOMAN." So, I'll ask that you go back in this post and replace the word man with woman. (his to her and he to she) You see there can be no womanizing mindset for a man without first the weak mindset of a woman. A man is related to all nature and in his nature is the entitlement stating that he is the head. And, although a woman should be submissive (in some aspects) she can and must be strong. Womanizing was a sentiment created by stronger women looking down on the lesser of them oppose to uplifting them and keeping them oppressed. A man can be hurt from prior circumstance dating back as far as his childhood BUT as a strong woman you have been blessed with the ability to uplift him through avoiding settlement. Teach that boy striving to be man that things not promoting the process of progress will not be tolerated.
Womanizing no longer only pertains to the ways men use women but also the ways women avoid teaching men.
-Ralph Waldo Emerson
This vile, lecherous, and manipulative creature is God's test to women distorted by Satan's influence. The user, abusing the very essence of what it means to be a woman for personal gain. The lesser "man" judged based upon his methods of "consolation" with his counterpart. But in the eyes of whom?
Society's double standard has dictated two things to today's mind;
- A man who seeks betterment through abusing the mental, physical, emotional, and spiritual forums of a woman is to be praised in the eyes of the ignorant.
- Women as a whole should seek empowerment through sole independence & emancipation from the male species.
But things couldn't be any more wrong. Deeply-rooted within the man who uses women for any sort of gain lies a child. Not just any child--as we've come to cast out any man lacking the maturation matching his age instead of experience--but a scorned child. A hurt child, not seeking a crutch or a future dictated by a past but a present lacking absolution. A child right now without closure for past transgressions is what breeds this type of man. The underlining question becomes; At what point does this man set aside his yesterday for a today that's conducive to a better tomorrow?
Which brings about the elephant in the room disguised as the follow-up question; How does one pursue a needed past resolution to seek a present change? In most instances the first line of vision is set on this man's family situation. Immediately turning a focus to the relationship this man has with his mother, a mother is a young boy's first example of what coming women will or won't be. How she adapts to circumstance be it man, finance, emotion, or simple everyday life. The most important aspect to focus on is how she deals in emotion in correlation to man. This will set the bar as to how this young boy perceives women.
- Was his mother used?
- Was she inclined with mental fortitude?
- & in the event that she ever fell, was she able to recover in a way that promotes strength?
But, this is where things turn.
The root word here is "WOMAN." So, I'll ask that you go back in this post and replace the word man with woman. (his to her and he to she) You see there can be no womanizing mindset for a man without first the weak mindset of a woman. A man is related to all nature and in his nature is the entitlement stating that he is the head. And, although a woman should be submissive (in some aspects) she can and must be strong. Womanizing was a sentiment created by stronger women looking down on the lesser of them oppose to uplifting them and keeping them oppressed. A man can be hurt from prior circumstance dating back as far as his childhood BUT as a strong woman you have been blessed with the ability to uplift him through avoiding settlement. Teach that boy striving to be man that things not promoting the process of progress will not be tolerated.
Womanizing no longer only pertains to the ways men use women but also the ways women avoid teaching men.
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New Music - @BlackTonyRomo feat. King Lokey Da God: #Summer16
A pretty solid diamond in the rough freestyle from Billz the Young One featuring King Lokey Da God. I really rock with the flows on this one, as they're a mix of the "chopper" flow and smoothed-out bars. The highlight of this track, however, are the punchlines and similes.
"I ate this beat, I'm almost 24/I'm the Black Mamba, rap monster/Dominate when I attack and conquer" is a sequence of bars on here that stands out to me, especially because of Billz's follow-ups, comparing the rap game to the drug game and then bringing it all back home for a resounding claim for the summer. Lokey's verse is full of lines like "this that 'Evil Monkey' flow/I open doors and make a point," effortlessly setting up punchlines, knocking them down, and going on to the next point.
Overall, it's a solid track that should garner a few listens, at the very least.
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An Honest Review of @TrueGodImmortal and @ShokusApollo's #TheOutsiders
Disclosure: Please note that, while it's always #DARBiz, I will be looking at this album objectively (read: looking at as if I didn't know True, Apollo, or anything about Team DAR). Therefore, it won't be straight-up 10s across the board if it doesn't deserve it. This is my team, so as a member of said team, I want to provide constructive opinions on team releases, just as True did for Death of the King. Now that this disclosure's out the way, let's get into the music.
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Team DAR members True God and Shokus Apollo, known as HS when performing together, have known each other for the better part of two decades. It's that long friendship that forged their second HS release, The Outsiders. A sequel, of sorts, to 2015's Upper Echelon, The Outsiders is darker and more aggressive than its predecessor.
We first see that aggression with the intro track "Never Fold." Both Apollo and True attack the beat. True hops out with some double-time bars, burning through opposition while Apollo focuses more on enunciating every bar so you feel the urgency. From this pledge of allegiance to the real, we get a boom-bap pledge of allegiance to beautiful black women in "Brown Sugar." Apollo's rapped verse on here felt a bit all-over-the-place, and felt a bit out of place (the food references at the end, while they tie in, felt kind of like an outtake more than anything else). Overall, it's a cool track and full of lines like "20% Blackfoot, and the rest is pro-Black" bringing back the love for Blackness.
Next up, we've got a "Human Nature"-sampling trippy, Dilla-esque track in "Illuminate Your Mind." The beat feels a bit too busy, and it kind of takes me out of the track. The bars, when you can focus on them, they're solid and spit some knowledge. However, I'd personally rock with this track a bit more if the beat was a bit cleaned-up.
"Supreme" is the antithesis, in some ways, to "Illuminate." The beat is trippy, but simplistic in its approach. From here, we get a smoky, jazzy track in "Atlantis." It's, in some ways, the story of True and Apollo and how they've gotten to where they are now. I love the instrumental ride out on it. However, I wish it didn't cut off so abruptly.
"Glass" is trap-inspired and takes about a minute to finally get into the song. But, once it does, it's a boisterous track. Apollo and True man the Auto-Tune ship to further detail their journey. The bass keeps you into the track until we get to the first chorus. But, I can't help but think how much more off-the-wall this track would've been without the minute wait until Apollo's chorus.
From waiting a minute for the song to kickoff to a track that hits you from the jump, "Little Mexico" feels like Kingpin Rap for "Woke" Folks. I don't mean that as an insult to HS or to "woke" people. However, this track has that sort of vibe. And that vibe continues in "Columbiana," a Cookin' Soul-inspired, cabana-friendly track. The mood switches, a bit, from drug rap-inspired bars to love of the female form, which leads us to "Something About Her." I'm a bit on the fence about this track. I like it. However, I feel it's a bit overkill with the theme to have it right after Columbiana.
Even with that in mind, we get "Right Here with Me," a sort of "'03 Bonnie and Clyde" meets "Bound 2" hybrid. It's one of the strongest tracks on the album, as it takes everything people may love about HS (lyrical content, teaching lyrics that aren't over-the-top with their "intelligence," that mix between vulgar and profound, etc.) and provides accordingly.
Closing out the album, we're given more of that HS flow with "What a Day" and "Strong Together." The freestyle form of "What a Day" lends well to True and Apollo just discussing life and its complexities, as both artist are "[around] 27, but still affected by Father Time.""Strong Together" features lines such as "Making history on mini-budgets/I know some people hated, but I know that plenty loved it." That, for me, is the appeal of a DAR or an HS. They're dropping these tracks with minimal promotion budgets, mostly using word-of-mouth and the like to get over. And, from what I'm seeing, it's working.
Final Verdict:
I rock with the album and its approach. Is it a perfect album? No. True already discussed that in his own review of his project. However, it's a pretty cohesive effort that, for the most part, avoids that horrible cliche of a "sophomore slump." It's less cluttered than Upper Echelon, but still has a track or two that could've been replaced or reworked. But, overall, it's an album worth checking out.
Team DAR members True God and Shokus Apollo, known as HS when performing together, have known each other for the better part of two decades. It's that long friendship that forged their second HS release, The Outsiders. A sequel, of sorts, to 2015's Upper Echelon, The Outsiders is darker and more aggressive than its predecessor.
We first see that aggression with the intro track "Never Fold." Both Apollo and True attack the beat. True hops out with some double-time bars, burning through opposition while Apollo focuses more on enunciating every bar so you feel the urgency. From this pledge of allegiance to the real, we get a boom-bap pledge of allegiance to beautiful black women in "Brown Sugar." Apollo's rapped verse on here felt a bit all-over-the-place, and felt a bit out of place (the food references at the end, while they tie in, felt kind of like an outtake more than anything else). Overall, it's a cool track and full of lines like "20% Blackfoot, and the rest is pro-Black" bringing back the love for Blackness.
Next up, we've got a "Human Nature"-sampling trippy, Dilla-esque track in "Illuminate Your Mind." The beat feels a bit too busy, and it kind of takes me out of the track. The bars, when you can focus on them, they're solid and spit some knowledge. However, I'd personally rock with this track a bit more if the beat was a bit cleaned-up.
"Supreme" is the antithesis, in some ways, to "Illuminate." The beat is trippy, but simplistic in its approach. From here, we get a smoky, jazzy track in "Atlantis." It's, in some ways, the story of True and Apollo and how they've gotten to where they are now. I love the instrumental ride out on it. However, I wish it didn't cut off so abruptly.
"Glass" is trap-inspired and takes about a minute to finally get into the song. But, once it does, it's a boisterous track. Apollo and True man the Auto-Tune ship to further detail their journey. The bass keeps you into the track until we get to the first chorus. But, I can't help but think how much more off-the-wall this track would've been without the minute wait until Apollo's chorus.
From waiting a minute for the song to kickoff to a track that hits you from the jump, "Little Mexico" feels like Kingpin Rap for "Woke" Folks. I don't mean that as an insult to HS or to "woke" people. However, this track has that sort of vibe. And that vibe continues in "Columbiana," a Cookin' Soul-inspired, cabana-friendly track. The mood switches, a bit, from drug rap-inspired bars to love of the female form, which leads us to "Something About Her." I'm a bit on the fence about this track. I like it. However, I feel it's a bit overkill with the theme to have it right after Columbiana.
Even with that in mind, we get "Right Here with Me," a sort of "'03 Bonnie and Clyde" meets "Bound 2" hybrid. It's one of the strongest tracks on the album, as it takes everything people may love about HS (lyrical content, teaching lyrics that aren't over-the-top with their "intelligence," that mix between vulgar and profound, etc.) and provides accordingly.
Closing out the album, we're given more of that HS flow with "What a Day" and "Strong Together." The freestyle form of "What a Day" lends well to True and Apollo just discussing life and its complexities, as both artist are "[around] 27, but still affected by Father Time.""Strong Together" features lines such as "Making history on mini-budgets/I know some people hated, but I know that plenty loved it." That, for me, is the appeal of a DAR or an HS. They're dropping these tracks with minimal promotion budgets, mostly using word-of-mouth and the like to get over. And, from what I'm seeing, it's working.
Final Verdict:
I rock with the album and its approach. Is it a perfect album? No. True already discussed that in his own review of his project. However, it's a pretty cohesive effort that, for the most part, avoids that horrible cliche of a "sophomore slump." It's less cluttered than Upper Echelon, but still has a track or two that could've been replaced or reworked. But, overall, it's an album worth checking out.
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New Music - @Jay_Wyse: "Be Me"
New music from Baltimore native Jay Wyse. Fresh on the heels of Nine Twenty Five, we're given this loosie. To check out Nine Twenty Five, head over to Spotify and stream it today.
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New Music: @KevinRossMusic x @ChazFrenchMusic - Be Great (Intro)
New music from Kevin Ross featuring Chaz French that appeared on last week's episode of Grey's Anatomy. Huge moves being made by both artists. I profiled the track more over on Boi-1da.com, mainly focusing on the production. Check it out above.
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The Underrated: Scott Pilgrim vs. The World
In 2010, I was introduced to the Scott Pilgrim series. As a self-proclaimed nerd in his early 20s, I instantly fell in love with it and its commentary on hipster life, nerdishness and maturation in the digital age (even though the series began around the time hipsters were first becoming a thing and ended around the time millennials were doing the same). And while I wish there was a bit more...color in the series--many of the characters are white Canadians, although, given the location and niches the characters were involved in, I get it--the series spoke to me.
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Scott was a normal dude who bossed up and fought for what he loved--the Technicolor-haired Ramona Flowers. The nerdy tropes were, in reality, kind of a secondary thing to excellent storytelling. We got to watch this band (literally, the main characters are part of a band named Sex Bob-omb) of characters grow and evolve, becoming better people (mostly) by the end of the sixth book. I won't spoil anything, but one of the main characters becomes even more comfortable with who he is than Scott does. Plus, the way the series was illustrated was top-notch, with many callbacks to films, songs, and video games.
So, you can imagine my elation when I found out that there would be a film adaptation of the graphic novels directed by Edgar Wright (the guy who directed some of my favorite films such as Shaun of the Dead and Hot Fuzz) with Michael Cera in the role of Scott. I mean, even though Cera's pretty much been pigeonholed into George Michael Bluth-esque roles since Arrested Development, he's kind of the GAWD of these type of roles. Without Cera, America wouldn't have pushed so hard for Jesse Eisenberg to be the U.S. answer to Cera.
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Okay, not really. Cera and Eisenberg are two completely different actors who fill similar, but different, niches. And, whatever you do, don't mix up the two. But, I digress, since we're not here to talk about whether or not Cera would've made a better Lex Luther or if Eisenberg would've been a better Paulie Bleeker (answer to both of those is "probably not").
Scott Pilgrim vs. The World, named after the second book in the graphic novel series, was released on August 13, 2010 domestically. Made on a production budget of $60 million (after incentives), the film made $47.6 million during its box office life. Because of this, the movie is considered to be one of the biggest flops of 2010 (even with its cult status post-box office). In BoxOfficeMojo.com's "Fanboy Slugfest,"Pilgrim comes in last, even while ranking in the top 25 for film scores on the year. But, did Scott and his friends deserve the unwavering wave of "meh" they were met with? As a fan of the film, I'd say "oh, hells no. GTFOH! The film was friggin' amazeballs!" As a critic looking at the film as objectively as I can, I'd still say no.
One of the critiques I often hear about Scott Pilgrim vs. The World is that people didn't get it. Well, that and "people hate hate hipsters" (and, around the time of the film's release, hated seeing Michael Cera's face appear in films--especially hipster-friendly films). Truth be told, I understand exactly where they're coming from.
It's a musical-esque film with rom-com elements where video game battles (and references) end up replacing dance numbers. Additionally, because people saw video game references and garage bands out the ass, many moviegoers instantly thought "oh, it's a geek movie." That's not necessarily true, as the film was less "geek" and more hipster nerd-meets-garage musician. The film, at times, literally broke the fourth wall and was full of references that only fans of the series would get. For instance, when characters were introduced, stat cards popped up next to them.
![]()
The characters weren't all-out likable. In fact, some of them--hi Knives--people downright disliked. But, you couldn't help but like them and empathize with them over the sheer amount of fuckery that went down around them. It's not every day your Battle of the Bands is interrupted by your bassist and some random ex-boyfriend hitting super combos on each other.
Because of the romantic dramedy elements, some may've disliked this. There were probably even some "oh, I can't fully cheer for him" moments. I mean, we love our loveable losers, but Scott, let's be honest, was, at times, an asshole. At one point during the film, he was like Terrance J's drunken bender phase in The Perfect Match (I saw it after watching Brad Jones Midnight Screen it. God, is that a horrible movie or what?). Even while he redeemed himself--and got the girl away from the evil loser--in the end, he still had some of those asshole qualities to him--even though they were more unintentional than anything by the end.
![]()
I'd like to liken Scott Pilgrim, in hindsight, to the batshit crazy epic WTF-fest that is Deadpool--except we didn't see Michael Cera's schlong in 3D and Ryan Reynolds didn't learn the bassline to Final Fantasy II. And, no. It's not just because both are comic book adaptations. Stick with me a bit before you try to burn my house down.
Both films are niche films that cover a lot of bases while still being painted with broad strokes by uninitiated members of the audience. Both films, in some ways, knew they were films (although, with Scott Pilgrim, this was less obviously stated) and had fun playing with the conventions of the medium. Both utilized unlikeable-but-intriguing Canadian-born characters and made audiences empathize with them and want to see both Scott and Wade/Deadpool kick the crap out of all competition. And both films, when you remove the batshit-crazy visuals, are stories about the human condition (especially the idea of love and the amount of bullshit a person will go through to regain "The One").
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Oh, and Deadpool director Tim Miller's team at Blur Studios worked on the visuals for parts of Scott Pilgrim. Can you tell? Sure, it's only the Ninja Ninja Revolution scene. But that's got some pretty deep meanings in the entire movie.
Grasping at straws aside, these films've got a lot more in common than one may think. So, why did Deadpool eviscerate competition while Scott got dickpunched by box-office returns? Simply put, it was released at the wrong time. Yes, the marketing strategy behind it was balls-to-the-wall. But, in 2010, audiences just weren't really ready for a quirky, action-packed, video game-centric romantic dramedy based off a not-so-mainstream comic book property full of hipster-friendly references and convention-breaking. That's pretty much the long and short of it.
So, is Scott Pilgrim vs. The World worth checking out? Yeah. Films of this innovative capacity only come around once in a while. Because of the wackiness and risks taken in it, you could make a rudimentary argument that Deadpool became a thing. Then again, Ryan Reynolds is just a GAWD when it comes to Deadpool-centric situations, sooooo...yeah. But, again, check the film out. If you're interested in a good story with quirky-yet-engaging characters and crazy action sets, you can't go wrong with this Pilgrim.
...now, can I get my Real Life Movie Reviewer card?! I just made a Gene Shalit-esque pun.
Scott was a normal dude who bossed up and fought for what he loved--the Technicolor-haired Ramona Flowers. The nerdy tropes were, in reality, kind of a secondary thing to excellent storytelling. We got to watch this band (literally, the main characters are part of a band named Sex Bob-omb) of characters grow and evolve, becoming better people (mostly) by the end of the sixth book. I won't spoil anything, but one of the main characters becomes even more comfortable with who he is than Scott does. Plus, the way the series was illustrated was top-notch, with many callbacks to films, songs, and video games.
So, you can imagine my elation when I found out that there would be a film adaptation of the graphic novels directed by Edgar Wright (the guy who directed some of my favorite films such as Shaun of the Dead and Hot Fuzz) with Michael Cera in the role of Scott. I mean, even though Cera's pretty much been pigeonholed into George Michael Bluth-esque roles since Arrested Development, he's kind of the GAWD of these type of roles. Without Cera, America wouldn't have pushed so hard for Jesse Eisenberg to be the U.S. answer to Cera.
Okay, not really. Cera and Eisenberg are two completely different actors who fill similar, but different, niches. And, whatever you do, don't mix up the two. But, I digress, since we're not here to talk about whether or not Cera would've made a better Lex Luther or if Eisenberg would've been a better Paulie Bleeker (answer to both of those is "probably not").
Scott Pilgrim vs. The World, named after the second book in the graphic novel series, was released on August 13, 2010 domestically. Made on a production budget of $60 million (after incentives), the film made $47.6 million during its box office life. Because of this, the movie is considered to be one of the biggest flops of 2010 (even with its cult status post-box office). In BoxOfficeMojo.com's "Fanboy Slugfest,"Pilgrim comes in last, even while ranking in the top 25 for film scores on the year. But, did Scott and his friends deserve the unwavering wave of "meh" they were met with? As a fan of the film, I'd say "oh, hells no. GTFOH! The film was friggin' amazeballs!" As a critic looking at the film as objectively as I can, I'd still say no.
One of the critiques I often hear about Scott Pilgrim vs. The World is that people didn't get it. Well, that and "people hate hate hipsters" (and, around the time of the film's release, hated seeing Michael Cera's face appear in films--especially hipster-friendly films). Truth be told, I understand exactly where they're coming from.
It's a musical-esque film with rom-com elements where video game battles (and references) end up replacing dance numbers. Additionally, because people saw video game references and garage bands out the ass, many moviegoers instantly thought "oh, it's a geek movie." That's not necessarily true, as the film was less "geek" and more hipster nerd-meets-garage musician. The film, at times, literally broke the fourth wall and was full of references that only fans of the series would get. For instance, when characters were introduced, stat cards popped up next to them.
The characters weren't all-out likable. In fact, some of them--hi Knives--people downright disliked. But, you couldn't help but like them and empathize with them over the sheer amount of fuckery that went down around them. It's not every day your Battle of the Bands is interrupted by your bassist and some random ex-boyfriend hitting super combos on each other.
 |
| See what I mean? |
Because of the romantic dramedy elements, some may've disliked this. There were probably even some "oh, I can't fully cheer for him" moments. I mean, we love our loveable losers, but Scott, let's be honest, was, at times, an asshole. At one point during the film, he was like Terrance J's drunken bender phase in The Perfect Match (I saw it after watching Brad Jones Midnight Screen it. God, is that a horrible movie or what?). Even while he redeemed himself--and got the girl away from the evil loser--in the end, he still had some of those asshole qualities to him--even though they were more unintentional than anything by the end.
I'd like to liken Scott Pilgrim, in hindsight, to the batshit crazy epic WTF-fest that is Deadpool--except we didn't see Michael Cera's schlong in 3D and Ryan Reynolds didn't learn the bassline to Final Fantasy II. And, no. It's not just because both are comic book adaptations. Stick with me a bit before you try to burn my house down.
 |
| If only... (Image credit: Manalmostwithoutfear, Marvel, and Bryan Lee O'Malley) |
Both films are niche films that cover a lot of bases while still being painted with broad strokes by uninitiated members of the audience. Both films, in some ways, knew they were films (although, with Scott Pilgrim, this was less obviously stated) and had fun playing with the conventions of the medium. Both utilized unlikeable-but-intriguing Canadian-born characters and made audiences empathize with them and want to see both Scott and Wade/Deadpool kick the crap out of all competition. And both films, when you remove the batshit-crazy visuals, are stories about the human condition (especially the idea of love and the amount of bullshit a person will go through to regain "The One").
Oh, and Deadpool director Tim Miller's team at Blur Studios worked on the visuals for parts of Scott Pilgrim. Can you tell? Sure, it's only the Ninja Ninja Revolution scene. But that's got some pretty deep meanings in the entire movie.
Grasping at straws aside, these films've got a lot more in common than one may think. So, why did Deadpool eviscerate competition while Scott got dickpunched by box-office returns? Simply put, it was released at the wrong time. Yes, the marketing strategy behind it was balls-to-the-wall. But, in 2010, audiences just weren't really ready for a quirky, action-packed, video game-centric romantic dramedy based off a not-so-mainstream comic book property full of hipster-friendly references and convention-breaking. That's pretty much the long and short of it.
So, is Scott Pilgrim vs. The World worth checking out? Yeah. Films of this innovative capacity only come around once in a while. Because of the wackiness and risks taken in it, you could make a rudimentary argument that Deadpool became a thing. Then again, Ryan Reynolds is just a GAWD when it comes to Deadpool-centric situations, sooooo...yeah. But, again, check the film out. If you're interested in a good story with quirky-yet-engaging characters and crazy action sets, you can't go wrong with this Pilgrim.
...now, can I get my Real Life Movie Reviewer card?! I just made a Gene Shalit-esque pun.
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