The trap pioneer’s 15th studio album probably sounds as you’d expect it to
Gucci Mane, veteran Atlanta rapper and the new face of fashion luxury brand Gucci, released his 15th studio album as the second edition of his Woptober series. The album features a variety of features including young up-and-comers DaBaby, Megan Thee Stallion, Lil Baby and 66.6 per cent of Migos.
The rate at which Gucci releases new music is impressive to say the least, but this may take away from any of these records having any more longevity than the next. His clever bars and familiar flow are always welcomed, but Woptober II, like many of its predecessors, has little lasting power compared to some of the classics that Gucci released earlier in his career. The tracks with features always sound like a fun collaboration among friends, or between rookie and vet, while Gucci’s solo songs typically offer more introspection into the mind of a trapstar criminal turned multi-millionaire businessman.
6/10
Trial Track: “Big Boy Diamonds” ft. Kodak Black
Star Bar: “I’m not talkin’ the Weeknd, but I’m talking ‘bout Abel / You see this shit that Cain did, and they weren’t even strangers” – Gucci Mane on “Highly Recommended”
One of the most iconic British rock albums of all time, revisited
On this week in 1995, English rock band Oasis released their second studio album, (What’s the Story) Morning Glory?. The record is considered by some to be the greatest album of all time and the album that propelled them to worldwide stardom, being declared the greatest British album since 1980 at the 2010 Brit Awards. It includes timeless classics like “Don’t Look Back in Anger,” “Champagne Supernova,” and the song we’ve surely all sang in a large group at a drunken house party a few decibels too high: “Wonderwall.”
Despite the current state of Liam and Noel Gallagher’s relationship, (What’s the Story) Morning Glory? and the many albums that followed solidified Oasis’ place in rock and roll history and as the creators of the world’s greatest sing-along song.
10/10
Timeless Classic: Wonderwall
Star Bar: “Take me to the place where you go / Where nobody knows if it’s night or day / But please don’t put your life in the hands / Of a Rock n Roll band /Who’ll throw it all away” – “Don’t Look Back in Anger”
The Fab Four’s pride and joy, Abbey Road, celebrates 50 years and remains iconic in the music industry.
I can’t remember consciously falling in love with music until my first year of high school.
Sure, music has always been around in my life. I remember my kindergarten gym teacher handing me a plastic guitar to sing in front of the class when he saw me mouthing the words to “Highway to Hell” at the age of five. I remember my older brother showing me the cover art to Sam’s Town the day it was released in 2006, and enjoying it just as much as The Killer’s first album, Hot Fuss. I remember my dad buying the Guns N’ Roses Greatest Hits and my sister’s love of Bon Jovi in highschool. My mom’s teen crush on Donny Osmond and my grandfather’s man crush on Dean Martin. Music has certainly always been around me, but I didn’t necessarily always care for it.
If I could look back and pinpoint one moment in time when this all changed, it would have to be the first time I listened to The Beatles. Sometime in late 2007, my brother’s friend brought all 12 studio album CDs of the greatest band of all time, along with a few B-sides, to our house to burn onto our computer. After a few long hours of transferring, nearly every song The Beatles had ever released was available on our iTunes library.
Having always had faith in my brother’s taste in music, I took my third generation iPod Nano and plugged it into the computer. “Sync music.” I vividly remember running upstairs to my bedroom, plugging in my earphones, lying on my bed, and pressing play.
Paul McCartney’s “One, two, three, four!” countdown at the beginning of “I Saw Her Standing There” was a metaphorical countdown to my fall into a rabbit hole of rock n’ roll that I would never find my way out of. This song is the first song on the Beatles’ debut studio album, Please Please Me, listed at No. 39 on Rolling Stone’s “500 Greatest Albums of All Time” list.
Front to back, the Fab Four’s back-and-forth transition of John Lennon to McCartney on lead vocals, and from upbeat rock to soothing love ballads was like nothing my 12-year-old self had ever heard before.
“Twist and Shout,” the outro song of the album, made it an absolute no-brainer that I would be spending the rest of my night enthralled in the evolution of The Beatles.
With The Beatles and A Hard Day’s Night delivered just as much as their predecessor. “All My Loving” and “Can’t Buy Me Love” went on to become fan favourites. Through the lyrics and their tone of voice, you could hear the youth and optimism that resided in the band members in their early days. Youth and optimism that had not yet been crushed by the pitfalls of the music industry; riddled with drugs, money, fame and empty promises. Youth and optimism that had not yet felt heartache, heartbreak, divorce, and regret. Youth and optimism that made all their love songs to date ones of glee and hope, as if they truly believed being in love was always a pleasurable experience.
Oh, how quickly things would change.
The Beatles’ fourth and fifth album, Beatles for Sale and Help!, toned down the cheery love songs and added more depth and transparency to their work. Songs like “I’m a Loser” and “You’ve Got to Hide Your Love Away” address fallen love and hardships that the Beatles had experienced with a few more years of musical fame under their belt, as well as being the stars of two movies. Lennon claimed that these songs were written during his “Dylan period,” a time when the band found major influence from American singer-songwriter Bob Dylan, who changed the focus of their songs to a more mature subject matter.
By this time, the Beatles had had their fair share of fun; dabbling into hallucinogens. Their mind-altering state was beginning to rub off on their music – evidently for the better. Masterpiece singles like “Lucy in the Sky with Diamonds” and “With a Little Help From My Friends” remain timeless classics that will be sung along to just as loud another half-century from now. Magical Mystery Tour feels like a continuation of the same acid trip.
The Beatles ninth studio album, a self-titled double album often referred to as The White Album, did not halt their momentum. After writing the songs while on a religious retreat away from stardom, the Fab Four returned and released a 30-song album just over a year later. Their transitions between soft melodies and hard rock, all while offering each of the band members a turn at lead vocals, puts every listener on a musical roller coaster.
Abbey Road and Let It Be often get confused as the last albums that the Beatles recorded, although the real timeline doesn’t matter. The two albums were said to be recorded during the band’s “low of all-time” by lead guitarist George Harrison; and were the band’s final hurrah to the world. Both albums are riddled with tear-jerkers and songs of beauty, perhaps some of their most beautiful work ever; “Let It Be,” “Here Comes the Sun,” “The Long and Winding Road.” The lyrics to their songs preach that there is hope for a better world, regardless of the band’s fate.
Despite the cause of Lennon’s death 10 years later, one could still assume that he would continue to stand by his mantra: give peace a chance.
Thank you to The Beatles: for their countless classics, their diverse catalogue, and their lifelong words of wisdom that we could all use every once in a while.
Montreal singer-songwriter celebrates his second album with a release show at Petit Campus
On Saturday, Sept. 7, fans and local musicians alike gathered at Petit Campus to celebrate the launch of Bud Rice’s second studio album, Piece of Heaven.
Although not yet available on streaming services, the Montreal singer-songwriter hosted his release party to celebrate the completion of his project and perform the track list in its entirety. On stage, the frontman was accompanied by a full band, comprised of a guitarist, bassist, drummer, and keyboardist.
Rice, born Henry Rice-Gossage, is no stranger to the stage, having begun to perform live at 15. Following several years of playing covers, many of which from the great Bob Dylan, Rice began writing his own songs. But like most lyrics written at the tender age of 18, his first songs were self-admittedly awful. Years later at 23, he released his first album, Belfast.
“I’m really proud of Belfast,” Rice told The Concordian. “But I think there are some things I would have done differently and I think going into the second record I had a better head on my shoulders about how I wanted to approach pre-prod and utilizing the time in studio more efficiently- way better than the first time around. On top of that, having constantly played in pubs for that four year span, I think that my chops alone have gotten better.”
Bud Rice strums and sings to his newly released songs at Petit Campus. Photo by Jacob Carey
Rice showcased his improved chops when he started his performance with the first song off the album, “Evergreen,” which he recently released a music video for. Midway through the set, Rice’s father, Dave Gossage, a professional musician, took the stage to perform “St Henri,” “Heron On A Stone” and “Just a Little Grey.” Gossage played the harmonica on the first two songs and ended with a flute on the last one, having displayed his incredible talent and musical versatility.
“Dad inspired me with the concept that there is a craft,” said Rice. “There is art, and there is a spectrum that exists. There’s far-left artsy-fartsy and the far-right business-savvy dude. If this is a career you want to maintain, you have to be somewhere in between. You can’t be too far left or too far right. I think that watching him, who is like a phenom, being able to carry out a career as one of the best musicians I’ve ever met, to have him inspire me to want to do that continuously, was super beneficial for me.”
Being a professional himself, Gossage always pushed Rice to keep a business mentality when it came to playing music.
“[He taught me] the drive, the determination to wake up every day and not feel hungover, or not do anything,” said Rice. “It was like, be hungover and put in the work you need to put in to make something real. It was always ‘It’s a job – do your job,’ not ‘You’re a fucking free spirit, just play music man’. No. This is your fucking job, so be good at your job.”
Rice proved that he is indeed good at his job. Although he had his accompanying band with him for the duration of his performance, the encore of his recent single “Oh My Sweet Rose” was done solo, making it clear that the entertainer needs no back up to put on a great show.
Johnny Griffin (right) and Luc Delisle (left) strum their guitars in front of a sold-out Turbo Haus on Aug. 29. Photo by Jacob Carey
Three years after its release, the Montreal natives play their debut album in its entirety
On Aug. 29, Montreal rock band John Jacob Magistery performed the entirety of their debut album Phantom i / Are You Too Sensitive? for the first time ever in front of a sold-out audience at Turbo Haus.
Following an opening set by Montreal’s Frisco Lee, the N.D.G.-born singer-songwriter and frontman Johnny Griffin aptly began the night with the album’s opening track, “Captain of the Sea.” Despite John Jacob Magistery’s main formation containing only three members (Griffin, MacKenzie Myatt on violin/synthesizer, and Anthony Lombardi on drums), the trio was also accompanied by three other musicians; including a guitarist, cellist, and an erhu player (also known as a Chinese violin).
JJM’s hit “Carol,” the second song on their track list, started the night on a high note as everyone in the sardine-packed room sang along to the album’s most recognizable song. Although Phantom i was released over three years ago, the songs felt fresh and improved with the addition of the accompanying band. Griffin interacted with the audience, asking them to dance and move closer to the stage, and thanked them for their hometown support.
John Jacob Magistery’s latest record, Harmoney, was released in 2017. However, Griffin promised new material is coming soon.
“I’m going to be putting out some singles,” Griffin told The Concordian. “I was in the studio [today] finishing up some songs. I’m going to be putting out a video. I have a couple of tunes that’ll be coming out soon, but there’s no release date.”
“[The next project] is kind’ve divided into two,” Griffin continued. “One of the things is going to be very singer-songwriter. Analogue. All live, kind of the way I did the [Narcissism Unto Loneliness] EP, so live off the floor. The way Bob Dylan did shit. Acoustic instruments…That’s one of the things I’m doing, and the other thing is digital, using drum samples and doing everything in my bedroom on Ableton.”
The singer-songwriter genre is all original material from Griffin, while the rest relies on using samples from a music production software.
“[They’re] totally different processes,” Griffin said. “The singer-songwriter stuff is just me and a guitar. The other stuff I make by getting inspired by sounds on Ableton and drumbeats. Clips and samples, and shit like that. So that’s a totally different thing. The Ableton stuff – I could do basically all on a computer.”
The band finished their album’s entirety with their first-ever live performance of the closing track “Are You Too Sensitive?;” While they thanked the crowd and made their way towards the exit, they were urged to come back for more. John Jacob Magistery finished off the night with their biggest track, “Greatest Story Ever,” and “Harmoney.”
The morning following the show, JJM posted to their social media letting fans know that they had to decline people at the door due to capacity, and as a result added a second show date for the following Monday, Sept. 2.
The Concordian sits down with Toronto R&B artist Anders after his Osheaga performance to talk about his first platinum record, sold-out shows and the powerful team behind him
Anders is nowhere to be found. His team greeted me and sat me down on a park bench in Osheaga’s “Artist World” where we’re supposed to meet for our interview, but the man of the hour isn’t in my line of sight. There’s talk that he’s eyeing down some sunglasses at a nearby pop-up shop, or that he may be refuelling after an exhausting hour of work. After all, performing in front of a crowd of hundreds in the blistering heat of the summer isn’t always easy.
Mere minutes later, Anders joins our table and introduces himself. Whatever he was off doing, he made sure to make himself comfortable after his performance, grabbing a glass of wine and opting out of his “Off-White” Jordan 1s for red Palm Angels sliders that matched his t-shirt. Anders is an extrovert – made most evident by his bubbly personality and genuine desire to want to speak about his craft. At just 24-years old, the Toronto R&B singer has a lot to be proud of.
Anders has most recently achieved his first platinum record as a for his collaborative track with Canadian DJ duo Loud Luxury’s Love No More. He compared the timing of the release of this song to the story of David and Goliath, since it came out following the worldwide success of Loud Luxury’s multi-platinum single, Body – a truly hard song to follow.
“Me and LUCA, who is kind of my right-hand guy, we created the song one late night in a studio called DAIS back in Toronto and it was originally called: I Don’t Want Your Love,” said Anders. “But I linked up with Loud Luxury, who were like ‘Yo, we wanna work, we wanna do some shit.’ At this time they had just put out their hit song, Body, and it hadn’t blown up yet. It was just sort of starting to– I remember at the time it was like two million plays and they wanted to do some shit so I was like, ‘Yo, I got this one I already recorded if you guys want to do something to it.’ I sent them the vocals, and then they bounced me back Love No More saying ‘We’re gonna roll it out, we’re gonna go with it.’”
The success of Love No More wasn’t Anders’ first prominent feature in the music industry. Following the release of the artist’s second EP, Twos, Anders sold out his debut performance at the Phoenix venue in Toronto that holds over 1000 people. This accolade was documented in detail with the release of The Road to Phoenix, a YouTube documentary curated by NST – the team, friends and label that Anders wholeheartedly stands by.
Anders and interviewer Jacob Carey discuss music and Toronto’s influence at Osheaga’s “Artist World” – Photo by Jackson Roy
“Me and my two team members, Derek [Hui] and Will [Nguyen], when we started coming in the scene and making music, we wanted something that was more than just being an artist,” Anders said. “We kind of wanted a brand to go with it as well. So we created NST. In the beginning, we were just selling merch and hats, but eventually, we want to do music, labels, you know. Film, fashion – everything. That’s just a brand we created to kind of rally behind and it’s also something good for, you know, if ever I want to take some time to chill, we still have NST. It’s not like we’d have nothing to do.”
Anders’ relationship with NST is a two-way street, with both sides often consulting one another before making their next moves. Anders’ relationship with music, which dates back to his early childhood when he was forced into piano lessons and band practice, allows him to play a hands-on role in his songs’ productions. While he takes care of the musical aspect of NST, his teammates help boost the brand and market the products.
“In the beginning, me, Derek, Will – we were just independent artists with no connections to labels, wondering, ‘Ok, how do we market? How do we push the music?’” said Anders. “Will and Derek came from a background of producing events, so we said ‘Let’s do what we’re good at. Let’s put events out.’ So we did a little run of going from city to city to do these listening parties, because that’s kinda what we knew. We didn’t know that other shit. I don’t know how to get on a playlist.”
While Anders relied on real-life networking from city to city to build a fan base, the artist is aware of the role that his own city played in his success. Toronto is home to countless of international superstars, namely Drake and The Weeknd– two of Anders’ inspirations and influences. Without these catalysts, Anders thinks that musicians wishing to make it in Toronto would have a harder time doing so.
“It’s tough cause you know, even Drake, if it wasn’t for Drake I wouldn’t make music,” said Anders. “When you have somebody around you to look up to and say ‘Oh, they did it. Why can’t we do it?’ Right? But if you’re in the middle of fucking nowhere, where nobody made it, you kind of have to lead by example… There’s so much inspiration but if there’s nobody around you to see that, you kinda gotta draw from other places and pave that path on your own. It’s definitely a blessing to have an example.”
Similar to his idols, Anders does not want to box himself in as just an R&B artist, or just a rapper, but a multi-faceted artist with a lot to show for. In the short time that he’s been in the scene, Anders is proving just how far a strong network, devoted fan base, and loyal team can take you.
The 14th annual music and arts festival featured various hidden gems and one breathtaking performance from a headliner
The initial March release of Osheaga’s lineup was met with mixed reviews as many disgruntled concert-goers believed the roster lacked the star power that prior years brought to the stage.
With questionable headliners and supporting acts, some Montrealers doubted whether they would attend the 14th annual music and arts festival. However, those that did were pleasantly surprised by Osheaga’s organization, accessibility and the hidden gems in lesser-known acts.
Osheaga’s relocation to their original site on Ile St-Helene after two years made a tremendous difference in the festival’s flow. Lines seemed to move quicker, travel time between stages was reduced and less congested, and the ground’s layout made everything more accessible than the years the festival took place on Ile Notre Dame.
Spread out over three days and six stages, Osheaga caters to all music lovers by hosting acts of many genres. With over 30 acts per day, people can expect to catch shows ranging from rock n’ roll, to hip hop, to EDM, to pop, and more. This year’s headliners included the Lumineers, The Chemical Brothers, and Childish Gambino.
Friday featured notable acts like Australian DJs Fisher and Flume, Atlanta rappers Gunna and Gucci Mane, 88rising solo member Joji, hip hop duo $uicideboy$, and The Lumineers closing out the main stage. As all the artists play at different locations, oftentimes overlapping in time slots, people were encouraged to download the Osheaga app to create their own schedules on their phone to remind them of the acts they wished to attend.
Atlanta rapper Gunna looks onto the crowd below him before one of his biggest hits. Photo by Jacob Carey
Hip hop artists Denzel Curry and JPEGMAFIA saw many of the same audiences flocking together from one stage to another in the early hours of the festival. In the scorching hot sun that blessed attendees all weekend long, hoses fired water onto the crowd to cool them down. While necessary at times, the hose seemed like overkill on other occasions, causing people to back away to avoid drenching their festival outfits (and photographers’ cameras!).
However, the hose seemed most necessary during trap rapper Gunna’s performance – one that had the most energetic crowd of the day due to the success of his recent hits (“Drip Too Hard,” “Speed It Up”) that have gained massive popularity in the teenage demographic. While one would have expected the same from veteran rapper Gucci Mane, his stage presence was not as enthralling despite it being his second-ever performance in Canada following years of legal issues.
Gucci Mane salutes his audience in his second-ever Canadian performance. Photo by Jacob Carey
Saturday saw a slew of singer-songwriters dominate the main stage, including Ravyn Lenae, King Princess, and City and Colour. During the intermissions, people could turn their attention to the adjacent stage to catch performances from Young the Giant, Janelle Monae, and Logic. All the while, the Scène de L’Ile stage featured nonstop electronic music acts from 1 p.m. until the festival’s close just before 11 p.m.
The last rapper to take the stage was New York native A Boogie wit da Hoodie, who recently secured his first Billboard number one album with the release of Hoodie SZN. Speaking to the Concordian following his performance, A Boogie spoke about what it’s like to get into the studio with veteran rappers such as 50 Cent.
“It’s really motivational in a way where, it’s like going to see a psychic basically,” said A Boogie. “You’re going to see the person that you’re going to be in the next 10 years, depending on who you’re talking to. So, I was talking to 50 Cent right before I got live and everything, and it made me feel like ‘Alright, he’s telling me the steps. He’s telling me how this shit is, so how can I go wrong?’”
“Canada – I come here, I feel like, a few times a year – and every time I come here they feel like I’m in New York,” A Boogie said. “When the lights come on and the show comes on, it’s like the same thing. New York’s probably a little more lit,” he laughs. “But you know, if I’m comparing this to that, there’s really something special here.”
Sunday’s lineup showcased various Montreal talents including Jerico, The Franklin Electric, and singer-songwriter Mac DeMarco. Producer Kaytranada also attracted a massive crowd, who came to show their support for the hometown hero who has gained worldwide success over the past few years.
Young Thug croons into his microphone on a blistering hot summer day. Photo by Jacob Carey
Yet, Sunday’s lineup would be nothing without the mention of the festival’s final act and weekend highlight – Childish Gambino. The writer-turned-actor, turned-television-director, turned-rapper is a man of many talents. One can’t help but see these talents blend into his performances. Gambino told the crowd early on that he would be taking them on a “church experience,” and nothing seemed more fitting.
Rising from a platform in the middle of both stages, shirtless and surrounded by white fog, Gambino’s raw vocals were enchanting enough to convince anyone that this man is much more than just a rapper. His beautiful falsettos and the church choir who performed backup vocals were crisp and powerful. His interaction with the crowd appeared genuine and heartfelt, urging us all, following a weekend of multiple mass shootings in the United States, to simply “have fun and love yourself…and put down your phones. This is for us right here.”
Watching from the back hill of Osheaga’s main stages on a widescreen display, the whole of Gambino’s performance felt like an extended version of his ground-breaking “This Is America” music video. The artist stared deep into the camera’s soul. His dance moves were impeccable and captivating. In a crowd of thousands, Gambino somehow made you feel like he was speaking directly to you.
Anyone who had been skeptical of Osheaga’s choice of headliners was immediately corrected as they left Ile St-Helene late Sunday night; if not for the entire set, then solely because of the stellar performance that Childish Gambino gave to everyone willing to listen.
Philadelphia R&B singer holds the microphone out to the crowd as they sing back to him at L’Astral. Photo by Chris Carpenter (@CB43Media)
The Philadelphia up-and-comer shows confidence and promise as he wraps up his first-ever tour
Pink Sweat$ is tired- and justifiably so. The R&B singer is curled up in a ball on the cement floor of L’Astral, recognizable only by the heap of pink hues that make up his figure. He is sound asleep despite the sound check for guitar and drums happening feet away from his toes. As the Montreal date marks the second-to-last show of his Pink Beginnings Tour, the up-and-coming talent recoups his energy where he can, harvesting it for when the lights dim and all eyes are on him.
The Philadelphia-native may be new to touring, but his wide-scale exposure came quick. The former songwriter garnered a buzz with the release of his 2018 debut EP Volume 1 and the success of its single “Honesty,” only to carry on with the momentum with its successor, Volume 2.
The acoustically-driven R&B sound that distinguishes Pink Sweat$ from the rest of the league’s top contenders is not his only differential. The artist describes himself as a brand – encompassing everything from his music, his stage name, the pink aesthetic that surrounds him and the barriers he’s trying to break in a hyper-masculine dominated industry.
“We’re just trying to break the toxic masculinity vibes,” he says, draped from head to toe in his own pinkgang merchandise and fuzzy sandals strapped over his pink Cam’ron high socks. “I think it starts with one thing and leads to another, so like, how men view men, versus how men treat women. It’s all a trickle down effect, y’know? Pink, at the end of the day, is just a colour. If you have an issue with someone wearing a colour… you’re assuming someone’s this way or that way, based on the colour of their hoodie or clothing. That’s kind of weird.”
Pink Sweat$ performs in front of a floral display to a sold-out show on June 12. Photo by Jacob Carey.
Apart from dealing with the connotations associated with the colour pink, Pink Sweat$ also notes that his brand struggles with stereotypes that come along with being a black male artist.
“Literally, people be thinking I’m a rapper,” he laughs. “Or they’re just like, ‘what kind of music do you make?’ And then they hear the song and they’re like ‘this you?’ It’s not even a racist thing, it’s just programming. That’s how you’re programmed.”
A near-death experience with achalasia, a serious condition that affects the esophagus, was the turning point in Pink Sweat$’s career where he would transition from songwriter to singer. However, he says he wishes that he hadn’t needed to rely on such a traumatic experience to push him to follow his passion and that more black male artists would readily embrace their talent.
“You don’t have to follow every trend to be successful,” he continues. “That’s not being an artist. Behind the scenes, a lot of black male artists are always compromising because they don’t believe that there is a monetary value in their art… Once people find their confidence to just ‘do them,’ and they’re actually talented, usually that’s when you win. It’s just that inner thing. Once that key goes in, it locks, and you feel it.”
Hours later, Pink Sweat$ demonstrates that aforementioned confidence on stage as he performs to a sea of pink hoodies and pink bandanas. Despite performing only six shows before heading out on tour, the showman shows no signs of being a rookie on stage. His vocals sound as raw as they do on his projects, while his impromptu drum kit solos show that he was a musician long before being a singer. However, Pink Sweat$’s most magnetic characteristic may be his onstage charisma, shown most evidently when he asks two fans from the audience to get on stage and sing a song of their choice to the crowd in front of them, encouraging them to shout out their Instagram handles to give their singing careers a boost.
As Pink Sweat$ performs the entirety of his two EPs, the artist promises that new material is coming soon, despite being on the road.
“Now we’re trying to get the production to the optimal level,” he says. “All the writing, foundation production, I think I did most of it already… I don’t want to be stagnant just ‘cause I’m on the road like ‘Oh, I’ll get to it in two months.’ I’d rather someone be working on it now so by the time I get back, I can make the critiques and do the things I need to do.”
With an upcoming debut album and the recent release of the music video to “Coke & Henny, Pt. 2,” Pink Sweat$ shows that he likes to stay busy.
“I’m just looking forward to getting these notches under my belt,” he says. “Experiences. Every show. No matter it’s small ones, big ones. It’s like ‘Alright cool, let’s do that, boom.’ I’m just trying to get as much experience and knowledge as fast as possible so I can be the best at what I do.”
With all his recent experiences and knowledge being absorbed in such a short time, Pink Sweat$ remains a prime example of how quickly confidence, faith and self-love can propel one to fame. However, he knows that staying busy and releasing content is essential to longevity, as one can easily be forgotten just as quickly as they were discovered.
NAV and DJ T-Jizzle perform a sold out show at MTelus. Photo by Immanuel Matthews
NAV showcases his talent with recent #1 album under his belt
Toronto rapper NAV has come a long way since his performance at Osheaga in Montreal a mere 10 months ago – and he knows it.
The XO signee took to MTelus last Tuesday night to a wildly enthusiastic crowd. Following a high energy performance from fellow Torontonian rapper Killy, there seemed to be a lull in the audience as fans grew impatient during intermission. As water bottles began to be tossed and “Let’s Go Raptors!” chants filled the room, NAV’s official DJ, DJ T-Jizzle, took to the stage.
With the task of warming up the crowd for the main act, T-Jizzle provided them with their appetizer – a medley of some of hip hop’s biggest hits. The first notes of “Suge (Yea Yea)” by North Carolina rapper DaBaby was enough to knock the fatigue out of everyone there, and the vibe surely did not die down as T-Jizzle played the obligatory “XO Tour Life” anthem by Lil Uzi Vert. As mosh pits broke out track after track, fans were already dripping sweat and removing layers of clothing when it was time for the main act to show face.
NAV adjusts his earpiece as fans take pictures and throw up their XO hand signs. Photo by Immanuel Matthews
Enter NAV, dressed in an all-black track jacket, black jeans and a thick XO diamond chain that glistened as it caught camera lights. However, the lights in the crowd died down as the seconds ticked on. Fans knew that it wouldn’t be wise to keep their phones out – the risk of dropping them was too high. Beginning his set with “To My Grave,” the opening track off his most recent album, Bad Habits, the crowd erupted into a frenzy unlike many before. Fans were not just pushing and dancing anymore; the standing crowd, as a whole, was swaying back and forth. As shoves came from behind and everyone squished like a can of sardines towards the stage, those who got there early enough to secure front-row spot retaliated by pushing back. From the balcony, this would look like an uncomfortable and non-consensual version of the wave that fans start at hockey games.
NAV did not lack any new material at his Montreal show. His most recent album, which debuted at #1 on Billboard album charts, is 24 tracks of new material to perform for his fans. Bad Habits became the artist’s first number one album, and you could see it in the way he carried himself. NAV stood with his shoulders high. He danced by getting low. Often times, he’d stop singing with a smile on his face as he soaked in the lyrics from the crowd that sang back at him.
The rapper’s newfound spotlight surely brought in new fans to the show but NAV nonetheless treated his day ones to older material. The artist’s debut in 2017 with his eponymous EP NAV generated a buzz for the auto-crooner early on in his career. However, mixed reviews of his debut album Reckless put the rapper’s fate in jeopardy with critics doubting his longevity. Now, after having bounced back with the reception of Bad Habits, NAV felt it necessary to thank his loyal fans with tunes that they would be most familiar with. Many were, perhaps, most ecstatic to hear the Travis Scott assisted song “Beibs in the Trap” whose bass was so loud that the floor felt like it was on the verge of caving in.
NAV teased his fans by telling them that it was time to go home, but the roars continued as strong as ever five songs later. The rapper paid homage to his label head, The Weeknd, by performing their single “Price on My Head,” and closed the night with the Meek Mill assisted track, “Tap.”
NAV exited the stage with his pearly whites shining as bright as his pendant, proud of the progress he has made in his neighbouring city.
Students are stressed, overworked, and turning to study drugs for help
As final exams approach, most students will take every measure available to boost their grade in the last weeks of school. Finding seats in the library feels like a game of musical chairs, desperate students resort to pulling all-nighters, and those with access to prescription stimulants sell their excess pills with ease.
According to the Canadian Centre on Substance Abuse (CCSA), stimulants are typically used to help those with attention deficit hyperactivity disorder, or ADHD. These drugs are labelled under different trade names, such as Ritalin, Concerta, Adderall and Vyvanse. While prescribed in varying medical contexts, these drugs all increase dopamine levels and make it easier to pay attention.
While the drugs were originally created in part to treat ADHD, prescription stimulants have become more mainstream since students started using them to improve their studying habits. Students report increased awareness and longer attention spans when on these prescription drugs, allowing them to complete assignments or study at a quicker pace.
“I like that I’m able to maintain focus on the task at hand,” said a Concordia student who said they have used prescription stimulants to help them stay focused while studying. “These days, the human attention span is worse than a goldfish’s. With all these distractions that we have at our fingertips, it helps you to stay motivated and alert without wasting too much time procrastinating.”
In 2017, Statistics Canada conducted a general population survey on drug use amongst Canadians. The data found that 2 per cent of Canadians over the age of 15 used a stimulant in the past year, and 6 per cent of those who reported using a stimulant were between the ages of 20 and 24. Of the original 2 per cent who reported stimulant use, 19 per cent were Canadians over the age of 15 who also reported problematic use of stimulants. Within the 19 per cent of those who reported problematic use, 41 per cent were between the ages of 20 and 24. This statistic represented the highest amount of usage of all age ranges studied. This age range also encompasses the majority of university students.
“Students feel a lot of pressure in the final weeks of school,” said a first-year medical student. “They’re expected to juggle studying for multiple exams at once and have deadlines to meet. They see these drugs as a quick ‘hack’ that makes them more productive and focused.”
While students may use prescription stimulants as a “cheat” for their studies, they may not be entirely at fault. Some students blame their use of drugs like Ritalin or Adderall on unrealistic scholarly expectations set by universities and CEGEPs. A single three-to-four hour final exam can range anywhere from 20 to 70 per cent of one’s final grade. Most of these exams are also cumulative, meaning students may be questioned on any material they’ve learnt since the beginning of the semester. In many cases, this includes over 20 lectures, dozens of PowerPoint slides, and hundreds of pages of material.
“The first time I took Adderall was for a class that I was very close to failing,” said a McGill science graduate. “I had heard everyone talking about it and having that extra edge and wanted to try it out for myself. I ended up getting 90 per cent on the final exam.”
While study drugs may not have immediate side effects, long-term effects can be very damaging. Through frequent use, the effects of the drugs diminish and cause users to increase their dosage. According to the CCSA, long-term users can quickly develop a dependence on stimulants, which can lead to increased irritation and paranoia, among other things.
“I started taking Adderall when I first started university,” said a long-term user who considers himself addicted. “I realized that it was the only way I’d be able to keep up with my studies. Truth is, now I can’t open up a book without it.”
Author’s note: Due to the sensitive nature of this article, interviewees will remain anonymous to protect their identity.
Rich the Kid’s sophomore album offers the same type of tracks its predecessor did—mindless trap rap. However, the Atlanta rapper and Rich Forever signee doesn’t try to act like he has anything else to offer his listeners. His beats are all enjoyable head-boppers. His features, from Young Thug to Ty Dolla Sign, Big Sean and more, are sporadic among the tracklist. This forces listeners to hear what Rich the Kid can offer on a solo track, followed by a featured song, and repeat. The rapper’s voice and flow are similar on every song, but he assured that fans will have a pleasurable album to listen to in the car with the windows down, just in time for summer.
7/10
Trial Track: “Fall Threw” feat. Young Thug & Gunna
Star Bar: “Woke up, pop a bean / that’s my everyday routine / On a PJ, sippin’ lean / smokin’ dope with Charlie Sheen” – Lil Pump on “Rockets.”
Studying abroad changed how I viewed the comforts of home
There is a multitude of reasons as to why someone would not sign up for a study abroad program: financial stability, course availability, or maybe the fear of homesickness. For those who have been studied abroad, however, they know very well that reverse culture shock is arguably the worst part of it all.
In 2017, Frances Carruthers published an article in The Guardian titled “My reverse culture shock: returning from a year abroad is tough.” Carruthers spoke about her feelings of detachment upon returning to her home in London after an exchange in Canada and attributed her feelings to two things: “I had idealised home in my mind, and I’d expected everything to remain exactly the same while I was gone.”
Following my term abroad in San Francisco in the fall of 2016, I felt like I was coming back a new and revitalized person. Having established new friendships, made fond memories, lived on my own, and rocked a bleach blonde hairdo, I was excited to return with the same good vibes that kept me so happy across continent.
“The hardest part was going from a fast-paced lifestyle, where every week and every experience was novel and exciting, back to the dull weekly routines I had left behind,” said Julia Saragosa, a Concordia student who studied in the Netherlands in 2017.
While Carruthers and I agree that coming home is the hardest part, we differ in our expectations of how things will be upon returning home. While she was sad to see everything had changed, I was most disappointed to come back home and see everything remained the same.
To my dismay, everything back home seemed stagnant, as if time had completely frozen in my absence. The constant buzz and excitement that took over my life during a semester abroad was met with the same lifestyle one may hope to leave behind when applying for exchange.
“The hardest part was going from a fast-paced lifestyle, where every week and every experience was novel and exciting, back to the dull weekly routines I had left behind,” said Julia Saragosa, a Concordia student who studied in the Netherlands in 2017.
Our sentiments are surely not isolated cases. A Google search for “post-exchange depression” brings up about 70 million results including articles on how to deal with it. Post-exchange depression can happen for the same reasons that one could develop a travel bug, as the recurring thrill of being somewhere new and doing something new comes to an abrupt end where everything seems old.
The upside to reverse culture shock is that it all ends eventually. As time passes, the memories of exchange all fade into one. The faces become less familiar and home starts to feel like home once again. Once the thrill and excitement dies down, you realize that maybe the true comfort of home lies in the fact that nothing ever changes.
