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Music Quickspins

QUICKSPINS: Mick Jenkins – The Circus

The Circus is Mick Jenkins’ most accessible project since Wave[s]

When a new Mick Jenkins project drops, it’s always expected to be an incredibly dense thematic experience with thoughtful lyricism and wavy beats—most appropriate for a smoking session. The Circus, the newest EP from the Chicago rapper is nothing if not complex, but its short length makes it entirely more digestible and engaging.

While his 2018 album, Pieces of a Man, was solid, it simply hasn’t stood the test of time and has been all but forgotten by anyone outside of his core fan base. At seven songs and under 20 minutes, The Circus takes everything he did so well on his previous projects and compresses it into a brisk EP that highlights Jenkins’ strong rapping and the best instrumentals he’s rapped on since his Wave[s] EP.

The Circus begins with “Same Ol,” with Jenkins rapping about walking into a room where he’s virtually unknown but maintains his confidence. The beat is tight and aggressive, featuring a single synth cord to drive the track home. It’s simple, yet appealing and fits Jenkins’ flows nicely.

The quality of that track is representative of how good the other six songs are as well. Highlights like “The Light” and “Different Scales” are quintessential Mick Jenkins tracks and encapsulate what made Jenkins a highly touted MC to begin with.

The Circus isn’t a reinvention or an innovation in rap music. It’s a step back from Mick Jenkins that allows him to shine his brightest on a tight EP that has barely any cracks in it.

Rating: 8/10

Trial Track: The Light (feat. Earth Gang)

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Music

Murda Beatz plans for an even bigger 2020

The Canadian hip hop producer discusses his platinum hits and rising the ranks

Seated backstage in the underground lair that is MTELUS’ green room, following A$AP Ferg’s “Floor Seats” tour stop, Murda Beatz reflects on his childhood exposure to music.

“I grew up on classic rock, hard rock, metal – Metallica,” he said. “That’s what I grew up on. That’s what I got a taste for as a kid. That’s why I wanted to play drums. I wanted to make a band and do all that shit because I had a rock background.”

No, Murda Beatz is not the stage name of a drummer for an up-and-coming rock ‘n’ roll band. Instead, Murda Beatz is one of the most successful hip hop producers of our generation, with an extensive catalogue that dates back to the early years of the decade. Most impressive, perhaps, is that the shaggy-haired Canadian from the southern suburbs of Toronto has become a contemporary staple in the Atlanta trap scene and beyond.

“If there’s 20 thousand producers in Toronto and you’re trying to get to Toronto artists, how are you so different than anyone else?” Murda asks. “You have to catch someone’s attention to make you different. So I went to Chicago, got in the drill scene, got my name established in the drill scene – enough to hit up the Migos and be like ‘Yo, I’m Murda Beatz, I work with Chief Keef and these guys’… Until your name holds weight, your credentials are going to hold more weight than your name.”

Murda tells the story of his early days while his thick “MURDA” chain glistens atop his pendant of a chef – a symbol for being the master at cooking beats.

Following his collaborations with Chief Keef, Murda became one of the main producers for Migos, the Atlanta rap trio credited with being some of the early forefathers of the ad lib trap rap that currently dominates the market. The exclusivity and credibility that came from that honour then allowed him to collaborate with other industry chart toppers. In the last two years alone, Murda has been responsible for creating hits like “Butterfly Effect” by Travis Scott, “Nice for What” by Drake, and recently 10x plantinum record “FEFE” by the incarcerated rainbow-haired rapper 6ix9ine and Nicki Minaj.

Murda acknowledges that he typically knows when he has a hit on his hands. While that criteria depends on a few factors like the artist and the beat itself, a lot of the magic happens when the song is made live in the studio.

“Most of the Migos stuff is in studio,” he says, “like ‘Pipe It Up,’ ‘Motorsport,’ some new shit we got coming out called ‘GNF (Give No Fucks)’ with Travis and Thug. ‘Butterfly Effect’ was done on FaceTime. ‘FEFE’ was in studio. Most of the special ones come from the studio – most of them. I think it’s just the synergy, you know what I mean? It’s just different. But some stuff, artists might hit me up and like ‘Yo, I got some crazy shit,’ which is not in studio. Then I’m gonna do my own shit, make a call, and say ‘Ey, we got a record.’”

Hip hop producer Murda Beatz discusses his success with the Concordian music editor Jacob Carey following his “Floor Seats” tour stop with A$AP Ferg. Photo by Chris Carpenter (@cb43media).

Murda recalls the time he collaborated with the recently departed Juice WRLD, a Chicago rapper most known for his highly successful track “Lucid Dreams.”

“So me and him, the day before he signed his deal, I hit him up,” Murda says. “I became a fan, you know what I’m saying, me and Cole Bennett, we started talking a few years ago. So I was always on his page, watching his shit, so I saw the ‘All Girls Are the Same’ video, said ‘This kid is fire.’ I was bumping that shit every day. So I found out he was in LA, hit him up, went to the studio, and we made 14 songs in six hours. Crazy. He’s the fastest working man possible on this earth. We made 14 songs in six hours. That shit was crazy. None of them came out, unfortunately, some of them leaked and stuff. Hopefully they might come out in the future, you never know. It’s definitely music that should come out. Everyone would appreciate it, and it’s definitely some of my best music.”

While Murda is in high demand among a wave of both new and already established artists, there are still dream collaborations that he wishes to cross off his bucket list in the near future.

“Definitely like, Rihanna, Beyonce, Bieber, Kanye, [Jay-Z] … Ed Sheeran,” Murda says. “I think me and him in a picture together would break the internet. If we did a music video together – if I was Ed Sheeran and he was Murda Beatz… that’d be crazy. I should definitely hit him up. We’ve talked back and forth. I was supposed to go to his show a few months ago but I just got too busy, but yeah, we got to do some shit. If he was me and I was him in a video, that shit would go crazy.”

Murda Beatz’ success shows no signs of slowing down any time soon.

“New songs coming out in 2020. Album in 2020. The years just keep getting bigger and bigger.”

 

Photos by Chris Carpenter (@cb43media)

Categories
Music Quickspins

QUICKSPINS: G-Eazy – Scary Nights EP

The Bay Area native is back with his second EP of the year with the release of Scary Nights just in time for Halloween

Admittedly, the tracks fall flat upon the first listen but do get catchier over time. Many of the tracks have quick tempos that push G-Eazy out of his element, probably for the worse. He always sounds better on slower songs reminiscent of his earlier work like the samples on The Endless Summer. This makes “Demons & Angels (feat. Miguel & The Game)” one of the strongest songs off the project.

Despite only being eight songs long, Scary Nights also has eight guest features. Sadly, none of them are too memorable and don’t better the project by any means – except perhaps for an unexpected appearance by The Game. All in all, this EP definitely won’t add any accolades to G-Eazy’s discography and instead could have been shelved, perhaps saving a few of the better songs for a future full-length album.

Rating: 5/10

Trial Track: “Hittin Licks”

Star Bar: “Used to have no options, I can’t pick or choose / Two yellow Lambos look like Pikachus” – from “Scary Nights”

Categories
Music

Rap fans: where’s your loyalty?

In 2015, a Spotify employee released statistics related to genre consumption and fan loyalty. Of the 1,300 genres that were analyzed, metal heads were found to be the most faithful to their genre.

Spotify’s measurement of loyalty was the number of streams divided by the number of listeners, and under this criteria, the streaming platform is telling us that metal fans mostly listen to metal music. While this comes as no surprise to me, I had a question of my own: which fanbase is most loyal to their favourite artists?

As an avid hip hop head and rock ‘n’ roll fanatic, I ask myself this question because I’ve seen both sides of the spectrum.

Although I love rock ‘n’ roll, I’m a man who tends to revisit the classics instead of trying to dig through the crowd of ‘meh’ artists that we label as rock stars these days, to find something worth listening to. That being said, there’s no shortage of classics, as the golden age of rock that was the 60s and 70s have left us with an infinite amount of lifelong jams. The best part of it all is that these rock stars remain legends to this day, despite the material they may have released in their later years, which gained no significant traction in the music industry.

Paul McCartney. The Rolling Stones. Bob Dylan. John Fogerty of Creedence Clearwater Revival. Elton John. KISS. Ozzy Osbourne. The list goes on and on.

While some of these artists have released newer material in the past decade, the large majority continue to tour and sell out stadiums while playing through the same recycled songs that they wrote decades ago; some as far back as half a century. These men are legends and can do no wrong. Even if any were to hypothetically release an album in 2020 that completely flopped, their legacy would not be tarnished. They’d continue to sell out arenas fast, and would be absolved of all their sins, courtesy of their loyal fan base.

I don’t think the same can be said about the rap industry…

As an avid hip hop head, I’ve seen how quickly the tides can change and bring a hero to zero in mere months. Chance the Rapper’s most recent album, The Big Day, may be one of the best examples of a praised artist who developed a cult following after a string of successful albums, only to make one mistake and be persecuted in the hip hop community. Chance’s decision to dedicate an entire album to his newlywed didn’t sit well with most fans and he went on to say that he believed they wanted him to kill himself for releasing it.

While this is the most recent example that comes to mind, this lack of loyalty that comes along with the unwillingness to let rappers experiment in their works is not new. Kid Cudi, the “lonely stoner” who opened up doors for hip hop artists to address the struggles of mental health, and who connected with millions of youth on a personal level, gradually faded from the spotlight with the release of his experimental works Speedin’ Bullet 2 Heaven and Satellite Flight: The Journey to Mother Moon. T-Pain, the pioneer of autotune, announced last week that he would be cancelling his upcoming tour due to low ticket sales. Last year, Nicki Minaj cancelled her joint tour with Future for similar reasons despite reigning as the queen of hip hop for quite some time.

Rock stars seem to be free to experiment with their works and make below-par projects once they have reached legendary status – no one seems to mind. The same cannot be said for rappers. Unfortunately, it seems like they’re only ever as good as their last release and there is little room for mistakes. Tough crowd, to say the least.

While rock fans treat their favourite artists as best friends in good times and in bad, hip hop heads seem to treat them as mere acquaintances no matter how close they once were.

Is it possible that this change in loyalty is due to the accessibility of music in the streaming era where artists are easily disposable and replaced by one of their peers? Does this accessibility create a generational gap that takes away from the attachment older generations once had with artists after waiting for their vinyl, physically going to the store to purchase it, and finally spending hours in awe as the record was spinning? Both are possible.

There seems to be only one definite solution to maintaining a lifelong legend status in the rap world. Notorious B.I.G. and Tupac Shakur remain the game’s most respected rappers of all time, but both of their legacies were cut short by their untimely deaths. Biggie only ever released two albums, while Tupac had time to drop five. Their careers were not long, but maybe that was for the best. Who knows the hit their legacy could have taken had they released a less than spectacular album.

Maybe the only solution to guaranteeing eternal legend status in the rap game is to die on top.

 

GIF by @sundaeghost

Categories
Music Quickspins

QUICKSPINS: Danny Brown – uknowhatimsayin¿

Danny Brown goes back to basics on uknowhatimsayin¿

Danny Brown, hip hop’s resident weirdo, had huge expectations for the follow-up to his acclaimed 2016 drug-fest of an album, Atrocity Exhibition. The album was grand in scope, featuring a nominee for this decade’s best posse-cut that saw Kendrick Lamar, Earl Sweatshirt, and Ab-Soul trade bars with the idiosyncratic Detroit rapper.

Uknowhatimsayin¿, on the other hand, is Brown’s most grounded effort to date. While still strange in comparison to most rap releases, this album is a far cry from what was expected. The intro, “Change Up,” begins with a single guitar string that echoes enough to give it the classic paranoid feeling of a Danny Brown track. His lyrics also reciprocate the eerie feeling of the song, as Brown raps about focusing on his own life (“Gotta keep a grip when the rent is due / N****s tryna get you for every last cent”).

Legendary rapper/producer Q-Tip executive produced the album, which is easy to see when listening to the songs he produced himself, such as standout “Dirty Laundry” and nostalgia-filled closer, “Combat.” This album is partly a love letter to 90s instrumentals, while also trying to add the signature Danny Brown touch to it.

Uknowhatimsayin¿ also stands out with its features as underground darlings Jpegmafia, Blood Orange and Run the Jewels all make appearances. “3 Tearz” sees a lively Killer Mike of Run the Jewels, where he delivers an impassioned verse targeted directly to U.S. president Donald Trump (“I don’t give a fuck ‘bout Trump, who got dump? / Who protesting collections at their garbage dump?”).

Danny Brown’s strangeness continues to flourish even as he approaches 40. The rapper never ceases to innovate in his work and on uknowhatimsayin¿, he does the most with as little as possible. Don’t mistake this project for a lazy return, this is exactly what he needed after Atrocity Exhibition.

8.5/10

Trial Track: “Dirty Laundry”

Star Bar: 

“Work all day ’til the work gone (Step)

Talkin’ back in the day when I had a chirp phone (Boop)

My n***a made a wrong turn, got flipped in the zone

Had to say I was a smoker just so I could go home (Home)”

  • Danny Brown on “Dirty Laundry”
Categories
Music

Injury Reserve jailbreaks Le Belmont

Arizona rap trio Injury Reserve introduce themselves to Montreal in riotous fashion

The lights inside Le Belmont dimmed. A thick fog started to fill up the small venue. Suddenly, three silhouettes appeared on stage as the beat to “Rap Song Tutorial” started playing. The song, while different from the studio version, announces their arrival. The beat shifts and distorts enough to get the crowd riled up.

Silence follows. In an instant, the beat drops as the harsh yelling of “GTFU” begins.

Injury Reserve is here.

Following the release of their debut self-titled album, Injury Reserve, the group saw increased popularity and acclaim as their latest effort was lauded by fans and critics alike. The album took more than two years to complete as the group spent most of their time in Europe developing it. While Floss and Live From The Dentist’s Office showed their unwavering potential and their experimental tendencies, their self-titled project was their true introduction to the world.

In a small venue, the lighting made for a photographer’s nightmare. The three members of the group were barely visible, but their stage presence more than made up for the lack of clear vision. Really, they didn’t need to be seen; they needed to be heard. Ritchie With a T and Stepa J Groggs rapped like their lives depended on it on their live renditions of heavy-hitting bangers such as “Oh Shit!!!” and their most memorable track “Jailbreak The Tesla.”

The group’s internet-heavy aesthetic fit the overall tone of the concert. Their faces never showed and they never properly introduced themselves, allowing for a dark and anonymous concert that probably would have driven off any new listeners. Despite this, Injury Reserve still performed deeper cuts that couldn’t be singles. Songs like “What a Year It’s Been” act as personal reflections of the two rappers in the group.

Producer Parker Corey was the least visible member throughout the set as he mostly stayed at the back of the stage handling the song transitions and beat adjustments. Although he was never seen, his work behind the DJ booth was essential in providing the wild atmosphere they sought out.

The standout performance of the night wasn’t a banger, however. The auto-tune heavy and masterfully produced “ttkt” followed the mood switch-up after “Best Spot in the House.” Ritchie With a T’s auto-crooning is a perfect example of how auto-tune can make someone’s singing more enjoyable. The glitchy effect of Ritchie’s vocals doubled down on the already dark tone of the track.

The balance between bangers and introspective deep cuts shows how versatile Injury Reserve is. Their first performance in Montreal was truly a triumphant success. Having three full-length projects and one EP under their belt, their show expertly combined the best aspects of their music into one concise concert.

 

Feauture photo by Louis Pavlakos

In-text photo by Britanny Clarke

Categories
Music

PHOTO GALLERY: Tyler, the Creator at Place Bell

Tyler, the Creator at Place Bell on September 12, 2019

Photos by Mackenzie Lad (@macklad)

Categories
Music

No prefix, call them rappers

One student’s argument against the categorization of Femcees

Hip hop has long been considered a boys’ club. While many women have become popular in the genre, there are still more men in mainstream hip hop. In the 90s, during the golden age of the genre, rappers such as Queen Latifah, Lil Kim, Lauryn Hill, and Missy Elliot were among the most popular women in hip hop, but that didn’t compare to the number of popular male rappers. Nas, 2Pac, The Notorious B.I.G., André 3000, and Snoop Dogg are merely some of the biggest names in hip hop, not only from the 90s, but of all time. The women, however, don’t get as much recognition.

In 2018, we saw the two biggest women in hip hop go at it in a feud that was, well, meaningless. But aside from Cardi B and Nicki Minaj, there aren’t any other female mainstream rappers. Sure, Noname, Rapsody, Tierra Whack, and Azealia Banks exist, but they are still considered outside the mainstream.

When a woman sees her career rise, however, people are quick to point out that she’s either the female equivalent of a male rapper or on her way to take the throne from whichever rapper has it.

DJBooth writer Donna-Claire Chesman’s appropriately-titled article, “Stop Calling Rapsody the ‘Female Kendrick’” explains how Rapsody’s most recent album, Laila’s Wisdom, is her own body of work that plays to her own strengths. It is not Lamar’s To Pimp a Butterfly, nor does it intend to be. It’s Rapsody’s album and it should be viewed as such.

Furthermore, such comparisons only boil down artists’ strongest talents to simple correlations of gender, race, and sexuality. By calling so-and-so the new version of this other rapper, it not only discredits their art, but also their personality. Every album an artist puts out is supposed to be a reflection of their life through their eyes, not those of their contemporaries.

“Why can there only be one dominant woman in rap?” asks Kiana Fitzgerald in an article for Complex. That’s a good question. Before Cardi B’s meteoric rise to fame in 2017, Nicki Minaj was the only popular woman in rap for years. Cardi was looking to change that as, up until recently, she had no issue with Nicki Minaj. When they fought at New York Fashion Week, it brought yet another divide among hip hop’s only two popular “female rappers.”

It all boils down to calling women in hip hop “female rappers.” If a woman is a doctor, we don’t call her a “female doctor.” If a woman is a lawyer, we don’t call her a “female lawyer.” Unless there’s a specific need for a woman to be known as such in her line of work, the term should be axed.

“Although I do understand and recognize that hip hop is an industry where the majority is cis males, I still think that the way to change the system isn’t in labeling women in the industry as the ‘male version’ of so-and-so,” says Toronto artist Witch Prophet. “My gender expression has nothing to do with my ability to rap and shouldn’t be the focus when talking about my talent.”

And she’s absolutely right. Some of the best hip hop albums this year have been released by women. Cardi B, Noname, Tierra Whack, and Rico Nasty, among many others, have released gripping bodies of work. Bottom line, these albums are good.

“And y’all thought a bitch couldn’t rap huh? / Maybe this your answer for that good pussy / I know n****s only talk about money and good pussy,” raps Noname on her track “Self,” the intro cut on her newest album, Room 25. On the album, she speaks on her gender, sexuality, and being black in America in a way that is as captivating as it is undeniably Noname. But the fact that she is still referred as a female rapper puts her back into the same box that all women in hip hop end up in.

“By saying ‘female rapper,’ you imply that rappers can only be men and we have an exception on our hands when a woman steps to the mic,” said Chesman. “The greater issue is around breaking down the conception that rap is men-only. That starts with many things, and our language is one of them.”

“When you’re referred to as a female rapper, you’re usually put in a box, and you’re not allowed to do the same things male rappers do without it becoming some sort of thing about women not being able to work together,” said Toronto rapper DijahSB. Hip hop has always been about collaborating, and if the most popular women in rap fight with each other, like Cardi B and Nicki Minaj, then DijahSB’s argument only solidifies.

Hip hop is also rampant with ‘biting’ or copying someone else’s sound. Though it might be overlooked in male rappers, female hip hop artists are under more scrutiny if they and share a simple characteristic with another woman in rap.

The past year has seen a few steps forward. Instead of having just one mainstream “female rapper,” there are two. It’s not a lot by any means, but the fact that Nicki can share the proverbial throne with Cardi shows that hip hop is embracing women more than ever.

However, it doesn’t feel like it’s enough. Articles from HotNewHipHop still refer to women in rap as “female rappers,” as seen in a recent piece about Asian Doll. The Billboard Awards have a section dedicated to the “Top Female Rap Artist,” in which they nominate not only established rappers such as Cardi B and Nicki Minaj, but 15-year-old meme rapper Bhad Bhabie.

Rap Caviar, Spotify’s most popular hip hop playlist, currently has 10 million followers. Out of 54 tracks, only two are by women: “Twerk” by City Girls and “Money” by Cardi B. Nicki Minaj and Cardi B are featured on two other songs. Where are all the other women? Spotify needs to rectify this by adding more women to the playlist.

There is a Spotify playlist called “Women in Rap,” however, in order to access it, you would have to search it by name or go into the hip hop section, scroll down, click “see more” in the popular playlists section, and then scroll down further to find it. There is some effort to put these women in the spotlight, but it is half-baked and lazy.

It’s not like there is a lack of women in the industry. Simple searches on the Internet can lead to many great discoveries. However, male rappers continue to dominate the charts. The segregation between men and women in hip hop is a barrier that needs to be broken down. Women can rap and they can rap well.

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Music

After a five-year break, Shad is back with his most complete album yet

After a five-year break, Ontario MC is back with his most complete album yet

“If I’m honest, it’s not exactly what I wanted to do, but at the end of the day I have to do the thing that feels like I’m giving people something real. That’s what this was,” said Shadrach Kabango, a rapper known as Shad. He just released A Short Story About A War, his first album since taking five years off of music to host CBC’s flagship arts interview show, Q, then Hip-Hop Evolution, a Netflix docuseries produced by Russell Peters about the growth of today’s most popular genre.

A Short Story About A War is a concept album that was birthed from a poem Shad wrote about societal inequality. It’s a war metaphor in which snipers represent merciless capitalists, stone-throwers are everyday people, and the central character, the fool, doesn’t believe in the power of bullets. The violence in war stands for social inequality. “What do our governments and corporations do, here and abroad? Violence, really,” Shad said. The album was inspired by his time in Vancouver, where he got a master’s degree in liberal studies from Simon Fraser University. The city has the highest percentage of low-income households in Canada, while the average rent for a two-bedroom apartment is the highest in the country, rising above $3,000, about $1,000 more than Toronto, the next highest city. “That’s where that story came from. My subconscious mind trying to grapple with what does it mean to live well in a place like this,” Shad said.

Shad interspersed heavier cuts from his new album with his classic, lighthearted tracks. Photo by Simon New

The album presents a bleak depiction of this war, concluding that fear is at the heart of the conflict. The main character defies this conflict. “There’s many different ways to participate in the violence and the tension that you’re feeling. And there’s an alternative, but it’s very difficult; this fool character,” Shad said. The fool comes to realize that violence stems from fear, and although the album is at times dark, this character leads the listener to look within themselves to find hope. It is a sprawling message packed tightly into a metaphor that is the perfect backbone to A Short Story About A War.

On Friday night, Shad put on a show that was exuberant as often as it was somber and reflective, mixing his new, heavy cuts with the material that got him to where he is. Thoughtful, slick and technically sharp rap that is all too often given the dreaded, trite label of “conscious.” “The bigger part of me loves entertaining people, loves giving people a certain style that they’ve come to know and enjoy with my music,” Shad said. That was certainly apparent when he brought freestyles, call-and-response and quick banter to Le Ministère.

Shad has won a number of awards including an Emmy and a Peabody Award for Hip-Hop Evolution, and snatched the 2011 Juno for Rap Recording of the Year from none other than Drake. As decorated as he is, Shad values consistency over any specific prize, particularly after his 2013 album, the last before his five-year break. “When I finished Flying Colours and that album was well received, for some reason that was significant to me. Because it felt like I wasn’t a fluke,” he said. With A Short Story About A War, he handles complex topics with succinct clarity, all while delivering top-shelf punchlines and metaphors inside of five-star flows. Shad is certainly not a fluke.

Categories
Opinions

The fine line between entertainment and reality

Florida rapper XXXTentacion had just left a motorcycle dealership on June 18 and was about to drive off when two masked men approached his car, robbing and fatally shooting him, according to CBC News. It was an incident as tragic and heart-wrenching as it was controversial.

While devoted fans mourned the loss of their favourite artist, others showed no sympathy, largely due to the rapper’s cumbersome heap of criminal charges which range from harassment to domestic violence. But this isn’t the first time a rapper has been in hot water in the eyes of the law. According to Complex Magazine, in 2016 Famous Dex was sent to jail after hotel footage was released showing him beating his girlfriend; something similar happened in a case earlier this year when NBAYoungboy was indicted on assault and kidnapping after a haunting video of him with his partner at the time surfaced on the web, according to TMZ. TMZ also revealed that rapper Tekashi69 currently faces up to three years of jail time due to sexual misconduct—and these are among the most celebrated voices in today’s rap scene. Many of these rappers came up from nothing and are riding off a wave of instant success, which is great. But this also means the spotlight can be placed on people who don’t realize the power they hold, or simply take advantage of it.

I believe the escalation of violence in the lives of rap artists is a result of the genre being too aggressive in its present state. This might seem like an absurd claim—after all, isn’t rap music supposed to be hostile from time to time? But I believe that, nowadays, rap music and culture condones (or perhaps even encourages) toxic behaviour, resulting in an escalation of violence, exposing both the artists and their listeners to danger.

I believe that in the age of social media, an artist’s music and their personality are more prevalent in a holistic sense; rappers need to market themselves on platforms like SnapChat and Instagram as much as they need to advertise their actual tracks to gain traction.

It is a time when anybody with a laptop, a mic and a SoundCloud account has the potential to turn heads, and rappers often take a multitude of measures to ensure the spotlight stays on them. This includes changing their appearance with dyed hair or face tattoos, flexing new purchases (designer clothes, jewelry and cars, to name a few) or, of course, getting caught up in a public beef with another artist.

The latter I’ve noticed much too often in recent memory. With each new day, more rappers are livestreaming themselves and talking one another down in what feels more like a desperate publicity stunt than anything else. In a lot of cases, the talk is, well, just that: talk. But other times it gets physical, with one recent example taking place in our very own Montreal, between rappers Killy and Lil Xan after a storm of malicious tweets. Fights and in-person showdowns between rap artists are about as frequent as they are unsurprising; footage of these tussles go viral.

What scares me is that we live in a world where the fine line between entertainment and reality is becoming harder for people to distinguish. Violent behaviour makes the growing popularity of rap even more complex, as this genre has increased by 72 per cent in on-demand audio streaming in the last year, according to global information and measurement company Nielsen. This same company noted that, for the first time, rap surpassed rock as the most popular genre in the United States last year, with the vast majority of its listeners being young adults and teens.

I’m not trying to demonize rap—on the contrary, I’m trying to protect the music I love. Whether it’s the effortless tongue-in-cheek way Lil Pump approaches his bars or Kanye’s hilariously egotistical one-liners, I believe rap is an unfailing method of getting people to vibe together and providing something to talk about. But rappers should be viewed as entertainers, not idols. They have stories and motives that are unknown to us, and it is of vital importance that any rap listener, seasoned or novice, take this into consideration before putting on their headphones.

Graphic by Wednesday Laplante

 

Categories
Music

Top 10 bad rap brags

In March 2018 Concordia student George Peatty was asked to make a list of the ten worst brags in the history of rap music by music editor Calvin “The Jet” Cashen. Although he was able to finish the list he was unable to write responses to all of the bad brags due to a family vacation in the Southern Balkans. His friend Bryn Coates-Davies offered to write commentary for the brags while George created the list. Due to the content of the commentary Bryn and George are no longer on speaking terms.

  1. “I got so much money/I should start a bank!” – Wiz Khalifa

George unlike many rappers Wiz is thinking long term. Nowadays very few new banks are popping up so this is an untapped market Wiz is getting in to on the ground floor. This may seem like a bad line now but just you wait.

  1. “Got so many whips/they call me whipalicious” Yung Joc

Poor Yung Loc. Not everyone has an entourage that is creative enough to come up with great nicknames. Its unfortunate but this something I believe Loc has come to terms with.

  1. “Rock star/I’m flyer than an ostrich” Juelz Santana

Look George were on to number three and I still have yet to see a bad brag. Juelz Santana is a man of the people therefore he is flyer than an ostrich. Every time I hear this line it makes me feel good that I too am flyer than an ostrich. Plus it’s about time that these cocky ostriches were knocked down a peg.

  1. “That gun automatic/My car automatic” French Montana

This is a great brag automatic cars are the new thing. French Montana is not living that stick shift life. #AUTOBOYZ

  1. “Follow me, follow me I’m the leader/And when I park cars I don’t pay for the meter” Chiddy Bang

George nothing makes you look like a leader than repeatedly saying, “follow me” and not paying for the meter is a legitimate badass move. Those fines add up but he’s still parking his car and never paying. And I bet that car is an automatic #AUTOBOYZ4EVA

  1. “Big house, long hallways, got 10 bathrooms/I could shit all day” Lil Wayne

George I am merely a humble #AUTOBOY but I can aspire to someday live in a house with extra long hallways. Lil Wayne now gets to shit all day in all of his bathrooms. Can you say the same thing for yourself George?

  1. “I know how to rip thongs and I’m pretty good at beer pong” Joey Bada$$

No one wants to be amazing at beer pong. That means you spend way too much time practicing a game in which success means drinking less. All you want is to be pretty good. You will win some games and you will lose some games but you will be forever and ever pretty good.

  1. “I got so many clothes I keep them at my aunt’s house” Tinie Tempah.

I don’t know about your family George but my Aunt Jan has a very large house. I bet your family could fit all of their clothes in her basement easily because it turns out running a curling rink pays pretty well. Having this on the list is a direct insult to my aunt George.

  1. “Bitch I’m cooler than a cooler” Chief Keef

This is a classic brag by a classic man Chief Keef. On a camping trip in the summer nothing is cooler than a cooler. Chief Keef making this claim is a very bold statement and it takes guts. Respect to the Chief.

  1. “I spit tighter, I’m not like all the rest/I’m not a playa but I did stay at a Holiday Inn Express.” KRS-One

George you really whiffed on this list. Not one bad brag in the bunch. I guess the real bad brag was you saying you could make this list. One night at a Montreal Holiday Inn Express can cost up to $130 a night. KRS-One is not an idiot who will stay at a regular Holiday Inn. He doesn’t need that fancy continental breakfast. All he needs is some bread and those weird small things of peanut butter and jam, which are very hard to scoop out with a knife.

Graphic by Zeze Le Lin

Categories
Music Quickspins

Lil Yachty – Lil Boat 2

Lil Yachty – Lil Boat 2 (Quality Control)

Lil Yachty’s latest mixtape is a sequel to his debut mixtape, Lil Boat. The original Lil Boat featured the autotuned crooner switching between two personas: Lil Yachty and Lil Boat. Yachty is the sensitive singing artist, while Boat focused more on rapping and was more aggressive. Lil Boat 2 deviates from this formula with more of the Boat persona shining through. On the majority of the 18 tracks, Yachty trades in bubbly beats for more ominous and cavernous trap production. His rapping has come a long way since the Lil Boat tape, with the flows being more pronounced and hard-hitting. Songs like “She Ready” and “Love Me Forever” are examples of when Yachty goes for a singing approach, but it works. Not to mention songs like “BOOM!” and “66” are certified bangers. This project’s big weak spot is its length, with over half the songs running too short and too generic.

Trial Track: “BOOM!” ft. Ugly God

Score: 6/10

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