- Oct 26, 2017
All of the Lights worst song on MBDTF
See I would've been down for the verse if it was kinda campy nonsense like the first part, but "rape and pillage a village, women and children" is trash-tier. Though admittedly it was ahead of the rap game in pedophile bars...So Appalled is far and away the worst, by virtue of Jay's 'suck my balls through my drawers' line and CyHi's presence alone. both Jay's features on the album are trash though. his verse on Monster sounds like he wrote it after getting accidentally got locked in a CVS one night a week before Halloween and just started rapping about the stuff he was looking at
Patriot Act is like the strangest show to watch. It's like.. just good enough to keep me watching, but just bad enough for me to kind of dread watching it to see some of Hasan's jokes that fall flat. The show would've been so much better if he didn't try to ape John Oliver's format so hard that you can't help but feel like it's a bargain version of that. Even Sam Bee went out of her way to switch up the format.
8732 what it do
I'm.. okay with this? STRAIGHT UP
Lift Off was always good.
What is this nonsense?So Appalled is far and away the worst, by virtue of Jay's 'suck my balls through my drawers' line and CyHi's presence alone. both Jay's features on the album are trash though. his verse on Monster sounds like he wrote it after getting accidentally got locked in a CVS one night a week before Halloween and just started rapping about the stuff he was looking at
My sides oh fuckSo Appalled is far and away the worst, by virtue of Jay's 'suck my balls through my drawers' line and CyHi's presence alone. both Jay's features on the album are trash though. his verse on Monster sounds like he wrote it after getting accidentally got locked in a CVS one night a week before Halloween and just started rapping about the stuff he was looking at
here it is:
you've finally seen the light
The archive is collapsing, and who will preserve it? More magazines will go under. Many that are hanging on do so due to clever side business models that don’t depend on journalism turning a profit. The role of the critic has been under threat some for time, and will continue to lose influence to algorithmic populism, and the kindof process-hack algorithmic manipulation that makes stars on Instagram and Youtube. Spotify and Apple are already hiring journalists to cover the work they promote on their platform, so we will see more hagiographical journalism feeding that system, and the traditional idea of the critic as arbiter of taste, and gatekeeper of the archive, will continue to be eroded. Other gatekeepers, such as labels and niche festivals, will continue to lose prominence over time unless they radically reconsider their value propositions. The end of history? Nope, but the end of an era for sure. Another cold-light-of-day re-reading of the surge of poptimism in the press over the past decade is to see it as the bargaining stage of grief over the seemingly inexorable charge of bot-like popular figures who hoover up ideas from the margins and deploy significant resources to capture a moment with music fortified from any potentially critical angle one might level at it.::
Pop stars are better understood as monarchic CEO’s of content production studios atop a feudal, trickle up, creative economy. They have adapted to the online ecosystem far faster than the critical systems that might have one day raised objection to them. For many, the only thing to do now is to sit back and commentate, like a formula one spectator, as these fast & furious culture scanning vehicles whizz past everyone.
a bit lengthy, but with a gander if you're interested in this kinda thing https://medium.com/@matdryhurst/protocols-duty-despair-and-decentralisation-transcript-69acac62c8eaWe still have a really sticky and unfortunate problem. What of all these wonderful gatekeepers and intermediaries, who have contributed so much and still have so much to contribute to the development of new and interesting music? What of the niche festivals, the local DIY organisers, the labels, and thoughtful journalists and editors? The people who have weathered the storm to this point? What will become of them?
I loathe to say it, but I think that things are going to get way, way worse.
Well on the one hand, the platform monopolies like Spotify and Youtube are going to continually erode your influence with every new person that comes online. Their algorithms will direct traffic away from your priorities, and towards theirs, and to survive in that ecosystem you will need to satisfy their agenda. Doesn’t sound too independent does it? Journalists will have to write more about what Spotify prioritises. Artists will have to make work to satisfy the debased formal requirements of those platforms. Labels will be shoo-ed off like annoying pests that are messing with the platforms long term vision. Really bad, and a great reason to be really angry at that particular logic of culture.
So what then about these kind of new intermediaries, the organisations that have successfully managed to leverage brand money towards supporting culture? If your previous raison d’être was to support marginal communities, and weird music, you are probably going to end up being out competed by their models. Models that manage to leverage brand money to support those communities will grow and grow in prominence. The thing is, if you are playing exactly the same game, and one entity found a model to support exactly the same thing that you have supported traditionally, but more effectively, then you are probably going to lose that game. It sucks, but that’s what is likely going to happen.
Yeah, I'm expecting next year as well. Could just be TDE related hype machine starting up. Q has been consistently pointing towards music dropping soon on his Instagram stories. I still doubt Rashad comes out anytime soon.
That works for me. Dating back to the GAF-Hop days this place has had an affinity for Yeezus (rightfully so of course). Although I would put College Dropout in my top 3 I'm not sure there's one song I prefer to this top 3 of tracks we have here. Late Registration is probably the most overrated Ye record and Graduation is not that good in all honesty.
That's an easy way for the rest of era to think I'm a Kanye stan, and that would sabotage my image as a trans activist in era.
Isn’t Kanye by far the most trans supporting rapper tho?That's an easy way for the rest of era to think I'm a Kanye stan, and that would sabotage my image as a trans activist in era.
Also, I should do some tie-breakers so we can get a ranked top 10
(I've been watching too much Love is War so I'm analysing everyting I do more)