Posts Tagged ‘rap god’

Greetings, Earthlings. It is I, the No-Fi King with another “This Week in Hip-Hop.” This week, we will focus on the following: Kanye’s At It Again(?), Lupe’s Story Time, and Paul Walker’s death (yes, Paul Walker has hip-hop connections aside from just appearing with Ludacris).

Now, I know that you’ve all seen Kanye’s dissertations/rants/fails at escaping anti-blackness over the past few days/weeks. Most of which, while funny, have kind of painted a potentially tainted picture of what Kanye West represents and who he is as a person. Kanye has, to a degree, come to represent the angry black male who thinks they know about “The Problem,” but when questioned on their beliefs, they’d rather “revolt” (take note of the quotes on that word) than answer the question and facilitate actual growth. You tend to see this with some pro-black groups these days. But, that’s not what this post is about.

Yesterday, Kanye West put himself in the shoes of one of the Original Rap God(s), Christopher Wallace, by saying that Biggie probably would’ve disliked the beats for “Juicy” and “Big Poppa” as much as Yeezus Khristdashian does. Now, call me the Devil’s Advocate, but I don’t think that Biggie would’ve signed off on a track if he didn’t mess with it even remotely. We know the “story” that Puff pushed Big into making more mainstream songs. But I’m pretty sure that Big was just as cool with it once he saw the money and the buzz it got him for his non-“Juicy” songs. And regarding the beat selection? ‘Ye indicates that he personally disliked them because of their non-ATCQ sound. Now, I like jazz rap as much as the next guy. I’m kind of a backpacker. But, you can’t really dislike those beats and call yourself “hip-hop,” solely off the strength that they’re simplistic enough to get everyone intrigued with what you’re saying. That’s the criteria of a classic song. A decent beat, amazing lyrics, and a relatable situation/story. If that’s not hip-hop, Arteest, I think I should just leave here or change this post to “This Week in Chicken and Waffles” because I don’t know what’s wrong with the world.

Next, rapper/preacher/activist/potentially gifted (no Wale) person Lupe Fiasco announced that he was dropping a new project on Twitter. That project is…a novel…on Twitter, that’s some sort of neo-noire meets otaku meets hip-hop project. Essentially, Samurai Champloo without (pardon the pun) The Cool and more LASERS. When I read the words “robotic Kevlar jellyfish” in reference to faux female anatomy, I knew I was stepping into something…not good and potentially conceived from a scattered brain. Now, I applaud Lupe on trying something different. But, at least make it good. This seems like something that I would’ve written in high school and thought was genius, then got to college and trashed five times over.

But that’s just me.

It's this guy again...

It’s this guy again. Can you just get back to (good) music.

And, finally, on a sadder note (as I’m sure you all are aware), actor Paul Walker and his friend/business partner Roger Rodas were killed this past Saturday when the Ferrari they were driving in crashed and burst into flames. Walker was 40 and Rodas was 38. My condolences go out to those directly effected by this tragedy. On a more music side, the Fast and the Furious series has put a lot of people on to hip-hop in a sense. For instance, before the second installment, I would have never thought I’d see Ludacris in a movie. And then, he appeared in Crash and blew me away. I think his casting had something to do with the fact that he’d shown some potential in 2 Fast 2 Furious. Furthermore, the franchise and its use of hip-hop has allowed for a gateway into the culture. May you both rest in peace. The below video was taken from Tyrese’s Instagram on Walker’s 40th birthday.

And this concludes another week in hip-hop. In light of the whole Paul Walker thing (and some other personal concerns), I want to leave you all with one thought. Live every day as if it’s your last. Yeah, I know that we hear “YOLO” every day, but many don’t.

(For part one, click here. This is also probably a post Lord Jamar won’t like. Or maybe he will. I don’t know. )

eminem_zps67e24207Once upon a time, a man named Marshall with drug, drinking, and daddy issues (not to mention mommy issues) became a rapper named Eminem who made women swoon by rapping about doing horrible things to them and their families. The “white honky devil” (his words, not mine) made a killing in hip-hop, almost Elvis-like with his approach–except Eminem was better than some of his black counterparts. Elvis, in my opinion, was never better than any of his contemporaries. But, that’s another rant for another time entirely.

Ever the equal opportunity offender, everyone became target practice. Well, almost everyone. You’re not going to hear him rap tongue-in-cheek about, say, Trayvon Martin. He’s a “devil,” but not completely stupid–or Rick Ross. Anyhow, fast forward to today, the day after the world ended. To those not named Stan, I’m referring to the day that Em’s MMLP2 dropped. As an Eminem fan, I’m happy that he’s still alive from the whole addiction thing. Secondly, I give his music a chance before I completely say that his stuff sucks. Therefore, my thoughts on “Love Game” and the like from Part One of “The Death of Marshall” weren’t just for unwarranted shock value.

(This is the uncensored deluxe edition of the album)


Marshall "Eminem" Mathers in 2013, ESPN

Marshall “Eminem” Mathers in 2013, ESPN

But, here? It looks like my initial thoughts were halfway warranted. I hoped that Em and his camp learned from the mistakes of Recovery. Taking everything that’s made the past couple Eminem albums almost un-listenable (kind of corny similesdouble-time flows with no real reason, pop-friendly hooks/beats/lyrics/messages, dated pop culture references, songs with a million words in them with over 9000 fan-made meanings, but really no real meaning, etc.), Eminem here has created an album that will face a Yeezus type of hype.

The first few weeks, we’ll hear everyone say that it’s GOAT-caliber, then after that? Nothing, aside from uber-fans having eargasms over it and ignoring everything else, saying that anything other than MMLP2 means you love Future songs. Sidenote, that new Future/Miley/Mr. Hudson song isn’t my cup of hot tea, per se. But, it could put Future (even more so) in the ears of those that listen to Top 40 pop-rap and stuff. So, just as a forewarning. If you don’t like Future, you’ll probably have to deal with him in a Flo Rida/Pitbull sort of way for a bit.

Macklemore sez: "I influenced Eminem? Time to pop some tags!"

Macklemore sez: “I influenced Eminem? Time to pop some tags!”

Cynicism (and naked Alien-Miley) aside, MMLP2 lacks a lot of the plot development Eminem songs were once known for, instead opting to go over 9000 words per second. The album does have some highlights, such as the “Cleaning Out My Closet”-like “Headlights,” which almost sounds as if Marshall took a page from that other popular white rapper of today. Except, you know, Eminem uses that page to talk about his parental issues, not same-sex love and his happiness about his two uncles. The second standout track for me is the Jamie N Commons-aided “Desperation,” mostly because it’s the closest Eminem has come to going completely Kid Rock to date. It’s bluesy and embraces Eminem’s self-professed “White Trash Party” roots in a way unseen in his music thus far.

stanAnother highlight, in my opinion is Stan: Part Two–I mean, the intro track “Bad Guy.” This song deserves a segment of its own. Now, technically, it’s part three of the Stan saga. But, that’s only if you count Tunechi Tuna Fish‘s spin-off song “Anne.” And, most people don’t. At all. Ever. The song is almost worth a portion of the price of admission, just because it answers a lot of questions regarding the wax-made mythos of Eminem–and some of his real-life issues. If you’ve never listened to an Eminem song, but want a good starting point, “Bad Guy,” in my opinion is for you. It talks about literally everything you could want to know about the journey he’s taken since starting his career.

But, for every “Bad Guy,” we get a “Love Game.” For every “Monster”–which for what it is, is at least better than “Love Game” and “Not Afraid” from Recovery–we get “Beautiful Pain.” Now, “Beautiful Pain” isn’t a bad song per se. Sia’s vocals are hauntingly beautiful, but after “Monster,” “Love the Way You Lie,” “Space Bound,” and so on, it’s overkill. And overkill, as mentioned, is an overdone problem in this potentially overrated album.

So, in short, Marshall’s dead (maybe for good this time). And while this album wasn’t as stripper sweat as I thought it’d be, its good moments are outweighed by its bad-to-meh moments. If you’re an Eminem fan, you’ll either love it, be saddened by the decline, or just say “…at least it’s not Relapse.”

Matthew Mitchell: He's just as off as Stan, and with good reason.

One last note, be sure to check out my brother True God’s efforts to expand the #TeamDAR brand. While I try to keep my own endeavors out of the pages of Thee Arteest, only because I don’t want to abuse it, True’s efforts not only revolve around building a brand. They are also focused on keeping his family together and promoting change in the world. Check it out.

#TeamDAR: Moving the Movement and Making A Change — Indiegogo