Drake Is Right About The Grammys

So, I won’t lie, son. As an aspiring musician, I would love to win a Grammy one day. On the real, I’m not going to pretend like I wouldn’t want that gold trophy on my mantle, man. However, I’m not one of those artists who believes that my art would be defined by a metal gramophone. With that being said, I 1000% agree with Drake’s acceptance speech. Real talk, as long as artists have dedicated fans, they’ve already won, fam.

Ok, for those who missed it, Drake actually showed up to the Grammy Awards last night. Anyway, his song “God’s Plan” ended up winning the award for Best Rap Song. Now, when Drake went up onstage to get his trophy, he kept it super funky with everyone watching. Essentially, he told all of the artists that awards like this don’t define them. According to Aubrey, as long as musicians have fans willing to support their songs, they don’t need validation from antiquated institutions. All I know is, he’s absolutely right, bruh.

Listen, the Grammys have notoriously gotten shit wrong when it comes to Hip-Hop and R&B, son. I mean, Herbie Hancock is a damn legend, but there’s no way his album was better than Kanye West’s Graduation, man. There’s no way that Taylor Swift’s 1989 was better than Kendrick Lamar’s To Pimp a Butterfly. Shit, even Adele knew that 25 wasn’t better than Beyoncé’s Lemonade, fam. She basically said as much during her acceptance speech, bruh. The point is, artists, especially Black artists, need to realize that these awards don’t make or break them. All in all, they’re winners regardless, brethren.

In the end, the Grammys ain’t low for cutting Drake’s speech short, son. Yeah, the committee tried to say they thought he was finished, but we don’t believe that, man. Ultimately, Drake used his platform to say some real shit and the powers that be didn’t like it, fam. By and by, he’s still the biggest artist in the world and there’s nothing they can do about it, bruh. At the end of the day, folks ain’t gonna stop bumping Drake because the Grammys are mad at him, people. It is what it is. That is all. LC out.

P.S. I’m going to try my best to leave Jennifer Lopez alone, son. All I can say is, I don’t know what Motown she ever watched, man. The fact is, I wasn’t here for her “Jenny From The Block” remix of Berry Gordy’s brainchild, fam. And I’m a Bronx dude saying that, bruh. *Sigh* Good day.

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Nas vs. Jay-Z & Beyoncé

So, I won’t lie, son. I’m absolutely trolling with the title of this post, man. On the real, I have no intention of pitting Nas against Jay-Z and Beyoncé, fam. Shit, even though I believe The Carters are being a liiiiiittle bit petty with their release date, I have no evidence to back that up, bruh. With that being said, I’d much rather take this time to talk about the music on Nasir and Everything Is Love. All in all, let’s just get to the shits, folks.

Ok, for those who missed it, it seems like everybody dropped a damn album on Friday, son. Side note, a huge shout-out to Jay Rock, man. Real talk, his Redemption album is fucking DOPE, fam! Everyone should really take a listen. In any case, let’s get back to Nas, Hov & Bey, bruh. To begin, let’s start with Nasir, the new Kanye West-produced Nas album. So, since CoonYe, excuse me, Kanye is behind the boards, it’s probably best to start with the production, people. Now, it’s common knowledge that I’m not feeling Kanye’s whole vibe right now. However, that fool still knows how to make a damn beat, brethren.

Keeping it a buck, Kanye devised the perfect plan for a Nas album: don’t let Nas pick any of the beats and don’t let Nas write any of the hooks. Look, as legendary of emcee that Nas is, he’s TERRIBLE at picking instrumentals, son. Hell, he even uses the song “Simple Things” to address that fact on the album, man. Listen, he tries to spin it in some cool way like “never sold a record for the beat, it’s my verses they purchase,” but come on, fam. He knows damn well his beat selection game is tri-di-dash, bruh. In addition, with The-Dream, 070 Shake and Kanye handling hook duties, Nas can just focus on rapping. Frankly, I don’t know why other producers haven’t taken this approach before.

Anyway, as weird as it is for me to say this, I must be frank, son. *Sigh* Nas himself is my problem with this album, man. Keeping it a buck, this isn’t the best version of Nasir, no pun intended. Listen, Nas will always be able to put words together, fam. Like, that’s his gift in life, bruh. But, I have two issues with his rhyming on this album. First, he raps offbeat… a lot. Shit, just listen to the first song where he talks about the founder of Fox News being Black. It’s offbeat as a muhfucka, folks! Also, his overall bars aren’t as descriptive as I would like them to be. Look, this is the man who wrote “I Gave You Power,” people. He can do better than “Black kids get hit with like five.” That’s all I’m saying, brethren.

Now, that’s all I have to say for Nas, son. Listen, I see people going crazy over the album, but I still think it could’ve been better, man. In addition, we can’t ignore Ye’s fuckery and Kelis‘s allegations against Nas. All I can say is, I don’t blame certain individuals for not fucking with the album, fam. Shit, I’m at the point where I don’t even know who to support anymore, bruh. I swear, all of our heroes may be trash, folks. *Sigh* Being a fan is damn near impossible these days, people. Well, that’s all I’m going to say about that.

Moving on, let’s talk about Jay and Bey’s surprise album, son. Now, to be fair, I haven’t given this album enough spins to have a definitive feeling about it. Ok, yeah, I’ve listened to it about five times, but that’s still not enough time to understand all of the nuance and intricacies, man. In any case, from my first impressions, I must say that the production is immaculate, fam. Look, when I say “immaculate,” I’m purely talking about sonic quality, bruh. On the real, The Carters would NEVER put out a record that isn’t well-produced, people. Shit, they have too much money and too much access for that, folks.

In any case, from a subject matter standpoint, the album ain’t really about nothing. I mean, they already address their marital issues on both Lemonade and 4:44, son. Frankly, unless they start naming Hov’s side pieces, they can’t really shed too much more light on their union. So, where does that leave us? With a lot of stunting in the lyrics, man. Now, stunting is always a good time, so the album has jams to rock out to. But, it’s not like the album is some life-changing work that I need to come running back to. Listen, could I feel differently in a couple of weeks? Maybe. But, as of right now, the album is just cool, fam. Nothing more, nothing less.

In the end, June has been active as fuck with the music, son. Ultimately, there’s gotta be something for everyone, man. All I know is, I’m still on this Daytona album by Pusha T, fam. At the end of the day, who doesn’t want to hear about “flipping a bird” while zoning out at work? That is all. LC out.

Beyoncé Didn’t Make Jay-Z

So, I won’t lie, son. I’m well aware of the fact that I need to tread carefully with this post, man. Look, the BeyHive is NOT the entity a sane person should want to fuck with, fam. Shit, just ask Keri Hilson. With that being said, I need to get something off of my chest. Listen, I need people to stop acting like Beyoncé made Jay-Z. Ok, yes, everyone loves Mrs. Knowles-Carter. However; let’s not pretend like Hov isn’t a fucking legend, bruh. I mean, there’s a reason why a lot of people, including myself, consider him the greatest rapper of all time.

Wait, to be clear, I’m not writing this to slight Bey in any shape, form or fashion, man. Fam, the woman is coming off of back-to-back classic albums. I can’t possibly take anything away from her, son. But, this new generation likes to act like Jigga is the slouch in the relationship. Now, for those uninformed people, I’d like to take a brief trip down memory lane.

Ok, while no one knows exactly when Hov and Beyoncé started dating, I think “’03 Bonnie & Clyde” is a good place to start. Now, although my memory sucks, I believe that song came out in 2002. It served as the lead single for Hov’s The Blueprint 2: The Gift & The Curse album. Anyway, if we’re keeping score here, by this time, Jigga had already released three classic albums, son. I mean, Reasonable Doubt, Vol. 2… Hard Knock Life and The Blueprint were already under his belt by the time him and Bey became an item. Shit, Beyoncé hadn’t even released a solo album at that point, man! Good Lord, can we keep it a buck for a second, fam?

Moving on, even before we get to 4:44, Hov managed to add two more classics to his discography: The Black Album and American Gangster. Side note, I’m open to arguing about the classic status of American Gangster, but regardless, it’s a fantastic album. In any case, Jay was still making relevant art independent of his marriage to Bey. All in all, Jay would’ve still been in the history books even if he didn’t marry Beyoncé.

In the end, I need the BeyHive to chill, son. Please, don’t scalp me or give my nuts the “James Bond in Casino Royaletreatment. All I’m saying is, Beyoncé is not responsible for Hov’s success. Now, have they both helped each other’s careers? Absolutely. Is Beyoncé more relevant in music and pop culture right now? Absolutely. However; that doesn’t take away from the groundwork Jay has already laid down, fam. By and by, his position was already solidified, man. Now, let me get back to 4:44. LC out.

Jay-Z Made A ‘Grown A*s Man’ Album

So, I’ll admit, there are certain times when I’m happy to be wrong. As everyone may recall, just last week, I questioned whether we needed a new Jay-Z album. In my defense, it wasn’t because I’m not a Hov fan. In fact, I’m an obnoxiously HUGE Hov fan. Ultimately, I didn’t want him to drop some subpar shit, fam. Thankfully, 4:44 is fucking DOPE, man! On the real, Jigga made a “grown ass man” album. Whether he’s speaking about infidelity, finances or social issues, he’s poignantly discussing a variety of topics. All in all, good shit, Jay!

First, let me begin by talking about No I.D. Now, I did call this shit, son. Listen, Dion just doesn’t make wack beats, fam. Like, I actually believe he’s incapable of making questionable shit. I mean, he’s been in the game for over 20 years and he’s never released any trash. Look, even Bow Wow‘s “Let Me Hold You” knocks, man! In any case, No I.D. successfully bridges different eras in his beats. He’s able to remain true to his sampling roots, while programming his drums to fit into today’s musical climate. By and by, the sonics of this album are immaculate, son!

Next, let’s talk about Hov. Ok, yes, he finally addresses the cheating rumors. Wait, before I continue, was anyone actually confused by Beyoncé‘s Lemonade? Now, I thought she made it perfectly clear that Hov was sticking and moving around town. Frankly, I’m surprised by people being surprised on social media. Anyway, Jay drops all of the bombs in terms of his wayward behavior. In fact, at this point, the only thing we don’t know are the names of the outside chicks. Keeping it a buck, Hov gave us everything else, son. Shit, he even admits that his actions were the reason why Solange tried to go Liu Kang on him in that elevator.

Moving on, in addition to his Lemonade response, Hov also covers A TON of other subjects. He talks about financial literacy on “The Story of O.J.” He talks about supporting Diddy, another Black business owner, on “Family Feud.” He talks about accepting his mother’s sexuality on “Smile.” He even talks about Kanye West‘s fuckity-fuckery on “Kill Jay Z.” All I know is, it seems like Jay leaves no stone unturned on this album, bruh. Regardless, I approve of all of it, fam.

In the end, this new album is light years ahead of his last two records. Ultimately, it’s good to see that he still has some tricks up his sleeve. Now, let me get back to my listening experience, son. I’ll catch everyone on the rebound. LC out.

P.S. Never go Eric Benét, son. Bruh, I laughed really hard at that line, man. My bad, Eric. I’m sure he’s out here just trying to keep it cool. However; he’ll never live down the Halle Berry tomfoolery, fam. That is all.

’25’ Ain’t Got Sh*t On ‘Lemonade’

Look, son, I don’t need much evidence to prove my thesis. I mean, if anyone watched the Grammys last night, they’d know that even Adele knows 25 doesn’t hold a candle to Lemonade. During her speech for Album of the Year, Adele essentially told the Grammy committee and the world that Beyoncé deserved that award. Shit, outside of her “black friends” comment that she’s catching hell for, Adele was just trying to do the Lord‘s work, man. I mean, it’s not like the Grammys have an interest in doing the right thing. Needless to say, as last night showed, the Grammys got it wrong… again.

Now, I could make the argument that Black artists are consistently overlooked in all of the “General Field” categories. However; for today, I’m going to stick with Album of the Year. Namely because this is where the most egregious errors are normally made. Year after year after year, the highest award in music ends up going to the wrong fucking album, son. Ok, yes, Adele sells a lot of albums. We all know that, man. But Beyoncé’s album shifted culture… again.

Man, when she put out “Formation,” a million think pieces and White tears QUICKLY followed. Black people praised the optics of one of our biggest stars tackling social injustice. White pundits bemoaned the fact that a star of her caliber made them so uncomfortable. In addition, she shut the Super Bowl DOWN in all of her Black Panthersinspired glory. Now, Adele’s “Hello” was a great song, but it didn’t affect the world like Beyoncé. As for the rest of Adele’s album, it basically sounded like I’m Still 21. She essentially remade her previous album and cashed in. On the other hand, Beyoncé’s sound continued to evolve and she became more daring in her decision-making.

With all of that being said, I really don’t know why I’m acting surprised, man. This is what the Grammys does, son. They continually find a way to reward the less deserving. I mean, this is the same awards show that gave the Album of the Year trophy to Taylor Swift‘s 1989 over Kendrick Lamar‘s To Pimp a Butterfly. This is the same show that gave the trophy to Beck‘s Morning Phase over Beyoncé’s self-titled album. This is the same show that gave the trophy to Herbie Hancock‘s River: The Joni Letters over Kanye West‘s Graduation AND Amy Winehouse‘s Back to Black. Now, Herbie is an undisputed legend, but come the fuck on, man! Are we really playing this game right now? The list goes on and on and on, son. If I decided to look at any random year, odds are I’ll vehemently disagree with whoever got that award.

Ultimately, I believe in the Grammys… in theory. However; in actuality, it’s always a shit show, son. I love the idea of artists being rewarded for their work, but the night always ends up being a travesty. *Sigh* I don’t even know why I keep watching this show, man. In any case, I’ll probably be back at it next year. LC out.

An Unabashed Love Letter To Solange

Getting straight to the point, I love Solange Knowles. I’ve actually always loved Solange Knowles. For anyone who thinks I’m lying, just ask my fiancée. I’m sure she’s convinced I’d leave her for either Solange or Tina Knowles. Shit, both women could get it, son. In regards to Mama Knowles, I luh the cougars, bro. In any case, when it comes to music, I’ve actually enjoyed Solange’s records a lot longer than Beyoncé‘s. Side bar, I pray to God the BeyHive doesn’t massacre me for uttering that. With that being said, I do acknowledge that Bey’s last two albums are fucking flawless. But, with the release of A Seat at the Table, Solo has effectively released an album that’s at least on par with her sister’s greatest work.

Now, to be real, I’m not going to write a real review of her new album. At this point, there are too many think pieces about the record to even count. All anyone needs to do is hit up Google and find whatever type of commentary they want. For example, the good folks over at Pitchfork wrote a review that I fuck with. They understand the greatness that is Solo. In any case, I’d much rather talk about the fact that Solange finally made an album that fully encapsulates the personality she’s showcased over the years.

If anyone’s familiar with her interviews or her social media presence, it’s safe to say that Solange doesn’t hold her tongue. She’s not afraid to speak about issues that affect her, her family, women or the Black community. Hell, when it comes to family, even her brother-in-law could get it, son. Jay-Z may be the greatest rapper ever, but he can still catch these hands, bruh. Moving on, with every record she’s released, Solo Star notwithstanding, she’s inched closer to the artistic statement I believe she’s always wanted to make.

From “T.O.N.Y.” on Sol-Angel and the Hadley St. Dreams to “Lovers in the Parking Lot” on her True EP, the ingredients that would eventually comprise her new album were already visible. This time around, with the assistance of Raphael Saadiq and an incredible cast of musicians, she’s fully unlocked the code. So, it goes without saying, every song on this album is my fucking jam, son. As of right now, if I had to pick a favorite song, “Don’t Touch My Hair” is the wave, man. Outside of her contributions, special guest Sampha can do no wrong, in my eyes.

All in all, if anyone hasn’t listened to the album yet, stop being a fucktard and do the appropriate thing. Also, as a side note, Solange’s husband better do right by her, son. Otherwise, I’ll be waiting in the cut to pick up the pieces. Hopefully, my lady didn’t read that last sentence. Good day.