Saturday, June 23, 2018


Here are my favorite rekkids of 2018, in alphabetical order:

Ails,”The Unraveling”
Courtney Barnett, “Tell Me How You Really Feel”
Black Milk, “Fever”
Ilsa, “Corpse Fortress”
Chris Orrick, “Portraits”
Skyzoo, “A Celebration of Us”
Sleep, “The Sciences”
Superchunk, “What a Time to Be Alive”
Various “Black Panther Soundtrack”

Yob, “Our Raw Heart”

The Ails album is a blast of black/death metal with a healthy dose of hardcore. Aggression channelled for more than macho BS. Courtney Barnett's latest is less fun than her last album, but I actually like it more. Black Milk's newest sees him continuing to grow as a rapper and producer. Ilsa make ugly, dirty sludge that is like a tonic of gravel and bile. Chris Orrik's "Portraits" is a really honest album about screwing up. Saba's is emo rap done well. Skyzoo is old school rap that totally delivers. Sleep's newest is maybe their best yet. Superchunk's latest is the perfect protest album. The Black Panther soundtrack is black excellence at work, and Yob's "Our Raw Heart" is a powerful look at life and death. My favorite song is "The Original Face," a blistering and raw examination of the Zen koan about your original face.

Saturday, April 14, 2018

Checking in

Jesus, has it really been almost a year since I've posted?

I'd say that I was going to start posting more regularly, but I don't know how likely that is to happen. Life has a way of butting in. I've only been posting once every 4-6 weeks at, and only when there is something that a, excites me and b, I feel like I can fire off in an hour.

The reality is I'm old and busy and a working dad, so my life doesn't leave a lot of room for writing. By the time my kid falls asleep at 8pm, I've been going since 5am and I am doneski.

I do listen to a lot of music, and music still keeps me going. I've been listening mostly to a combination of metal, old school punk, hip-hop, and kids pop music.

One thing I did recently was make a list of female rockers to listen to with my daughter. These are all female rock or pop punk singers. It runs the gamut from Honeyblood to Hole to Pat Benatar. It was interesting listening to Pat Benatar after thirty years - her stuff holds up pretty well. I just remembered her as a sort of cheesy super eighties artist. I forgot how powerful her voice was. And I feel like 80s cheese has made sort of a come back these days.

Anyways, here's the playlist.

Saturday, July 08, 2017

Half Time

Let's be honest: The world, or at least the U.S., is kind of a shitshow right about now. Politically, we are living the worst-case scenario of 10 years ago, and my new worst-case scenario is so fucking grim I don't even want to write it down. Suffice to say dystopian fiction is not appealing to me right now.

One thing that keeps me keeping on is music. There is so much amazing music coming out lately that I almost can't handle it. I definitely can't digest all of it. So here are some of my favorites (so far) of 2017:

Ison, Sevdaliza

Horizonless, Loss

Grey, Kweku Collins

Big Fish Theory, Vince Staples

Damn., Kendrick Lamar

Syd, Syd.

Ancestors, Volur

The Boy Who Spoke to the Wind, Lando Chill

Obsidian Arc, Pillorian

Nightmare Logic, Power Trip

Monday, February 20, 2017

Czarface Review

A Fistful of Peril
Silver Age Records
(Originally posted at RapReviews)

Comic books and hip-hop have a long history together. The Wu-Tang Clan melded kung fu and comic books with hardcore gangster rap, with several of their MCs taking on comic book alter egos. DOOM borrowed his persona from the Marvel villain Doctor Doom, and created a series of other characters inspired by comic books. More recently, Wu-Tang member Inspectah Deck teamed up with 7L and Esoteric to create Czarface. The supergroup continues the Wu’s tradition of combining gritty street rap with comic book themes. “A Fistful of Peril” is their third effort, coming on the heels with a collaboration with Marvel Comics.

Czarface’s mission statement seems to echo what Run the Jewel’s was about on their first album: make trash-talking raps over heavy beats, and have a good time doing it. There isn’t much political on this album, and lyrically it never gets much beyond battle rhymes. It’s all Esoteric and Deck and friends going off over 7L’s boom-bap beats. It is a proudly old school approach, with no acknowledgment that hip-hop has changed all all in the last 20 years. No singing, no hooks, no message beyond “I am a better rapper than you.”

And damn if they don’t have a point. After an instrumental, they start things off with a bang on “Two in the Chest,” slaying sucker MCs with their rhymes. Or, as Esoteric puts it:

“The price of death never been cheaper

And you ain’t gotta notify your next of kin neither

You can't sleep 'cause the inn keeper is the Grim Reaper

I'm a sin eater, Czarface the ringleader

Bust a nine millimeter rhyme at your two-seater

Crush your spine with a lethal line, you're an easy bleeder”

Inspectah Deck never got the fame that some of his fellow Wu members got, but he was always a consistently strong MC, if not a particularly showy one. It’s nice to hear him drop bars without having to compete for airtime with Ghostface and Method Man. His rhymes are sharp, with no sign that he is content to rest on his laurels, even if he does quote old Method Man lyrics on “Revenge on Lizard City.”

“I came to bring the pain, hardcore from the brain
And damage your mind like bad cocaine
The flamethrower started the game, it's game over
I Holly Holm's rappers while signing your face poster
I'm way colder, you need gloves tryna touch the kid
The Terminator with the flow, let nothing live
Voice shining, you could hardly steer
Like a judge, been handing out bars for years
Yeah, the team make cream while you daydream
Futuristic, our names up in laser beams
I make a scene on Broadway in broad day
24/7 365, man, I'm all day
Get it right, sir, I global mogul
Flex superpower like I changed in a phone booth”

The biggest criticism I can make of the album is that sometimes it feels samey and one-note, being that it is basically 11 different versions of the same musical idea. But while there are a couple points on the 35-minute album where it starts to feel plodding, on a whole the album delivers. “A Fistful of Peril” is two skilled MCs rapping over hard-hitting beats, and definitely worth the price of admission.

Tristate x Oh No Review

Tristate x Oh No,
3 Dimensional Prescriptions
Oh No has been producing quality hip-hop albums for albums for going on 13 years. He dropped his first album in 2004, and his first beat album, “Dr. No’s Oxperiment,” in 2007. Since then he’s gone on to produce or co-produce numerous releases, both under his own name and as with the Alchemist as Gangrene, with whom he scored Grand Theft Auto V. “3 Dimensional Prescriptions” is his latest release, with Gold Chain Music’s Tristate.

Oh No is Madlib’s little brother, and his production style has always contained elements of Madlib’s esoteric crate-digging. There’s no genre too obscure or out there for Oh No. Whether it is Ethiopian jazz, Turkish funk, or rare R&B, Oh No is a master at mining odd snippets of music for loops and breaks. Oh No differs from his older brother in that his beats are more grounded in hip-hop rather than in outer space. An Oh No beat always hits hard, and he always keeps one foot firmly planted on earth. That tradition continues on “3 Dimensional Prescriptons,” which is  14 tracks of solid hip-hop.

Tristate has a gruff voice and an even, measured flow. It’s the kind of voice that would usually be used to deliver grimy, tough-guy rhymes, and while Tristate is no wimp, his lyrics are more intricate than his flow suggests. He’s rapping about hooking people on his rhymes on “Latest Drugs,” reminiscing about an ex on “Tears on My Nautica,” comparing his rhymes to a spaceship on “Spaceship,” and dropping artistic references on “Exit Thru the Gift Shop.” It’s a nice combination of grittiness and lyricism.

Oh No’s jazzy, funky beats are a nice pairing with Tristate’s more meat-and-potatoes rap style. Oh No keeps it grimy, but adds just enough weirdness to keep the record from falling into retro boom-bap worship. The nimbleness of the music brings out the nimbleness of the rappers, and as a result the album is full of lyricism without being boring or monotonous. Hus KingPin, Lyric Jones, Westside Gunn, Casual, Brotha J, Bro AA Rasheed, Xiomara, Planet Asia, Rogue Venom, Washeyi Choir, and evidence all offer their skills on the album, proving worthy sparring partners with Tristate.

Maybe I’ve just been listening to too many rappers who sing or too much cross-genre hip-hop, but “3 Dimensional Prescriptions” felt like a breath of fresh air. There’’s little singing, no one raps in odd voices, there’s no guest spots by indie rock musicians, no production assists by EDM DJs. Not that any of those are bad things, but sometimes you just want to hear some dudes rapping over flipped soul and jazz samples. “3 Dimensional Prescriptions” may not break new ground, but it’s unapologetically old school sound is well executed.

Friday, January 27, 2017


I didn't vote for Trump. I called fascist early in his campaign. I did graduate work on Italian Fascism, the Sonderweg, the lead-up to the Nazis, and the historiography of the Holocaust. I know a fucking fascist when I see one. I was a little shocked by how many people were ok with his shenanigans, but then again the groundwork had been laid by the Republican Party and rightwing media for decades.
I'm disappointed that the powers of be have done so little to directly address Trump and what a batshit crazy wannabe dictator he is, but then people will rarely stand up for the politically unpowerful when it means sacrificing their own power. Which is how you end up with things like the Catholic Church's child molestation scandals or Jerry Sandusky.

I've been more politically active in the past few months than ever before in my life. I still feel largely impotent. I called and emailed Paul Ryan to ask him to preserve the Affordable Care Act, but I dont' think he actually gives a shit. The people in his shitty district want him to repeal it, his funders want him to repeal it, so it will get repealed.

The reaction to Trump has been telling. The Dems have been using it to ask me for money (something they do three times a day anyways, to be fair). Every nonprofit I remotely support has been emailing me for money. Shops I like have been using protest as a way to sell hats or albums or natural fabrics. We are trying to spend our way out of this, turn it into an opportunity to drive up sales. I know it is for a good cause (and I was happy to give money to help lobby against Trump's appointees), but it is still a little gross. Like, THIS is our idea?

I've been vocally skeptical about protest marches for a while, but I was impressed by the Woman's March, and I think similar marches could do some actual good. I just hope they don't devolve into the same pool of far-left groups shutting down highways or smashing burger kings or camping out to like protest capitalism or whatever. I've been disappointed at how unfocused the Black Lives Matter movement has been. Instead of trying to seek actionable, achievable outcomes, it has become, in my opinion, too broad and too unrealistic. It's really hard to see a path from the movement to any sort of actual change. And don't get me started that they have an internationally focused charity as their fiscal sponsor because they want to end racism globally. I think they had a tough hill to climb from the get-go because they are a)black and b)going against the police, which is tough politically and tends to bring out the asshole anarchists, which isn't the image you want the American people to see. My experience with those protests, though, was that they were more expressions of anger without any policy follow through or realistic policy objectives. In oakland they were demanding the Oakland Police be disbanded, as if THAT was ever going to happen.

Again, focused, achievable, actionable. That's the key, I think. Stuff that people can actually do, like try to shut down Betsy Davos' nomination, or block Trump's crazier executive order, or win swing districts, or (longer term, bigger lift) support redistricting efforts. In the end, a lot of this is going to come down to voter outreach and registration and making it easier for young people and brown people to vote. Easy to say, hard to do. Especially when you are dealing with an uneducated populace (I'm speaking Americans generally) and really complicated, boring issues like environmental regulatory policy etc. that no one understands but that has a huge impact. We also can't afford to get cynical. Hardest of all, we somehow need to not throw people under the bus while at the same time tamping down the "but what about me!!!!!" impulse that is so destructively american. It's this weird thing I try to tell myself and teach my daughter - you are important and your needs matter, but you also one of seven billion people on this planet, so you are not the only person in the world who matters. It's not all about you, which is a frustrating thing to hear when you've been ignored your whole life, but yeah. It's not.

Also, this can't just be about Democrats taking back control of congress and the white house. This has to be about the Republican party moving to a more moderate/less batshit crazy place. They are doing incredibly well at the same time they are totally fucking crazy. So there's that.

Mostly, I just want to find a balance between fighting the good fight and not being consumed by the abuser in chief. I wake up at 2am freaking out about how shitty things are. That's not good.

This week has taught me that things you spent decades building can be destroyed in a moment, and that there are way more people opposed to the Trump presidency than for it.

Saturday, January 07, 2017

I Don't Like Shit, I Don't Go Outside

So, it has been three months since I posted here. The main reason for the hiatus is boring and has to do with age - I've fucked up my arm and shoulder from being on the computer so much, and so I am trying to minimize how much time I spend on a computer when I am not at work.

Also, the last half of 2016 was so full of heavy shit that writing about music seemed like the least important thing I could be doing.

Maybe I'll keep this up, maybe not. I do want to write more in 2017, but I also want to spend more time with my daughter, exercise more, meditate more, and limit screen time so we'll see how that all pans out - many of those are mutually exclusive.

My final thought on 2016 and the year ahead is this: sometimes life kicks you in the fucking teeth. Everything is impermanent, change is the only constant, bad things happen, everything you love and hold dear to you will be taken away from you at some point, so enjoy the time you have with the people you love and when shit goes haywire, which it always will, try to be strong enough to get back up.

That's all.

Best Rap Albums of 2016

(originally posted at rapreviews)

2016 offered many reminders of how hard and unfair life can be, and how quickly things can fall apart. In a year when internet trolls took over national governments, overt racism and anti-semitism become politically acceptable, and civilians in Syria were publicly bombed to death while the rest of the world stood by, music helped me connect with the rest of the world in a powerful way. I’m disappointed and fearful of how the internet has divided and radicalized people instead of bringing them together, of how it has created echo-chambers that reflect back the reality we want to believe in rather than how things actually are. The one outlier in all this is music. Music has remained an honest voice in the wilderness, reflecting back people’s actual experiences rather than outrage porn, regurgitated talking points, and blatant misinformation. It is is especially true of hip-hop, which has long given voice to the disenfranchised and marginalized. Whether it was  the street poetry from a gifted craftsman like Ka, or YG trying to figure out how reconcile his gangsta persona with being a grown up, or Vic Mensa calling out police brutality, or Danny Brown wrestling with addiction and depression, 2016 offered many opportunities to listen to people who don’t normally get a voice in the world.

Here are ten albums I liked the best from this year, in order:

10. Kate Tempest, “Let Them Eat Chaos” An album about trying to connect in post-Brexit London and the things we do to distract ourselves.

9. Aesop Rock, “The Impossible Kid” Aesop’s most personal album yet, and one of his best.

8. ScHoolboy Q, “Blank Face” I can’t really defend this on an intellectual level, but this ish bangs.

7. Ka, “Honor Killed the Samurai” One of the most skilled and exacting MCs in the game makes another great album.

6. Danny Brown, “Atrocity Exhibition” A druggy party album about the downside of being a druggy party rapper.

5. Frank Ocean, “Blonde” “It’s hell on earth and the city’s on fire/In hell in hell there’s heaven.”

4. YG, “Still Brazy” An unapologetic gangsta rap album.

3. A Tribe Called Quest, “We got it from Here...Thank You 4 Your Service” I had no reason to hope that another Tribe album would be released, and even less hope that it would be this good. R.I.P. Phife Dawg.

2. Anderson.Paak, “Malibu” He’s a rapper! He’s a singer! He’s a drummer! He’s like a less annoying Bruno Mars!

1. Solange, “A Seat at the Table” This is a fierce, beautiful album, and the album I listened to the most this year.

Disappointments of the year:
De La Soul, “and the anonymous Nobody…” This isn’t a bad album, but as a lifelong De La Soul fan (and backer of their Kickstarter), it wasn’t the comeback album I wanted. I found it to be a little lifeless and I had a hard time with the casual misogyny. Why are a bunch of men in their 40s rapping about sexy bitches and trainwrecks?

Atmosphere, “Fishing Blues,” I love Atmosphere’s brand of confessional story rap, but they have become almost a self-parody at this point. Slug can still unleash when he wants to, but too much of “Fishing Blues” is territory that Atmosphere has tread to death.

Kanye West, “Life of Pablo” I sincerely hope Kanye gets the help he so clearly needs, and I do not want to pile on the circus that surrounds him, but I do not understand what people see in his work. At this point he could release an album of himself burping the alphabet and Pitchfork would give it a 9.4.

Chance the Rapper, “Coloring Book.” I loved “Acid Rap,” but I couldn’t handle this album. I’m not saying it’s bad, but I lost my ability to put up with Chance mumbling in a baby voice. Maybe it’s because I live with a three-year-old.  

Favorite non rap albums of 2016

Angel Olsen, My Woman  - A beautiful, haunting album.

Darkthrone, Arctic Thunder - Sometimes, you just need to rock. This is like Motorhead mixed with a little Maiden and Priest with a dash of crusty punk.

Lotus Thief, Gramarye - A beautiful, haunting album.

P.J. Harvey, The Hope Six Demolition Project

Vektor, Terminal Redux - Insanely fast and ambitious scifi thrash.

Mary Lattimore, At the Dam

Against Me! Shape Shift with Me. I’m pretty ignorant about trans issues, and a lot of what I know comes from Against Me!

Inquisition, Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith - Satanism is right up there with fundamentalist Christianity or conservative Islam in terms of religious ideologies that I have huge issues with. And yet I put up with Inquisition’s cosmic satanism because they are so interesting musically. The singer croaks like a robot frog about jibber-jabber while creating walls of noise on his guitar while the drummer bangs away like a madman. The cover art doesn’t do this music justice.

Hammers of Misfortune, Dead Revolution - proggy metal about San Francisco being decimated by wealth.

Subrose, For This We Fought the Battle of Ages - Heavy doom from Salt Lake City.

Inter Arma, Paradise Gallows

Thursday, September 01, 2016

Vic Mensa Review

Vic Mensa
There's A Lot Going On EP

Originally posted at RapReviews

There's a false binary in hip-hop where rappers are either supposed to be conscious or street, make protest rap or rap about women and money and liquor. Chicago rapper Vic Mensa shows just how false that binary is on his major label debut "There's Alot Going On." Over seven songs, he addresses serious issues like police brutality, mental illness, and the Flint, Michigan water crisis, as well as less serious issues like getting drunk in the club and chasing after pretty women. By doing so, he manages to make his own lane in hip-hop.

Mensa has been rapping since 2012, but he first came on the scene in 2013 mixtape "Innanetape," as well as performances with the Gorillaz, J. Cole, and Wale. He also contributed bars to Chance the Rapper's "Acid Rap," which is where I first heard of him. While Chance went in a more indie and gospel direction, first with his collaboration with Donnie Surf and the Social Experiment, and then with his latest album "Coloring Book," Mensa has stayed closer to mainstream hip-hop. Producer Papi Beatz keeps the snares snapping and hi-hats rolling throughout the album, and Mensa does his share of Auto-Tuned singing, which is a requirement for any rapper trying to break the Hot 100. What sets Mensa apart from his peers is that he hasn't diluted his message even as he's signed to Roc Nation.

There's a trend in hip-hop towards minimalist, almost gibberish rhymes, and Mensa completely ignores it. Instead, he crams as many syllables as possible into his bars, sometimes not even bothering to rhyme. He starts off with "Dynasty," giving some exposition-heavy bars to set the scene:
"The crazy man's keeping me up, I'm not sleeping
My fit too fresh to be doing the housekeeping
The maids cost too much, started cleaning my own closet
Living childhood fantasies, dealing with grown problems
Got a brand new bae, she keep me G.O.O.D like the music
If the Roc is here, throw up your diamonds and hood cubics
No I.D. said it's time to take these goofy ni***s out rap
Drop bombs over Baghdad on these SoundCloud outcasts
I stray away to say the way my days would be without rap
My mind drifts to back before the Chi was labelled Chiraq
Then Chief Keef dropped in 2012, now it's a drill
I was waiting in the wing like a bird on a windowsill
Now I'm the fresh prince, I think I know how my uncle feel"

Then he goes into "16 Shots," which addresses the 2014 murder of Laquan McDonald by a Chicago Police officer. The song calls out the mayor and the police force for how they bungled the case and tried to cover it up, but it also promises retaliation, in no uncertain terms. "This ain't conscious rap, this shit's ignorant," he raps. "Ain't no fun when the rabbit got the gun/When I cock back, police better run." The song ends with the McDonald family's lawyer reading a description of how the 17-year-old died that October night. It's a harrowing description, and a harrowing song that is full of unrestrained anger

From there, Mensa goes in a more radio-friendly direction. "Danger" is a banger with an Auto-Tuned chorus of "You know me, I like the danger." "New Bae" is a melodic song about sex, followed by "Liquor Locker," a guitar-led R&B ballad. Lest you think Mensa is going soft or selling out, he drops some real truth on "Shades of Blue," rapping about the Flint Michigan water crisis:
"Now you've got toddlers drinking toxic waste
While the people responsible still ain't caught no case
I don't get it man, I just ain't wit it man
They got Damn Daniel distracting you on Instagram
Back again with the all-white media coverage
They do it over and over like remedial subjects
The people with the least always gotta pay the most
We the first to go when they deleting them budgets
Can a n***a get his basic human rights?
Is that too much to ask? Should I say it more polite?
And everybody broke so we in the same boat
But would they let that bitch sink if we was white?"

The EP ends with the somewhat rambling title track, which is basically Mensa listing all the crazy ish he's been up to these past three years. It's interesting that a rapper who just spent several songs celebrating partying and living dangerously would close with a song that soberly lays out the trouble he's gotten in through partying and living dangerously. He gives it warts and all, with self-awareness. He even raps about assaulting a woman who attacked him when he was high. He not only admits that he was in the wrong, he also understands how the breakup of his group and his drug use played into it. It's a long way from Eazy-E or Biggie bragging about beating women up in their rhymes.

"She came out the room swinging, hit me in the jaw
I was really trying to fend her off
But I ended up in the closet with my hands around her neck
I was tripping, dawg
Too proud to apologize or empathize, I blamed it all on her
Saying that she hit me first, even though she was the one hurt
I was really just reflecting all the hurt that I was feeling from the band's rejection
When Kids These Days split, that shit felt like a c-section
And my infidelity and jealousy with Natalie on top of the amphetamines
And the ecstasy had me trying drown face down in the Chesapeake"

Mensa's honest lyrics and skills on the mic work well with his club-ready beats. He manages to represent the different facets of his life and his experience and makes it sounds convincing and not calculating. Just when you think he's being too ignorant or hedonistic, he'll drop some serious knowledge, and just when you think he's being too personal, he'll drop some bars about sex and drinking. None of us are just one thing, or an either/or proposition, and Mensa represents this complexity to the fullest. To paraphrase Walt Whitman, Vic Mensa is large and contains multitudes. He's also released one of this year's better EPs.

YG Review

I reviewed YG's Still Brazy this week at RapReviews. Here it is:

Rap music offers a depressing number of examples about recidivism and how difficult it is to escape cycles of trauma, violence, and poverty. Many rappers who grew up surrounded by crime and violence find that it follows them into adulthood and prosperity. How many hip-hop concerts, recording sessions, and video shoots have been disrupted by gunfire? How many rappers have suffered violent deaths? How many rappers are in prison for parole violations for doing things that middle class whites get away with every day? From T.I. to Jazy Z, from Biggie and 2Pac to Big L, from Lil Wayne to Lil Boosie, the impact of violence and the criminal justice system on African-Americans is clearly illustrated in hip-hop.

YG (Keenon Daequan Ray Jackson) is the latest rapper to go from hood to riches and find that the hood has a nasty habit of following you. YG went from breaking into houses to making hit singles, but his transition from criminal to rap star hasn't been smooth. He was shot at while filming a video in 2012, and was shot while recording in 2015. Much of "Still Brazy," his second album after 2014's breakthrough "My Krazy Life," deals with the aftermath of his success, and what it means to be a gangbanger who is now a famous rapper. To put it in Compton album terms, this is YG's "Chronic"; he has one foot in the life of celebrity, and one foot in his old life.

He starts off with warning people "Don't Come to L.A." "Y'all playing. "Y'all playing with the set [...] but I'm really from the set, so y'all don't come round here." "Who Shot Me" is YG contemplating who could have fired shots at him, and arriving at the same lesson Biggie did twenty years ago, that it's often those closest to you that betray you:

"Staring out the window
Smoking on this indo
'Cause I don't know who did it
But I know this
Bullets don't just go where the wind blows
So I'm looking under my nose
Hate always comes from up close
But they can't stand me though"

Even the certified party track is about gang life. "Twist My Fingaz" is a club song, but it's a club song about throwing gang signs when fake gangsters try to mess with him at the club. "I just do my dance/Cuff my pants/Twist my fingaz with my hands," he raps, over a slapping G-funk beat.
That beat marks a departure for YG. Where his previous work had been mostly produced by DJ Mustard, YG is working with other producers here. While P-Lo and DJ Swish's tracks all have a similar sound to Mustard's now ubiquitous chanting 808s, there's also a notable G funk influence. When I first heard "Twist My Fingaz" I thought it was an obscure 90s song, and several other tracks have a similar old school feel.

While most of the album is concerned with asserting that YG is still a G despite his fame, it closes with a trio of protest songs. First up is "FDT," about presidential hopeful Donald Trump. The LAPD shut down a video shoot for the song, and the Secret Service allegedly threatened YG's label over it. Maybe they didn't like the implied violence against Trump; YG implies at several points that if elected Trump is likely to have shots fired at him. It's ironic that the authorities caught feelings over YG's songs, and yet Trump made similar insinuations against his opponent and got a pass.:

"Look, Reagan sold coke, Obama sold hope
Donald Trump spent his trust fund money on the vote
I'm from a place where you probably can't go
Speaking for some people that you probably ain't know
It's pressure built up and it's probably going to blow
And if we say go then they're probably going to go
You vote Trump then you're probably on dope
And if you like me then you probably ain't know
And if you been to jail you can probably still vote
We let this nigga win, we going to probably feel broke
You built walls? We going to probably dig holes
And if your ass do win, you going to probably get smoked"

"FDT" lacks the elegance and poetry of Kendrick, Ice Cube, Chuck D, or other more notable protest rappers. However, what YG lacks in lyrical grace he more than makes up for in honesty. His song reflects the frustrations that a lot of black and Latino feel about the Trump campaign.
"Blacks and browns" compares the experiences of a black and Latino Angelenos. YG raps about the issues of black on black violence and calls for unity:

"We killing ourselves, they killing us too
They distract us with entertainment while they get they loot
They never gave us what they owed us, put liquor stores on every corner
Welcome to Lost Skanless, California"

Meanwhile, Sadboy raps about being a second-class citizen:

"They made the border for the browns cause we're not allowed
Gotta get the green card for me and my child
Those assholes payment under the table that don't last a while
Those jobs getting passed around, they dog our people
Why we gotta look for work at Home Depot?
It was us before the natives, why we ain't equal?"

Sad Boy offers the best features on an album loaded with features from everyone from Lil Wayne and Drake to Nipsey Hustle Slim 400.

The album ends with "Police Get Away Wit Murder," a song that address police violence. YG raps about the same overreach of powers and poor treatment that N.W.A. rapped about almost 30 years ago, with a chorus of "We don't give a f***/Police get away with murder!" "Still Brazy" may be unrepentant gangsta rap, but YG is well aware of the cost of the life he raps about, and the forces that drive people to it.

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