#in-verse-compton

[imnotevenusin]

The Astrology of: Kendrick Lamar

Kendrick Lamar is one of the most important and thought-provoking artists in the Hip-Hop genre. Born on June 17th, 1987, he would experience the harsh circumstances that Compton, California had to offer—usually gang violence, shootings, and racial struggles—and this had a profound effect on him and his perspective on the world. To cope with his environment, Lamar expressed himself through poetry and rapping, being inspired by Tupac Shakur - this also kept him away from “gang life”. Lamar’s music/albums reflect on heavy topics—spirituality, morality, and of course, racial injustice—while still being accessible (at times) to the mainstream.

No real confirmation on a birth time, so I’ll just focus on some of his aspects and placements.

- Mercury conjunct Mars: Aspects between these two planets are commonly found in Rapper’s charts. Mercury is supported by Mars through passionate speech and messages. You can come off as strong and loud, even if you don’t intend to. People with this aspect can also use their words as a weapon (see: beef with Drake).

- Sun in Gemini - Moon in Pisces Combination: The Sun is how we express our pride and autonomy. Gemini is an energy that deals with interaction and information, so people with a Gemini Sun like to communicate and get a reaction out of others. They can express themselves through comedy, literature, and Rapping.

Pisces Moons find emotional comfort through isolation, day-dreaming, and art, since Pisces energy deals with everything that is non-physical and imaginative.

This combo can explain why Kendrick is so creative in the medium(s) of hip-hop and poetry. Kanye West also has this combination in his chart, and he is seen as someone who likes to think outside-of-the-box when it comes to creating music - and everything else he does.

- Moon trine Mercury: The Moon—how we try to find emotional comfort—is being supported by Mercury. Lamar expresses himself through written word and poetry. Rapping is also an avenue that he can articulate his emotions and ideas in.

- Moon square Saturn: Due to growing up in harsh environments, Lamar was depressed. When the Moon is squared to Saturn we feel suppression of emotional connections in your earlier years. Lamar is also known to be quite reserved and private - he took a 5 year break from music.

- Jupiter in Aries: Jupiter expands anything it touches, while Aries is an energy of confidence, self-protection, anger, individuation, vitality, motivation, and fighting. Kendrick likes to challenge others and isn’t afraid to fight back: in 2013, his “Control” verse electrified the Hip-Hop community when he declared that he wanted to beat-out every other successful Rapper at the time; his verse on “Like That” revitalized diss-tracks this year; he just humiliated Drake in a series of diss-tracks.

Sun sextile Jupiter shows that he has an abundant amount of ego and self-confidence in himself - which is why he calls himself the goat.

[stupidspidey]

DRAKE VS KENDRICK LAMAR

(Hey! here’s all of the songs i referenced that i cns actually add here! Plewse note i literally forgot to cover *meet the grahams*, but, fuck it, whatever.)

With the recent ongoing war between Kendrick Lamar and Drake, i feel like as someone with way too much time on their hands and nothing else going on for the day, what better than to write a cohesive timeline of literally *everything* that’s happened? And i don’t mean from **First Person Shooter**, i mean from **good kid, m.A.A.d city** type everything. Yeah, the Drake stuff isn’t exactly as recent as it may appear. Saying as theres no more ‘intro’ for me to give, here i go.

***Buried Alive Interlude (ft. Kendrick Lamar) - Take Care (2011)***

This was the beginning of the relationship between Drake and Kendrick, both of them considering eachother peers in the industry, despite being in such different lanes. (Lamar conceptual, and Drake more mainstream.), In an interview Lamar describes Drake as “A good guy.” (paraphased), regardless, things seemed alright for the two, the only real “beef” being their opposing views on how they views on their wealth and fame, Lamar keeping personal details quiet, while Drake frequently posts his lavish life to his thousands of followers.

***Poetic Justice (ft. Drake) - good kid, m.A.A.d city (2012)***

To say the two artists were always in some sort of feud would be wrong. On Kendrick’s debut album later rap classic, ***’good kid, m.A.A.d city’***, we see a feature from Drake on the track Poetic Justice. A few things of note though, is that this time period shows us a good natured relationship between Drake and Kendrick, even Drake going as far to say that *“GKMC was the last great concept album.”,* though there was definitely tensions between the two, as Drake’s refusal to work with Kendrick again began after the lyric **”I’m usually homeboys with the same n——s i’m rhymin’ with, but this is hip-hop and them n——s should know what time it is. And that goes for J.Cole, Big KRIT, Wale, Pusha T, Meek Mills A$AP Rocky, Drake, Big Sean, Jay Electron, Tyler and Mac Miller, I got love for you all, but i’m tryna slaughter you n——s.”**

Drake took an offence to this, and spited a refusal to work with Kendrick over it, seeing it as a diss, though nowadays most view this as friendly competition from Lamar. After the fact of Drake’s refusal though, Lamar did go back on another song to say **”Yeah, and nothings been the same since they dropped Control. Tucked a sensitive rapper back into his pyjama clothes.”**, this line being aimed at Drake, and actually being considered the starting point between the two’s feud, having Drake in interviews act nonchalantly and saying he isn’t “taking the bait”, he was the only rapper to have taken offence to Lamar’s initial lyric. Some also found Drake’s initial compliments to *GKMC* offensive, as the term “concept album” usually gives the idea that everything on the album is a story, or ‘made up’, implying that Drake believes Kendrick’s story in Compton was fiction, though i find that to be a bit of a stretch personally. Some people also found it as a fairly backhanded compliment because of this.

***Control (ft. Kendrick Lamar) - Big Sean***

I mentioned earlier about how this song sparked the real aggression between the two artists, and that statement still stands. Coming off of tour alongside Drake and A$AP Rocky, we saw Lamar feature on this song alongside Big Sean, in which he aims not just for Drake, but the rap industry as a whole. To repeat the lyric from earlier, **”**I’m usually homeboys with the same n——s i’m rhymin’ with, but this is hip-hop and them n——s should know what time it is. And that goes for J.Cole, Big KRIT, Wale, Pusha T, Meek Mills A$AP Rocky, Drake, Big Sean, Jay Electron, Tyler and Mac Miller, I got love for you all, but i’m tryna slaughter you n——s.”** This lead the press to obviously inquire Drake on his thoughts on this, to which he responded: *”I didn’t really have anything to say about it. It just sounded like an ambitious thought to me. That’s all it was. I know good and well that [Lamar] ‘s not murdering me, at all, in any platform. So when that day presents itself, I guess we can revisit the topic.”* This quote came with the claims that Lamar’s ‘dream’ of murdering him (metaphorically) was simply a fantasy, and that he simply couldn’t live up to what Drake had established. In other words, Drake believes his star power keeps him away from the threats Lamar proceeds.

***King Kunta - To Pimp a Butterfly/100 - The Game***

In these tracks, Drake begins to show a response to Lamar’s claims. In *King Kunta*, from Kendrick’s sequel album **To Pimp a Butterfly**, now widely considered one of the most influential albums in rap, Lamar pens **“I can dig rapping! But a rapper with a ghostwriter? What the fuck happened?”** this lyric is aimed at allegations that some of Drake’s music is written by a team, rather than himself—— more commonly referred to as ‘ghostwriting’, I haven’t heard much about this, but i do believe the lyric **”I got a bone to pick! I don’t want these monkey-mouthed motherfuckers sitting in my throne again!”** could be a potential dig at not just Drake, but the industry as a whole— something Lamar has done a few times as we’ve covered. Either in coincidence or response, Drake released a jab at Lamar around the same time, penning **”I would have all your fans if i didn’t go pop and stayed down on some conscious shit.”** these two lyrics are really the last time in the 2010’s we hear of the beef between Drake and Kendrick up until the recent events, with both of them seemingly simmering, nothing is really said as far as i’m aware between this point and the next.

***First Person Shooter (ft. J.Cole) - FOR ALL THE DOGS (2023)***

Oh J.Cole. you poor, poor man.

*First Person Shooter*, one of the lead singles for Drake’s album ***FOR ALL THE DOGS***, is with no doubt a victory lap for Drake and his colleague Jermaine Cole (more frequently, J.Cole). On the track, Cole pens **”People argue who’s the hardest MC, is it K.Dot, is it Aubrey or me? We the big three like we started a league, but right now i feel like Mohammed Ali.”** Now to most, this would come off as a compliment, with Cole stating that the big three of rap is him, Kendrick Lamar and Drake, though a few people saw this as fairly backhanded, seeing the following Mohammed Ali comment along with the fact that Drake was also on the song to be placing Lamar in third, implying that Cole believes those two usurp Kendrick, putting him in the top 3 out of pity in a sense. This is what set the current ball in motion, and more importantly, set off Metro Boomin and Future. (Well, not really, but the next instalment happens to come from their album ***We Don’t Trust You*,** so…)

***Like That (ft. Kendrick Lamar) - We Don’t Trust You (Metro Boomin and Future) (2024)***

This is where the games begin. Lamar is featured as a surprise feature on Future and Metro Boomin’s collaboration album, **We Don’t Trust You**. In this surprise however, Lamar comes in full force. Penning **”They think i won’t drop the location, i still got PTSD, motherfuck the big three, n——a it’s just big ME! (n——a bum!)”**, being the most iconic of the shots thrown from Lamar, as for after Kendrick continues to call Drake and Cole ‘bums’. It’s obvious that this is aimed at the two, as Kendrick starts his verse with **”Fuck sneak dissing, First Person Shooter? i hope they came with three switches, i crash out like ‘FUCK RAP!’ diss Melly Mells if i have to, got 2 tees with me, i’m snatching chains and burning tattoos.”** This is, of course, the beginning of what i like to call “the war” between Drake and Kendrick (and J.Cole, who immediately backs out, respect to him though, shit gets crazy.), for the first few weeks, neither artists really respond to these lyrics, up until J.Cole.

***7 Minute Drill - MIGHT DELETE LATER (J.Cole) 2024***

This is where the responses come in. J.Cole fires back at Lamar after a few weeks of seemingly nothing from the two aimed at in FPS, on this track, Cole aims singularly for Lamar, using a multitude of lyrics and phrases to insult him. This isn’t actually the first time Lamar and Cole have been in a sort of “battle”, though with the brotherly bond between the two, it’s been seemingly in good hearted nature. On the track, Cole raps **”He’s averaging one hard verse like, every 30 months or somethin’.”** in reference to the large release windows between Kendrick’s albums, GKMC, TPAB, DAMN. and Mr Morale. Following this, he states that **”If he wasn’t dissing, then we wouldn’t be discussing him.”** Implying that if he hadn’t been aiming for the two, nobody would be discussing Kendrick Lamar at all. This most likely comes from the radio silence from Kendrick since Mr. Morale outside of surprise features like **America has a Problem.** Cole also claims that he’s **”Front of the line, with a comfortable lead, how ironic, soon as i got it, now he wants something with me.**” Telling us that Cole’s belief is Lamar’s aiming is out of jealousy or envy, rather than the usual friendly competition between the two. In a more extended line proceeding this, he pens **”Your first shit? A classic. Your last shit was tragic. Your second shit put n——s to sleep but the gassed it. Your third shit was massive, and THAT was your prime, i was trailing right behind, and i just now hit mine.”** Each line in this lyric is directed to a different Kendrick Lamar album. His first shit (***good kid, m.A.A.d city***) is considered a classic in the rap genre, and is considered by some to be Lamar’s best album. His last shit (**Mr. Morale and the Big Steppers**) is taken in a completely different direction than most of Lamar’s previous work, this leads it to be more negatively reviewed among the rest of his works. His second shit (**To Pimp a Butterfly***)* Is the follow-up album to GKMC, showing us the first instance of Lamar’s social commentary (though, present in GKMC), this making Cole claim it as putting people to sleep, as it was too introspective and political (This line is heavily disagreed with, as most people perceive TPAB as the best rap album of all time.) His third shit (***DAMN.***) is considered by most to be Kendrick’s prime, and also the peak of his fame. Featuring artists like Rhianna and with hit classics like DNA. and HUMBLE., the album is considered some of Lamar’s most iconic work to date. After the release of ***7 Minute Drill***, J.Cole immediately backed out and apologised, stating “Do y’all love Kendrick Lamar? Cause so do i.” And basically apologising to him. To this day it’s unknown wether or not this was out of either respect or fear for Lamar, though we do know that ScHoolboy Q, a colleague of Cole’s, told him to simply not get involved, as he knew it was more of a thing between Kendrick and Drake.

***Push Ups (Drop and Give Me 50) - Drake (2024)***

This transitions is smoothly into where we really are today, the consistent stream of tracks between Drake and Kendrick that seemingly antagonise eachother to no end. We begin with **Push Ups**, a track where Drake goes not just for Kendrick, but for everyone involved with ***We Don’t Trust You***. Drake starts the track with **”Drop, drop, drop, drop…”**, a seeming triple entendre to a multitude of things relating to Kendrick. First off, some interpret this as Drake telling Lamar to “drop” something, either being a response to him, or just solo music in general. Another interpretation follows the idea that he is telling Kendrick to “drop and give him 50%”, as it’s suspected that Lamar’s label takes a 50% cut of whatever he releases. A third (and less interesting) interpretation is that it’s in reference to Lamar’s frequenting of the parks to do his exercise routines, namely doing 50 pushups. following this we hear **”I could never be nobodies number one fan, your first number one, i had to put that in your hands.”**, Implying Drake believes Kendrick’s fame comes from his features on Drake’s album ***Take Care***, and Drake’s features on ***Poetic Justice*** (both covered earlier.), following this, we get **”How the fuck you big-stepping with a size seven men’s on?”**, this is both a reference to Lamar’s album ***Mr. Morale and the Big Steppers***, and also Lamar’s height, being 5’5. Later on, we get **”Maroon 5 need a verse, you better make it witty. Then we need a verse for the Swifties, Top says drop, you better drop and give em 50!”**, this is in reference to how Kendrick has previously featured on songs for both Maroon 5 (***Don’t Wanna Know**)* and Taylor Swift (***Bad Blood***), Drake uses this almost in mocking. The “drop and give me 50” line is repeated through the song. Following this is **”Its like your label, boy, you’re in the scope right now. And you’re gonna feel the aftermath of what i write down.”**, this references both of the labels Lamar has been signed to, Interscope Records and Aftermath Records. To cap off what i’m gonna cover for this song (lest i be here for hours), Drake pens **”Pipsqueak, pipe down. You ain’t in no big three, SZA got you wiped down, Savage got you wiped down, Travis got you wiped down—“**, this line tells us seemingly whay Drake *a*ctually believes to be the big three, unlike what Cole claimed on First Person Shooter, this also seemingly a jab at Cole aswell, as Drake seems to ‘remove’ him from the big three. He later also says **”I don’t care what Cole think, that Dot shit was weak as fuck.”** seemingly solidifying this line of thought. Drake is now out for both Kendrick and Cole.

***Taylor Made Freestyle - Drake (2023)***

This song seemingly stems from Drake’s impatience for Lamar to respond. (something he’d largely backtrack on later), To give some context to the title, the real beef between the two began during the release of Taylor Swift’s album ***The Tortured Poets Department***, because of this, Drake accuses Lamar of being “scared” to drop within this timeframe, in fear of being overshadowed. Unfortunately, in this song Drake begins by targeting one of Kendrick’s idols, Tupac, through the use of his AI Generated voice, a move that would wildly lose Drake the public vote. I’m not going to cover the stuff that’s used from the AI Snoop Dogg or Tupac primarily because (and trying to remain as completely unbiased as possible), Drake is a massive bitch for using them. Anyway, onto the first line of note: **”But now we gotta wait a fuckin’ week cause Taylor Swift is your new Top, And if you boutta drop then she has to approve.”**, this comes again from Drake’s belief that Kendrick is scared of dropping out of fear of being overshadowed, stating it as if Taylor ‘owns’ Kendrick. If i’m being completely honest, that’s literally all i can say about this track, pretty much every line aimed at Kendrick can be summed up to that exact definition, so i’ll move on the the next track.

***euphoria - Kendrick Lamar (2024)***

This is where Kendrick begins his involvement, by not just dropping his response, but by dropping two in one day, **euphoria** and **6:16 in LA** (the latter of which i’ll cover next). The track begins with a reversed sample from a remake of ***The Wizard of Oz***, in which a character proclaims **”Everything they say about me is true!”**, this could be interpreted to Kendrick owning up to the title of *”The Boogeyman”* some have given him in previous beefs. Following up this, Lamar begins the track with a slow, melodic beat, as he softly rhymes over the top of it. He pens **”You’re moving just like a degenerate, every antic is feeling distasteful.”** in reference to Drake’s use of AI voices on ***Taylor Made Freestyle***. After this, we receive a beat switch in which Lamar begins to ‘battle-rap’. We begin with **”Have you ever paid five hundered thou’ like, to an open case?”** This line is allegedly written in reference to Drake’s sexual assault allegations from Instagram model *Laquana Morris*, in which he paid $350k in settlement. Though this could also be in reference to Lamar’s 2017 lawsuit in which LOYALTY. was accused of plagiarism by *Terrance Hayes*, a case that was later dismissed and dropped with little to no explanation. Later, Lamar pens **”Id rather do that than let a Canadian n——a make Pac roll in his grave.”**, Another reference to Drake’s previous usage of Tupac’s AI voice, and more notably, Kendrick’s desire to defend Tupac’s legacy from that sort of usage. **”What is it, the braids? Oh you dont wanna work with me no more? Okay.”** Is in reference to how Drake’s haircut (twisted braids) has him thinking wrong to go against him. The following comment about not working with him is in reference to Kendrick’s comments on **Control**, aimed at Drake, and his reaction to no longer wanting to work with Lamar. **”Its three GOATs left, and i see two of em hugging and kissing on stage.”** Is in reference to ***It’s All A Blur Tour***, in which J. Cole and Drake headlined together, a photo commonly shared of the two of them hugging on stage. **”Yeah, fuck all that pushing P, let me see you Pusha T!”** Is in reference to Drake’s previous beef with Pusha T, in which he revealed that Drake had a son, Adonis. This later removed all responses from Drake, making people consider Pusha T the winner. There’s a LOT more lyrics in this song, but i’m gonna cut it primarily for actually making space for the rest of this stuff.

***6:16 in LA - Kendrick Lamar (2024)***

In a surprising move from Kendrick, he released two songs in a row, this one more personally aimed at not just Drake and everyone he’s associated with, but Drake himself. With this track there aren’t many lyrics i actually want to select and really explain like i have in previous sections so i’d be better off more or less explaining how tensions were in the release of this track. People were no short of surprised to see Lamar drop such a substantial amount of tracks in one day, making most people seemingly ‘switch sides’ from Drake, while most others applied the argument that “most had decided their winner before their battle even started.”, however this song is the prelude before we really get Kendrick to delve into Drake’s allegations, and more impressively, straight up call him a p*dophile.

***Family Matters - Drake (2024)***

After a day or two of waiting with bated breath, Drake finally responded to Lamar’s tracks with a return to burn Kendrick. The song begins with a reused sample of **Push-Ups**, almost making the song seem to be a sequel to that, Drake begins by proclaiming that **”Cole losing sleep over this, that ain’t me.”**, in reference to Cole’s exiting from the battle. However a lyric following this further landed Drake into a negative public opinion, as he raps **”Always rappin’ like you’re tryna get the slaves freed.”**, seemingly dissmissing to the work Kendrick’s done for knowledge on Black History, as well as mocking Lamar’s general influence and introspective style of rap. Later, Drake finally fires back with allegations that Kendrick is abusive toward his wife, with the line **”Ay, let that shawty breathe.”**, allowing the listener to interpret that Lamar may be involved in abusing his wife, Whitney. (Though, this was later seemingly disproved by a tweet from Whitney’s brother showing support toward Kendrick.) Drake then raps **”Shake that ass for Drake, and shake that ass for free.”**, implying both that Whitney is disloyal to Kendrick, and that Drake supposedly wants this to be a song people dance to in clubs via twerking or something, this later backfired as Lamar’s next track, ***Not Like Us***, actually ended up being played in a multitude of clubs and raves upon release. Drake later raps **”good kid, m.A.A.d city van, we’ll pop the latch and let the door slide.”**, seemingly in reference to a drive-by in Kendrick’s Compton days, as in the album the Van is used as a symbol of protection from the violence in the world outside. Drake is proclaiming he will destroy Kendrick’s only sense of protection. In Part III of the song, Drake begins by rapping **”Kendrick just opened his mouth, someone go hand him a Grammy right now.”**, seemingly believing that all of Lamar’s Grammys are given based off of popularity over talent, though Drake follows this with **”Where is your uncle at? Cause i wanna talk to the man of the house.”,** this is in reference to the **Mr Morale and the Big Steppers** track **Auntie Diaries**, in which Kendrick tells the story of his Auntie transitioning into his Uncle. The bar basically mocks Kendrick for being less masculine than a trans person, sort of transphobic to me but, yknow. From here it’s just more lyrics about the allegations of Kendrick’s abuse of his wife, bringing us onto **Not Like Us**.

***Not Like Us - Kendrick Lamar (2024)***

This track is the pinpoint for when we go from ***To Pimp a Butterfly*** to ***To Catch a Predator***. In this track, Kendrick fully goes in on Drake’s sexual abuse and pedophilia allegations, exposing a major amount of Drake’s argument. The first influential lyric on this track is **”Say, Drake, I hear you like em’ young.”**, again in reference to these allegations, now, to get this out of the way now, i’m gonna say the same for **”Certified Lover Boy? Certified Pedophile!”** and **”Tryna stroke a chord, and it’s probably A-Minor!”**, the first of which being a reference to Drake’s album **Certified Lover Boy**, and the second referencing the guitar chord A-Minor, entendres with “a minor” (Holy shit, man.) **”Certified Boogeyman, i’m the one who upped the score with em’.”** Is in reference to the **Halloween** character *Micheal Myers*, and more importantly his intimidating presence, that of which Kendrick implies he also brings in his opponents, the usage of ‘certified’ could also be another reference to **Certified Lover Boy**., and with all that covered, that’s pretty much all that comes from this track and, honestly, the beef in general.

***THE HEART PART 6 - Drake (2024)***

To remain as unbiased as possible, this is where things get downright embarrassing, and honestly, what solidifies Kendrick Lamar’s win. For starters, the track title itself is in reference to Lamar’s **The Heart** series, which is typically used to debut a new album, like **DAMN.** and **Mr Morale and the Big Steppers.** This is actually a joke that was frequently used on Twitter beforehand, as well see with the rest of this track, most of Drake’s research comes less from his peers and more from Twitter, the track itself actually is an attempt to mock Kendrick Lamar’s sexual assault, something of which we learn, actually never happened. Drake raps **”Mother i— Mother i— That’s the one record where you say you got molested.”**, despite him saying this, **Mother I** is Kendrick talking about how his cousin didn’t molest him, but none of his family believed him, in other words, Drake completely misses the point. Before this Drake raps **”This Epstein angle is the shit i expected.”** When, in prior songs, nobody has mentioned Jeffrey Epstien. He also raps **”I only fuck with Whitneys, not no Millie Bobbie Browns.”** in reference to his allegations in messaging *Stranger Things* star Millie Bobbie Brown, despite being 17 years older than her. Yet again, Kendrick had never mentioned this beforehand.

***MR. MORALE VS THE 6IX GOD.***

In the end, it comes down to personal opinion on who you really think ‘won’ this sort of thing, it’s a very arguable and personal thing, wether you believe that Kendrick beats his wife, or that Drake is a pedophile, just know either way, when i release this Kendrick Lamar would have released 4 more tracks.

Wish me luck.

[bettyfrommars]

hi loves

a wee announcement/bit of reflection below the cut

nothing heavy, just some thoughts & updates

First of all, I want to say I love this fandom so much. Truly I do. It has carried me though possibly the hardest, loneliest year of my life (and this ol' girl has been though some dark times). I've made friendships here that I hope to cherish for the rest of my life.

I came into fanfiction in October of last year, after not writing anything substantial for almost a decade. My dear friend at the time said she was looking for a specific Eddie Munson story, so I wrote it for her. I wrote it in first person because I didn't even understand how "reader perspective" was a thing, that's how wet behind the ears I was to this world. My friend, on the other hand, is a well-versed fic reader, and I distinctly remember messaging her like, "okay, what the hell is a Y/N??"

I spent that entire dark, cold winter writing and passing it to her in parts like notes in a classroom. The rush of getting back to something I loved so deeply after so much time away turned me into a monster. I lived and breathed that story. We sent endless messages back and forth every day about what each character would do next, imagining ourselves in that world, with Eddie. We made playlists, we cried. We screamed and giggled and kicked our feet when they finally kissed. We mourned the loss when it ended and moped around a bit before going back to read it all over again. Some 40k words and four months later I realized, holy shit, I think I write fanfiction now?

In a way, fanfiction saved my life. It brought me back to a part of myself I had buried, a part of me that worried it might never see the light of day again. It came crawling out of the ground, gasping for air like, "you better stretch your fingers bitch because I have a lot to say."

In April, I started posting here when the fandom was notably beginning to wane, but I was happy to see there were so many still going hard for our man. I kinda creeped in, like a little scuttling crab, and was grateful to find that a handful of you embraced me.

Long story short, I am NOT leaving, not at all. I know the tone is there, but that is not what this is, lmao. I will hopefully keep this blog for as long as you will have me. I plan to finish writing I'm on Fire and Death Becomes Us, as well as maybe another bit for gargoyle!Eddie, and nightmare!Eddie, but the other series I've started (or planned to start) will stay on hiatus for a while, possibly forever. I will continue to post blurbs and hc's and whatnot, but I won't be committing to any new series or long fics.

My masterlists will remain intact for the time being for those who want to enjoy what is there. That being said, The Nightmare Factory and Stop the World and Melt with You, might be taken down in the future only because I plan to re-work them into original stories. I have a second non-fandom blog in the works that is dedicated to monsters, nightmares, and magic realism, and I will let those who are interested know about it when the time comes.

Mostly, I wanted to let you know that, even if you notice some changes, I will continue to persist with "My 2 Joe's" delulu era, possibly until the earth swallows me up. I am no longer taking requests, but my asks will always be open for thots, blurbs, obsessions, etc. You know how much I love hearing from you.

That's all really. Perhaps this is simply one of those "end of year" thought dumps, but I also wanted to say a heartfelt Thank You to those who continue to support me, enjoy my work, and share it. My Ride or Die monsterfuckers and biker Eddie enthusiasts. My nightmare Eddie dreamers, my Twilight Zone Eddie pineapple heads. My gargoyle Eddie romantics who cheer on our Stone Boy, and my Hybrid Steve lovers who leave their windows open at night. My True Blood friends who appreciate a vampire Eddie who is nothing like Bill Compton. My darlings, my fellow rebel rousers and misfits, my friends.

This is a very symbiotic relationship, and I could not/would not do this without you ❤️

[omurice4grillz]

*i own no rights to these photos*

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“the leaders of the flowpocalypse”

i believe these artist to be sum of the best the art of flow has to offer.

“SMIYONCE”

smino in particular is my personal favorite, you could simply write whole papers on his mastery. i often talk a lot about how his verses always sound like they were made on a whim, cadences like his seems like things you’d freestyle, but he finds a way to materialize dem on tracks. it’s incredible! his singin is one element that separates him from his counterparts, it makes his flows all the more buttery. when listenin to him it’s almost like drinkin a smoothie, or eatin an açaí bowl, (ik that sounds crazy but trust me).

song wit best flow: skedos

“lil jiddy”

jid seems like the poster child for lyrical miracle spiritual rap, but while that sub genre can seem like the anti-christ to the common rap fan, jid makes it…appealing. a bigger inspiration of mine when it comes to my own mcing there is a certain funk to jids cadence that breaks any belief of his rhymes being thoughtless. through his rhythm it’s almost as if he makin a groove all his own just wit his words alone. kinda like 3stacks or da migos.

song wit best flow: off da zoinkys

“Flaco Joyde”

out of all these artist i feel rocky has the most mainstream appeal. to much talent to be in the same vein as a bossman dlow but doesn’t have the technicality of a mos def. but i think the middle ground he lays in is what makes him so entertaining, he’s the burger king of hip-hop (have it your way). you can enjoy rap savvy flows in songs like, “everyday” or “sandman.” but then at the same time he can give you bouncier cadences in a tune such as, “arya” or “riot.” his dual katana of both complexity and simplicity make him ear candy for the masses.

song with best flow: the god hour (w/ a$ap ant)

“dot”

the pinnacle of rap. i don’t really believe much has to be said about kendrick, his talent far out reaches his flows, but he’s of the same cloth as simone biles: dominant all around. the compton native has clear inspo from his predecessors, like pac or even snoop. but the west coast bounce in his cadence makes for a trampoline to jump start any flow he might conjure up. sum of his mos creative i believe can be found in a song like, “duckworth.” more technical can be found in the tune of, “6:16 in la.” kendrick just has an ability to rap his tale off that makes him seem unprecedented. his quick draw switches of speed and tonality allows for his flows to slice through production, and contact the listener directly as if to have a conversation.

song wit best flow: rigamortis

[sitp-recs]

HP Rec Fest, Day 30

Here we come with more @hprecfest! Today I’m only reccing rare pairs since I couldn’t think of any pre-canon Drarry fics 🤔 I wonder if canon divergent / canon rewrite applies?? I don’t read them often either way, so I figured this would be a good opportunity to boost lesser known fics. I think this is my favorite rec post for the fest so far - there’s something so poetic in reccing these two specific fics alongside each other since Little Compton Street verse was my first (unforgettable, devastating) contact with Prongsfoot and 5 years later here I am reading them again - this time welcoming the pain. More embarrassing emosh blabbing below!

Day 30) a pre-canon fic:

empire builders by shecrows (James/Sirius, E, 25k)

Say, James, he rehearses in his head. Remember that time we were both roaring drunk at the end of term, and you put your cock in my mouth, and I came so hard I still get tingly thinking about it? Was that just a one off, d’you think, or did you want to do it again sometime?

Prongsfoot my beloved ����😭😭 sometimes I feel like I’ll never feel as strongly about a ship as I feel for them which sounds so crazy because I don’t even read it! or, well. after being utterly ruined by Winter of ‘79 (curiously a fic within LCS verse as mentioned below) I promised myself I wouldn’t look for this ship anymore bc the inevitable tragedy of it depressed me way too much. I locked them away in a secret space deep within my heart and only allowed myself to re-awaken those feelings this year, with the brilliant empire builders. what a fic! a few lines in and I was hooked and completely obsessed with Sirius’ unbelievably spot on voice, the peak friends to lovers dynamics, and the unbearable sexual tension mixing guilt and devotion (my favorite shippy combo btw). fuck, they are so young and so lovable, and so attuned to each other it makes me wanna cry. never before a 25k fic has felt so short, I’ve read it in a frenzy and couldn’t stop thinking about their love for days. the best word to describe my state after this fic is “tormented” which might as well be the best compliment I’ve ever given in a rec.

Play Me Like A Love Song by @writcraft (Minerva/Will, E, 67k)

Minerva McGonagall doesn’t believe in love at first sight, which is why her instant attraction to drag king Wilhelmina ("Will") Grubbly-Plank is so unexpected. War tears apart the wizarding world and as one battle ends Minerva and Will must fight once more, this time for the lives of their friends on Little Compton Street. A love story spanning five decades defined by music, laughter and tears, in which love is not always easy, but it’s always worth fighting for.

truly a masterpiece of lesbian fiction, this fic is more like a religious experience, bold, brutally honest, romantic, eye-opening and necessary. I never thought I’d care so much for a ship like Will & Minerva but they worked their way inside my heart and I’m deeply moved by how their story encompasses everything that’s inherent to the queer experience: love, loss, resistance and hope. there’s so much joy and grief walking hand by hand, and it is our privilege to watch the characters mature and experience life as individuals and as a couple. Writ crafts oh so thoughtfully two stunning character studies (Minerva’s voice omg, please don’t @ me on my competence kink) while taking us by the hand into the magical universe of Little Compton Street, which is so completely irresistible and healing. I adore the atmosphere, the imagery, the soundtrack, and how this seductive setting allows them to explore their queerness in such a free, proud and joyful way *getting emosh* I feel like nothing I add here will make this story justice, it’s such a poignant and transformative fic but sadly deeply underrated like it happens to so many wlw tales. I hope this rec inspires at least one person to check it out and while at it please also check the entire series with a Drarry piece and a Prongsfoot piece, a perfect trifecta!

[captain-willard-1968]

Not Like Us (Shakespeare Version) by Sir Kendrick Lamar of House Duckworth:

(Pls note; this will not rhyme💀)

[Intro]

Psst, I comune with the dead

(Mustard on the beat, ho)

[Verse 1]

Ayy, mustard on the beat, ho

Deebo any poet whelp, ‘tis a free throw

Man down, retrieve an amberlamps, bid them ‘breathe, sir’

Nail a whelp to the cross, indeed, he shalt walk around like Teezo

What is with these foolish whelps attempting to see Compton?

The industry can loathe me, away with them all along with their mothers

How many foes dost thou have? Ist too many options!

Indeed, I am forwarding this body, proclaim me John Stockton

Thrash thy ass and conceal the Bible if the Lord be watching

Often thou must step up and beat whelps

Mandated specter, ‘tis I that ups the score with them

Biting my thumb at him, meanwhile, I know’ist he hast some ho in him

Brandish a blade on him, force shit, mock Death Row on him

Say, Drake, I hear thee likeliest them young

Thou best ne’r go to cell block one

To any wretch that discourses and they art in love,

Thou must hide thy child sister from him

They ‘claim to me that Chubbs ist the only one who retrieves thy hand-me-downs

Along with Party ist at the party picking at his nose now

And Baka hast an odd case

Why art he around?

Mandated Lover Boy? Mandated PAEDOPHILES

Wop, wop, wop, wop, wop, Dot, do away with them

Wop, wop, wop, wop, wop, ‘tis I who does mine stuff

Why art thou conniving like a whore, aren’t thou aweary?

Attempting to strike a chord, perchance ‘tis A minor

[Chorus]

They art nought like us, they art nought like us, they art nought like us

They art nought like us, they art nought like us, they art nought like us

[Verse 2]

Thou thinkest the San Francisco province ist going to let thee disgrace their knight Sir Pac, whelp?

Methinks that Oakland show shalt be thy last stop, whelp

Thy put a plague on Cole, I know not why thou ist still feigning

What ist the owl? Bird whelps along with bird wretches

The audience be not foolish

Mold the stories however thou want, hark now, Drake, they are not slow

The rabbit hole be still deep, I canst go further, I swear

Is that not something? B-Rad meaning wretch and thou ist Malibu’s most sought after

There is no law, sirrah, thou art a ball sirrah, go and fetch Gatorade or something else

Since 1609 I hast these wretches jumping

Thou whelps shalt get wedges, shalt be flipped over thy trousers

What dost OVO stand for? The “Other Vaginal Option”?

Marry?

Whelps must straighten thy postures, reached fame hood in Compton

Perchance compose this for the title of ‘Doctor’, proclaim unto that pop star stop hiding

Forget a caption, crave action, nay accident

I am hands-on, he fools around, get dispatched

Intercoursed with Wayne’s maiden whilst he were away, ‘tis conniving

Then got face art like a wretch apologizing

Art I happy DeRoz’ is back, ye didst deserve him neither

From Alondra down to Central, thou best not discourse on Serena

And thou brethren must be subpoenaed, that predator moves in flocks

His name must be registered and placed unto village watch

I put pressure on you whelps like another line of Wock’

Aye, all eyes on me, and I am going to deliver it up to Sir Pac, ayy

Force the wrong label on me, indeed, I shalt have it dropped, ayy

Sweet Chin Music and I shan’t deliver the aux, ayy

How many stocks dost I truly have in stock?

One, two, three, four, five, unto five, ayy

The Devil be’ist a lie, he ist the 69 Lord, ayy

Freakish whelps must stay inside, ayy

Roll themselves up like a fresh pack of lettuce, ayy

The city is back up, ‘tis a must, we are outside, ayy

[Chorus]

They art nought like us, they art nought like us, they art nought like us, they art nought like us, they art nought like us, they art nought like us

[Verse 3]

Once upon a time, all of us were in chains

Man still spoke again and proclaimed us slaves

Atlanta, t’were the Mecca, constructing railroads and trains

Hark unto mine words but for a moment, hark unto mine council

The settlers were using townsfolk to make themselves wealthier

Look unto, 1624, thou hast the same plan

Thou flees to Atlanta when thou need’est a shilling balance

Allow me to make it smaller for thy brain, this be the true whelp contest

Thou called upon Future when thou didst see the club

Lil Baby mentored thou on thy language

21 bestowed thee false street cred

Thug made thee feelst like thou hast membership in thy head

Quavo discourses thou may be from Northside

2 Chainz discours’t thou fine, but he proclaimed false

Thou flees to Atlanta when thou need’st more shillings

Nay, thou art not a collague, but a falsifying colonizer

The family matter along with the truth of the matter

‘Twas the Lord’s plan to show ye the wolf upon the flock

[Bridge]

Mm

Mm-mm

He art a fan, he art a fan, he art a fan

He art a fan, he art a fan, he art a

Freakish whelp, he art a 69 Lord

Freakish whelp, he art a 69 Lord

Aye, aye, aye, flee for thy life

Aye, aye, aye, flee for thy life

Freakish whelp, he art a 69 Lord

Freakish whelp, he art a 69 Lord

Aye, aye, aye, flee for thy life

Aye, aye, aye, flee for thy life

Allow me to hear thee ‘claim “OV-ho!” (OV-ho!)

Proclaim “OV-ho!” (OV-ho!)

Afterward, step this way, step that way

Afterward, step this way, step that way

[Outro]

Art thou mine ally?

Art we focused?

Afterward, step this way, step that way

Step this way, step that way

[mihrsuri]

For @herawell specifically - some of my headcanons re OT3 verse Henry’s past relationships with men pre Thomas.

This man does not in fact have any problem with the fact that he’s attracted to men and women. I really knew that from the first - there’s a line that Wolsey thinks in Rewrite The Stars 2.0 about how yes obviously Sodomites Are Evil Sinners but not people who love those of the same sex or both and that was really where Henry landed as soon as he realised I kind of just wanted to write him having zero angst about it like yes, the Lord is obviously fine with me here.

The scene I’m not writing is actually Henry’s threesome with two sex workers who later on are like ‘…WAIT WAS THAT HIS MAJESTY AND WAS HE INTO SLEEPING WITH HIS QUEEN AND HIS LORD CHANCELLOR AND WATCHING THEM…taking that one to our grave because No One Will Believe It But Holy Shit’ (Henry is like I Am Not Acknowledging My Desires At This Stage which makes it awkward as fuck also this was when he was with Jane. I think. It would contain a realistic depiction of 16th century sex work but I cannot actually write it because Trauma Brain but the headcanon is there).

Henry and Will Compton were friends who had sex with each.

People actually did not know, mostly because Henry was also really into women/he was actually faithful to Catherine for like, at least a while/it just seemed implausible to people

No really he and Will just kind of slept together as friends it was cool.

Whatever The Fuck Charles Had No Idea Thing was going on there as well (I actually don’t tend to see OT3 verse Henry as being into Charles and Charles has absolutely no conscious idea he’s into Henry but yeah, that dynamic).

His male lovers tend to be honestly, he has some as a younger man very much in the vibe of ‘goes to masked orgy’ because uh, yeah. So no one really clocks it - like sure this man enjoys sex (I’m drawing from TV Henry a bit/a lot here) but no one thinks he also enjoys it with men.

I’d say the encounter(s) in 1534-6 are just…It’s Not Great At All.

[doruk-alp08]

Part #3 Last Part

'10s

Exploring the Legends of Rap/Hip-hop

Modern Rap

Exploring the Evolution of Rap Excellence

In the dynamic realm of rap music, certain artists stand out in each decade not only as formidable lyricists but also as trailblazers shaping the genre's narrative. In this exploration, we delve into the realms of three influential wordsmiths from the '10s: Kendrick Lamar, Pusha T, and Freddie Gibbs.

Kendrick Lamar: The Poetic Provocateur (G.O.A.T)

Compton, California native Kendrick Lamar has made a name for himself as a poetic visionary, crafting intricate narratives that navigate the complexities of race, identity and social justice. His masterpiece 'To Pimp a Butterfly' is a testament to his lyrical skills, interweaving jazz-infused beats and thought-provoking verses that challenge the status of the time.

Lamar's ability to combine storytelling with self-reflection Each project serves as a sonic journey through Lamar's psyche, offering listeners a glimpse into his struggles, triumphs, and reflections on the world around him.

With multiple Grammy Awards and a "Pulitzer" award, Kendrick Lamar is one of the most award-winner artists of all time. Kendrick is also the only artist who has a "Pultizer" award. With the help of his devoted fan base, Kendrick Lamar has proved that he is the most influential artist of his time. This made him a legend in the music industry and in the eyes of the people who listen to music.

Pusha T: The Street Savant

Known for his vivid depictions of street life and razor-sharp wordplay, Pusha T, born Terrence Thornton, emerged from the gritty streets of Virginia Beach to become a lyrical juggernaut. Pusha T has captivated audiences with his gritty tales of drug dealing, loyalty and betrayal as one half of the duo Clipse and later as a solo artist.

Pusha T has earned a loyal following and critical acclaim for his distinctive delivery and unapologetic authenticity. Albums such as My Name Is My Name and Daytona showcase his lyrical prowess and uncompromising vision. They have cemented his status as one of rap's most respected figures.

As president of Kanye West's record label, G.O.O.D. Music, and collaborating with brands such as Adidas and Bape, Pusha T has also made a mark in the world of entertainment and finance. As he continues to push boundaries and elevate the art form, his influence extends far beyond the mic which puts him on this list.

Freddie Gibbs: The Street Historian

From Gary, Indiana, Freddie Gibbs has carved out a niche as a storyteller of street tales and gritty realism. Gibbs paints a vivid picture of life in the trenches, offering a raw and unfiltered perspective on the struggles of the urban experience with his gritty delivery and unflinching honesty.

Gibbs' discography is a testament to his versatility and storytelling ability. Albums such as 'Pinata' (a collaboration with producer Madlib) and 'Alfredo' have been widely acclaimed by critics and fans alike. He stands out as a true wordsmith of the streets with his ability to blend vivid imagery with intricate wordplay.

In addition to his solo work, Freddie Gibbs has collaborated with a wide range of artists. This has further expanded his sonic palette and reinforced his status as one of rap's most fluid voices.

Conclusion

In conclusion, these blog post chains have offered a glimpse into the diverse and dynamic world of rap music. We have highlighted the immense talent and cultural impact of each of the artists featured based on which decade they were in. From the poetic storytelling of Nas and Kendrick Lamar to the boundary-pushing creativity of Kanye West and MF DOOM, and from the street narratives of Ice Cube and 50 Cent to the gritty realism of Pusha T and Freddie Gibbs, each artist has left an undeniable mark on the genre, shaping its evolution and inspiring countless others along the way. As we continue to celebrate the legacy of the rap legends, we should acknowledge their contributions to both music and the wider cultural sphere, and be thankful for their contributions to the genre even if we don't like their music.

[tcmbcy]

jake compton / 27 / defensive lineman for the jacksonville rays / bisexual / post book.

verse: jacksonville rays series.

face claim: vince dunn.

connected / heavily affiliated with caleb sanford on @greedaeye

[90363462]

The History of Kendrick Lamar and Whitney Alford, As Told By His Lyrics

By Matthew RitchieMay 17, 2022

Getty Images

Kendrick Lamar has never been shy about revealing details about his life: DAMN’s“Duckworth” and good kid, M.A.A.D. City’s“m.A.A.d. city” are just two of many moments where he’s gone deep into his personal history on record. And on new album Mr. Morale and the Big Steppers, the Compton superstar gets more vulnerable than ever before, revealing his personal journeys through therapy (“United in Grief”), fatherhood, daddy issues (“Father Time”) and his battles with generational trauma and sexual violence (“Mother I Sober.”)

But he speaks most candidly about his relationship with his longtime partner Whitney Alford. They’re childhood sweethearts who got engaged in 2015 and now have two children together—she’s been a constant in his life throughout his whole career. (She even sang background vocals on To Pimp a Butterfly, lending her voice to both “King Kunta” and “Wesley’s Theory.”) She’s everywhere and everything on this album, including the cover image, narrating on four tracks including “Mother I Sober” and “Father Time,” and telling Kendrick that he needs therapy on the latter. According to Lamar himself, she’s more than just his lover: she’s a grounding figure for him in times of stress and crisis. Kendrick raps more about Whitney on Mr. Morale & The Big Steppersthan ever before, but it’s by no means the first time he’s alluded to her in his music. What follows is a breakdown of her previous appearances in his lyrics.

“She Needs Me” from the 2009 mixtapeKendrick Lamar EP. The first love song Kendrick ever wrote is a parable about a flawless woman who is comparable to nobody else in the world. It’s classic and simple, mentioning his parents’ unabashed approval and her unyielding confidence in the way she carries herself. At the beginning, he insists that she needs him to be happy. By the end of the two minutes, he comes to the realization he, in fact, cannot live without her. Armed with a mountain of evidence of how she completes him, he can’t even imagine wanting to.

The timeline of Kendrick and Whitney’s relationship matches up with the track: Kendrick and Whitney were high school sweethearts who graduated in 2005. “Five years later, an accounting major, work at a firm/Abundance of paper, she got a career,” he raps at the beginning of the second verse–after high school, Alford attended California State University, Long Beach, and graduated with a bachelor’s degree in accounting. While the rest of the track looks more to the future, it’s apparent that Kendrick had Whitney in mind from the outset.

“Determined,” a bonus track from the 2009 mixtape Kendrick Lamar EP. While Kendrick had striven to keep his and Whitney’s relationship shielded from the public eye, that has not stopped him from citing her as an influential figure in his rap career. In a 2014 interview with the New York Times, he called her the one person with the power to call him out on anything, whether in life or his career. “One particular young lady. She’s been here since Day 1,” Lamar explained.

On the bonus track, he gives a first-hand account of how “his girl” helped him stay the course during moments where his confidence failed him. As he shares his insecurities with her over a bucket of KFC, she shuts his doubts down immediately: “You know you the best boy, you gotta keep doing it/But don't forget when you do, just keep you in it/And never listen to what the industry say/Don't be a typical artist, be more like Jay.” By Kendrick’s own confession here, without her he wouldn’t be the man or rapper he is today.

“Growing Apart (To Get Closer)” from the 2010 mixtape Overly Dedicated. Kendrick gets surprisingly personal on Mr. Morale & The Big Steppers, even going as far as to call out his “lust addiction” on the track “Worldwide Steppers” and talking about how his infidelity put pressure on his relationship. He alluded to similar transgressions in the opener from Overly Dedicated, rapping with melancholic honesty about the strain he’s putting on his girlfriend: “Meanwhile I’m in these streets with everybody, I’m trying to get it/And she know they got me, I watch her feelings watch me/As they staring with the saddest eyes of loneliness,” he raps.

“Buried Alive Interlude” from Drake’s 2011 album Take Care. This appearance could be considered the moment when Kendrick began the shift from underground darling to star. Money and success can do crazy things to your perspective, and here, Kendrick doubts his relationship. “The reason why my best friend say she loves me more than life/But I live a double life and need to let her go,” he raps, believing that he must cut her loose as the pressures of fame and wealth begin to materialize.

Billboard and The Breakfast Club in 2015 In a 2015 cover story with Billboard, Kendrick said his connection with Whitney transcends the need for a label. “I wouldn’t even call her my girl,” he says. “That’s my best friend. I don’t even like the term that society has put in the world as far as being a companion — she’s somebody I can tell my fears to.” Months later, following their engagement announcement, he doubled down on the devotion in an interview with The Breakfast Club, echoing the need to be loyal to the woman that’s held him down from the beginning.

“LOVE.” from the 2017 album DAMN.Kendrick and Whitney confirmed their engagement in April 2015, following the release of To Pimp a Butterfly, and this track sounds like the result of years of maturing and working on a relationship. “Keep it a hundred, I’d rather you trust me than to love me/Keep it a whole one hund', don't got you, I got nothin',” he croons on the ballad, realizing the sentiment that he expressed back in 2009 remains true eight years later.

Mr. Morale & The Big Steppers. This is Whitney’s coming out party, as suggested by the album cover, which features her sitting on the bed opposite him, holding the couple’s second child. The family that they’ve built is at the center of the album. Her presence looms large on the four tracks she features on (and even elsewhere), narrating as a guiding force towards the self-actualization Kendrick hopes to achieve. On the opening track “United in Grief,” she urges him to be honest as he embarks on his most personal project to date. “Tell them, tell 'em, tell them the truth,” she demands. The last time we hear her voice is on “Mother I Sober,” the emotional climax for Kendrick, closing out the trauma-laden opus. “You did it, I'm proud of you/You broke a generational curse,” she says calmly.

[goodgarbs]

Music| Hip-Hop Beef: Kendrick Lamar Responds to Drake With "Euphoria"

What has been the most enticing and reviewed experience in 2024 so far would be the ongoing Rap Battle between two of Hip-Hop’s leading names, which is Toronto’s own Drake verses Compton, California’s Kendrick Lamar. The rap beef saga began earlier this year with what many call “The First Punch” with Kendrick Lamar featuring on Future & Metro Boomin’s “WE NEVER LIKE YOU” album. On the title…

[caitlynskitten]

Top 5 favorite movies?

Ooolhhhh. Hmmm. I have a lot of fave movies. But I guess the movies I could watch over and over again

1. When Marnie was There

2. Into the Spider-Verse

3. Corpse Bride

4. Coraline

5. Straight Outta Compton

[thelensofyashunews]

Mez and Isaiah Rashad Collab for Soulful Love Song "Hot Spot"

Mez's elite pen game and strong sense of visual creativity has endeared him to some of the biggest names in rap history. Teeing up his latest high-profile connection, Mez shares "Hot Spot," his new song with Isaiah Rashad. Produced by Monte Booker, Phoelix & Cam O'bi, "Hot Spot" is a Southern-fried slow jam, populated with sensually spindly guitars and a soulful choir bringing the emotion home. Mez works a sing-song flow, sliding between the snares with double-time pledges of devotion: "I'm the plug and you're the outlet, and I really love your outfit/But that sh*t would look much better on the floor," croons Mez. Isaiah Rashad takes a different perspective, reflecting on all the connections he might have missed while living life on the road. Together, the two rappers create a cerebral and yearning anthem for those who haven't yet given up on modern romance. "Hot Spot" is Mez's second high-quality song of 2024, following the vibrant "Call On" ft. Kurtis Wells and its inventive music video.

Mez's upcoming EP is the culmination of his long journey through the music industry. Emerging out of Raleigh in the early 2010s, Mez was a leading light in a fertile NC rap scene that birthed underground and mainstream stars. Mez's sharp lyrics and assured artistic vision helped convince some of music's biggest stars to trust him with their creative visions. Then known as "King Mez," the rapper was one of the driving forces behind Compton, Dr. Dre's long-awaited third album, appearing on nine tracks and writing on several others–his efforts drew praise from the likes of Pitchfork, NPR, Vulture, and many others. Mez has been a regular affiliate of his friend and fellow North Carolinian J. Cole, and has contributed several verses to Dreamville compilations, including Revenge Of The Dreamers III and last year's Creed III: The Soundtrack. Mez is also a renowned video director, stepping behind the camera for clips like J. Cole's "Middle Child" and "a m a r i," Dreamville's "Sleep Deprived" (on which he also raps), plus videos for Ari Lennox, Isaiah Rashad, and more.

Now, Mez steps back into the forefront, armed with his own message and more than enough talent to make it known. Stay tuned for much more from the multi-talented artist in the near future, including the Mez's self-directed video for "Hot Spot," coming next week. 

[lyrics365]

Not Like Us

[Intro] Psst, I see dead people (Mustard on the beat, ho) [Verse 1] Ayy, Mustard on the beat, ho Deebo any rap nigga, he a free throw Man down, call an amberlamps, tell him, “Breathe, bro” Nail a nigga to the cross, he walk around like Teezo What’s up with these jabroni-ass niggas tryna see Compton? The industry can hate me, fuck ’em all and they mama How many opps you really got? I mean, it’s…

[gerogerigaogaigar]

Radiohead - Kid A

How to piss off your fanbase in one easy step: follow up you most successful album with something bizarre and experimental and use almost nothing but synthesizers and basically be incomprehensible. Bonus points if the album is a masterpiece that will go on to be regarded as one of the best albums ever written. The anxious frailty common to Radiohead's previous albums is still there but there's more intensity, more of an ominous apocalyptic energy. The lyrics are mainly nonsense, cut up phrases with no clear meaning. The vagueness coupled with the intense abstract instrumentals lead to a fearful atmosphere. The album feels like it is failing to imitate a human. It's eerie.

Kendrick Lamar - To Pimp A Butterfly

Kendrick has doubled down on being a poet and with these songwriting skills he is tackling some difficult ideas. The first half.of the album deals a lot with Kendrick's own place in society and in the rap game and whether or not he can return to his roots in any sincere way. Whether his success prevents him from representing his neighborhood in Compton anymore. As the album continues he expands the subject matter and it becomes a struggle between sincerity and machismo and how much of black culture is constructed as a response to oppression and ultimately lands on being proud of the many composite things that make up blackness in America. It's an incredible journey and I struggle to even summarize the themes. Musically it is also so much more than good kid m.A.A.d city was in every regard. There's more funk including an appearance by George Clinton and frequent production by Thundercat. There's also so much jazz and soul and features such a wide variety of guest musicians including SZA, Kamasi Washington, Flying Lotus, and many others. This is also a well paced album, it is long but it is full of bangers and right up to the last track it is catchy and engaging. To Pimp A Butterfly is a powerful enigmatic statement. One of those albums that becomes an instant classic and will be guaranteed to be remembered as one of the best albums of all time for decades to come.

Bob Dylan - Highway 61 Revisited

Yeah no shit they put this one up so high Rolling Stone magazine is literally named after the song Like A Rolling Stone. But also a totally valid choice for best Dylan album. Every single song is Dylan at his peak. I can barely pick out high points for how good everytthing is. Obviously Like A Rolling Stone is legendary, the eleven minute closer Desolation Row is a standout, but I think that Ballad Of A Thin Man might be my favorite Dylan song. After so many Dylan albums on this list I barely have anything new to say. I guess if you have liked any of it at all then you will definitely like Highway 61 Revisited.

Kanye West - My Beautiful Dark Twisted Fantasy

https://youtu.be/wvgehVhF9D4

https://youtu.be/e7e5BFJa-Ug

Yup I knew this was coming. Kanye West's magnum opus. Twisted Fantasy is a maximalist progressive hip hop labyrinth. Kanye pulls in influences from prog rock, most obviously in his sampling of King Crimson on power, but also in playing around with song structure. Frankly it is hard to pin any one thing down because every song is so much. You have everything from the piano intro of Runaway which becomes a hip hop soul epic, the intensity of Monster's back to back guest verses, the completely unexpected Bon Iver feature, the occasional guitar solo. Oh man speaking of Monster tho I feel like we really need to appreciate that we get both Jay-Z's worst verse (Sasquatch, Godzilla, King Kong, Loch Ness, Goblin, ghoul, a zombie with no conscience) and "ahhhhhhhh put the pussy in a scarmophogoghs" from this song. Also Nicki Minaj's best verse ever to close out the song, seriously she is stunning on here. Anyway yeah Kanye seems to be making a statement about the hip hop kayfabe on here. He seems to be semi-ironically embracing the callous superstar aesthetic. How much this album is a criticism of the excess of celebrity culture or just the start of Ye's villain arc is up for debate, but even if I don't wanna be charitable it's still a huge bombastic, addictive masterpiece.

The Clash - London Calling

For being remembered as one of the most iconic punk albums London Calling is a much more complex blend of punk, rock n roll, new wave, ska, dub, and post punk. Their sound reflected the diverse musical culture of 70s London. Frankly it's hard to pin down exactly where the punk is on this album. Guns Of Brixton is just a reggae song, Wrong Em Boyo is a ska song and it interpolates American folk song Stagger Lee. Lost In The Supermarket is a distinctly post punk song with it's disco beat, Spanish Bombs is as power pop as they come, and Train In Vain is basically a piece of heartland rock. Where the album is most cohesive is lyrically and thematically. Most of the tracks on London Calling describe some aspect of inner city London living or a character therein. The plight of the working poor and immigrants. While punk definitely continued into the 80s as a rough and volatile genre full of teens with raw emotions, The Clash brought the more art rock side of the genre into the mainstream with London Calling.

Public Enemy - It Takes A Nation Of Millions To Hold Us Back

Public Enemy were a perfect storm. The interplay between the militant black nationalist politics of Chuck D and the much more laid back point man Flava Flav created a dynamic flow that wasn't matched by any contemporaries. On the other side is production crew The Bomb Squad and turntablist Terminator X creating densely sample based instrumentals that match the intensity of the rapping. On It Takes A Nation Of Millions the intensity is ramped up from their debut and they double down on the political angle. To compare the politics of this album vs Fear Of A Black Planet, there is a grander scope on It Takes A Nation Of Millions. It revels in mythologizing of the band a bit more. Either way this album also brings most of Public Enemy's biggest hits Bring The Noise, Don't Believe The Hype, and Prophets Of Rage especially.

The Rolling Stones - Exile On Main St.

Exile On Main St. is raw rough and rowdy right up the Rolling Stone's alley. This album has some of their best production successfully balancing the need to sound rough around the edges with the level of professionalism that a band as big as the Stones could afford. It starts and ends on some of their best songs, Rocks Off and Rip This Joint open the album while Shine A Light and Soul Survivor close it out, but in between, idk. There isn't a bad song on here, far from it, but as a whole album Exile On Main St. has never spoken to me the way that their previous three albums did. Am I saying Exile is overrated? Yes obviously I am literally saying that. But would I side eye someone who rated this their favorite Stones album? Not at all. It's a fine choice just not mine.

Aretha Franklin - I Never Loved A Man The Way I Loved You

This album begins with Aretha Franklin's meteoric hit Respect and it isn't even my favorite song on the album. This may be Franklin's tenth album, but it might as well be her debut. From the moment I Never Loved A Man dropped her career was reinvented and she was instantly the queen of soul. There are very, very few albums better than this one. Franklin sings with such power and conviction that she basically stole these songs from their original performers. Respect will never be an Otis Redding song ever again and same for Sam Cooke's A Change Is Gonna Come.

Michael Jackson - Thriller

Ok do I really have to review Thriller? It's the highest selling album of all time, I bet you know a thing or two about it. Michael Jackson was the king of pop for a reason. The blueprint for success that was Off The Wall is finally realized here in a pop, disco, soul, and funk masterpiece. Seven out of the album's nine tracks were charting singles. The songs Thriller, Beat It, and Billie Jean all come one after another making up what must be the most commercially successful three song runs on any album. You prolly already know how you feel about this album so I guess this is just a reminder to give it another listen if it's been a while. If you didn't like it before maybe come at it with fresh ears, if it is already a favorite then remind yourself how good this shit is.

The Beatles - Revolver

This was kinda the first cd I ever owned so you are not getting my usual super duper objective reviewing here lmao. Revolver really is one of my favorites. The Beatles have genuinely crafted some very catchy delightful tunes. All of the exploring they did on Rubber Soul paid off in a big way with the fuzzy guitars of She Said, She Said and Taxman, the baroque strings of Eleanor Rigby, of course the psychedelic experimentation of Tomorrow Never Knows. The thing that makes this not just one of the best Beatles records but one worthy of being on this list is the production. George Martin mixes every song in this hazy way that feels warm, but also distant. Like a pleasant memory. Martin also has fun on Tomorrow Never Knows by cutting up the tape and reconstructing it into the backwards guitar solos that can be heard throughout. Basically I think this is one of The Beatles best records, but it is definitely George Martin's best record, he really earns the 'fifth Beatle' moniker here.

[cyarskj1899]

MUSIC

The Most Unforgettable Diss Tracks in Hip-Hop History

With Kendrick Lamar taking shots at his rvials in a leaked verse, we revisit some of the best diss tracks of all time.

By

Noah A. McGee

PublishedSeptember 10, 2023

We’ve already listed some of the most memorable beefs in hip-hop history, so it’s only natural we highlight the most important part of feuds in rap. Diss tracks.

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A leaked verse from Kendrick Lamar heard the Compton MC take shots at Big Sean, French Montana, and Jay Electronica. While it’s from 2018, it could be enough to rile up one of his rivals and get them to respond. Then we’ll have a full-fledged beef. 

The songs listed below are some of the most ruthless, cold-blooded, cruel, callous, and ferocious diss tracks of all time. Yes, there’s a lot more, but these are the ones that came to mind first. 

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2 / 22

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2pac - “Hit ‘Em Up”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-41qC3w3UUkU&start=02Pac - Hit ‘Em Up (Dirty) (Music Video) HD

I honestly don’t care what song you consider to be the second-best diss track of all time, as long as you have “Hit ‘Em Up” at number one, we’re good. Nobody has gone at another artist (and label) as hard as Pac. Some of the lines he said in the song are not even appropriate to repeat. The video for the track makes it even worse. This man said, “My .44 make sure all y’all kids don’t grow.” My goodness. 

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3 / 22

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Nas - “Ether”

When the title of your diss track becomes a verb, you’ve done something right. Nas just straight-up clowned Jay on this track, going at him in every which way. Hov stans claim Jay won the feud because they claim “Takeover” is a better “song,” but Nas easily won the lyrical war between the two. The line that takes the cake for me is, “What you think you gettin’ girl now cause of your looks/ Negro, please.”

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4 / 22

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Ice Cube - “No Vaseline”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-rSK8jTzl1Kw&start=0No Vaseline

One of the rawest tracks on this list. Ice Cube just destroyed N.W.A. (who was already on the way out). The group didn’t go hard enough on “100 Miles and Runnin’” and they paid for it on a 5-minute diss track by Cube. The Death Certificate rapper later revealed that he never expected him to diss and that his beef with the group was with Jerry Heller, the manager of Ruthless Records. But when his former group members went at him, he had no choice but to bomb them. 

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5 / 22

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Eazy-E - “Real Muthaphuckkin G’s”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-fJuapp9SORA&start=0Eazy-E - Real Muthaphuckkin G’s (Music Video)

Dr. De’s exit from N.W.A. left a rift between him and Eazy E. Dr. Dre kicked off the war of words on “Fuck Wit Dr Day,” but Eazy E ended it with “Real Muthaphuckkin G’s.” He assassinated Dre’s whole character on this track and shut down the notion that he didn’t write his own rhymes (anymore).

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6 / 22

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Jay-Z - “Takeover”

While “Ether” takes the cake, “Takeover” was a great diss nonetheless. Hov was on top of the game and he made it known by constantly saying, “We runnin’ this rap shit,” and he wasn’t wrong. 

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7 / 22

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Dr. Dre - “Fuck Wit Dre Day (And Everybody’s Celebratin’) 

Prior to “Real Muthaphuckkin G’s” destroying Dre, the Compton producer initially got the best of Eazy-E on “Fuck Wit Dre Day (And Everybody’s Ceberatin).” He even had his protégé get in on the action, aiming sum bars at Dre’s former boss. The music video is just as ruthless, with Dre hiring an actor to play a comedic version of Eazy. 

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8 / 22

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Pusha T - “Story of Adidon”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-w4XH3LYleDA&start=0Pusha T - The Story of Adidon [Drake Diss]

“You are hiding a child.” That’s what ended the beef right there. Pusha T did some hardcore journalism on this track and revealed things about Drake’s personal life that even hardcore Drizzy fans did not know about. Pusha T was just heartless on this track going at the Canadian rapper’s mom, dad, baby momma, and best friend. 

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9 / 22

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Drake - “Back to Back” 

https://www.theroot.com/embed/inset/iframe?id=youtube-video-72ykBvPOIc0&start=0Back To Back

What rapper can say that their diss track was Grammy-nominated? On top of being a great diss toward Meek Mill, Drake made a banger of a song. This single ran the summer of 2015 and had everybody rapping, “Trigger fingers turned to Twitter fingers/You getting bodied by a singin’ nigga.”

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10 / 22

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Common - “The Bitch In Yoo”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-cBVqGYPe1Qs&start=0The Bitch In Yoo

It’s hard for rap fans to see now, but boy did Common have no chill back in the day. Common was surgical in his diss of Ice Cube on “The Bitch In Yoo.” The track was in response to Mack 10's “Westside Slaughterhouse,” featuring Cube, and was one of the rare L’s the former N.W.A. rapper took. 

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11 / 22

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Gucci Mane - “Truth” 

https://www.theroot.com/embed/inset/iframe?id=youtube-video-sVgd0pIZ8fQ&start=0Gucci Mane - Truth (Official Music Video)

No, Gucci Mane may not be as lyrical as other MCs on this list. But I guarantee he’s more intimidating. Guwop made it much deeper than rap on this track and took shots at Young Jeezy’s entire life. 

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12 / 22

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50 Cent - “Back Down”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-4iPJ3gSaPrI&start=050 Cent - Back Down (Official Music Video)

The beef between 50 Cent and Ja Rule is well-documented. There are a plethora of songs where each MC is going at each other, but this one is easily the best. This track was the beginning of the end of Ja Rule’s career as a major player in the hip-hop game. 

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13 / 22

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Notorious B.I.G. - “Kick in the Door”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-78SV9tguyVM&start=0The Notorious B.I.G. - Kick in the Door (Official Audio)

While this track was released just months after he died, it’s still one of the best diss tracks out. Biggie went at every New York MC who felt they had a legitimate claim as the King of New York. That included Raekwon, Ghostface Killah, Nas, and anyone else who stepped to the plate. Biggie destroyed them all on this track. 

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14 / 22

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Boogie Down Productions - “The Bridge is Over”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-r0Sy4twXSn0&start=0BDP - The Bridge Is Over

We ain’t forget about one of the most OG diss tracks, “The Bridge is Over.” During the height of the Bridge Wars between South Bronx’s Boogie Down Productions and Queen’s Juice Crew, KRS-One essentially ended the war with this one track. 

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15 / 22

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LL Cool J - “To Da Break of Dawn”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-O4pQ-JDQ4l4&start=0To Da Break Of Dawn

First of all, I love the cover of Mama Said Knock You Out. It perfectly represents the energy LL Cool J was bringing on this particular track. He was going at countless rap veterans simultaneously, including Ice-T, Kool Moe Dee, and MC Hammer

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16 / 22

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DJ Quik - “Dollaz + Sense” 

https://www.theroot.com/embed/inset/iframe?id=youtube-video-x8Y3qoIPMZA&start=0Dollaz + Sense

Do not let the hair fool you! DJ Quik will go at you and everyone you care about on a diss track. In one of the many songs aimed at rival Compton rapper MC Eiht, Quik did not hold back his disdain for the Compton’s Most Wanted rapper.

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17 / 22

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Canibus - “2nd Round K.O.”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-z63cQKWlDgQ&start=0Canibus - Second Round K.O.

Much respect for LL Cool J. He’s one of the legends in this hip-hop game. But I think Canibus got you with this one. After going at each other on the same song, “4,3,2,1,” Canibus came up with a great diss with a dope music video that featured the legendary Mike Tyson. 

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18 / 22

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Mobb Deep - “Drop a Gem On ‘Em”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-5ACMDW42eOI&start=0Mobb Deep - Drop A Gem On ‘Em

Tupac’s “Hit ‘Em Up” is etched in history as the greatest diss track of all time, but did you know that Mobb Deep responded? They weren’t the focus of the track, but Pac did take a shot at Prodigy when he said, “Don’t one of you niggas have sickle cell or something?!” The Queen duo did not take too kindly to that line and came with a good diss of their own with “Drop a Gem On ‘Em.”

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19 / 22

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The Game - 300 Bars N Runnin

https://www.theroot.com/embed/inset/iframe?id=youtube-video-b0iWg3iuS5o&start=0The Game | 300 Bars N Runnin (FULL VERSION)

This is the longest diss track of all time. If someone kind finds another one longer, then send it my way. The Game was not happy after 50 Cent continued to take shots after a press conference that was supposed to squash their beef. The Compton rapper had a lot to say on this damn near 15-minute track and made sure that fans heard everything he had to say.

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20 / 22

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Freddie Gibbs - “Real”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-uHx4VlOJDes&start=0Freddie Gibbs & Madlib - Real (Official) - Piñata

Man, a lot of people don’t remember this track and that’s okay. Although Freddie Gibbs was well into his career, he was just coming into his own and his 2014 album with Madlib, Piñata, really made people take notice. On “Real,” Gibbs went at the neck of his former boss, Young Jeezy, and let out all of his emotions and frustrations.

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21 / 22

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Kool Moe Dee - “How Ya Like Me Now”

https://www.theroot.com/embed/inset/iframe?id=youtube-video-A9_nAZ3VEA0&start=0Kool Moe Dee - How Ya Like Me Now (Official Music Video)

I gotta give respect to the OG. Not the most lyrically complex diss, but it got the job done and was pretty good (for the time). He went at LL Cool J on this song, claiming that he stole his rap style and was disrespecting the legends of the genre. 

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22 / 22

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Sent from my iPhone