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Tauheed Epps (born September 12, 1977), known professionally as 2 Chainz (formerly Tity Boi), is an American rapper, record producer, songwriter, actor. Drake] 08 You in Luv With Her [ft. Favorite; Share; Like; Dislike; Short URL: Embed. Free Download: 2 Chainz 'Trap-A-Velli Tre' Mixtape Free Music Download: 2 Chainz "Hibachi For Lunch" 2 Chainz Transforms Atlanta House Into Holiday Trap Wonderland.
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‘Good News’ - Megan Thee Stallion’s Hot & Cold Debut Album - Album Review
Meg hasn’t been truly tested, I feel, until now, with the release of her debut album ‘Good News’. This feels like Meg putting her foot down, and establishing her dynasty, as she takes all the usual thematic and stylistic culprits, and pushes them to new dimensions. ‘Good News’ presents itself as if Meg has something to prove, as she sounds hungrier than ever here. I simply can’t ignore the fact that this ultimately comes back to haunt her, as there are numerous moments where Meg’s sheer lethality is the sword the album falls back on in an attempt to hide just how generic it can be at times. I get the impression that not a whole lot of evolution has taken place between now and her previous release ‘Suga’, as ‘Good News’ suffers from a similar identity crisis, with the addition of an unnecessarily bloated tracklist.
We kick off all guns blazing on with the audacious ‘Shots Fired’. It establishes itself as a conversation-ending response that clears the air regarding these back and forth allegations of gun violence involving fellow rapper Tory Lanez. Not that she needs it - as Meg comes across as explosive and lethal as ever - but the interpolation of Biggie’s ‘Who Shot Ya?’ only makes Meg’s anything but subtle response more cold-hearted and unsettling. Meg feels riled up, as ‘Shots Fired’ feels just as demoralising an exposé to Tory, as it does to those who blindly chastised her.
‘Good News’ comes across as a bit of a cultural and emotional melting pot, as it is easily the most revealing body of work within the Meg discography. That statement is true in more ways than one, but what is perhaps most surprising is just how nostalgic and well researched the album is. Meg feels like a torchbearer in this career-defining quest to empower like-minded women and continues to do so on ‘Girls in the Hood’. Flipping Eazy-E’s ‘Boyz-n-the Hood’, Meg basks in all the original industrial glory, whilst detailing her own flirtatious fling with luxury and braggadocio. It’s all so peppery and fiery, as Meg really ups the ante to do the classic justice.
Meg additionally pays homage to Jazmine Sullivan by sampling ‘Holding You Down (Goin’ In Circles)’ on the similarly titled ‘Circles’. Sullivan’s soaring refrains act as a much-needed point of contrast as Meg goes all out with this brutish exterior as she preaches of not enabling the malignant ideals of masculinity and refusing to be reduced to a vice. It’s an unlikely harmonious blend in which two drastically juxtaposed elements find refuge in a common goal. It’s as complimentary as it gets, as I find it really allows Meg to play to her strengths and push the limits of her proven pedigree.
It’s not all roses and smooth sailing, as not every track is granted this attention to detail, leading to more than a few cuts that leave a lot to be desired. We’re dragged through the wringer on the chaotic free-for-all ‘Do It On The Tip’. Sure, it’s a standout piece of ridiculously horny, sultry celebration amongst the merry band of misfits consisting of Meg, City Girls, and ‘Hot Girl Meg’, a potential alter ego that miraculously never materialises, that is left down by the insufficient instrumental. It’s just too bare-boned and skeletal as it fails to accommodate the troop, simply crumbling under the weight of it all. Things don’t fare much better on the utterly forgettable ‘Movie’, where I can’t even begin to pretend I understand the presence of Lil Durk in theory or in practice. His particular nondescript brand of inane crooning is simply left in the dust by the tenacious Meg, as capturing a similar demeanor would only be made possible in Durk’s wildest dreams.
Unfortunately, it isn’t only her contemporaries that drop the ball and lead to inconsistencies, as as we progress Meg herself becomes the root of the problem. We have the hideously overbearing ‘Freaky Girls’, which on paper I would think is a match made in heaven. Between the mature sensuality of SZA and the usual seductive prowess Meg possesses, I went into the track expecting a grand display of sexual splendor. What instead ensues is this hideous one-two sucker punch of sub-human vocals and an obnoxiously in your face performance that never grants me any room to breathe.
A lot of the same issues are replicated on ‘Intercourse’. At this point, it wouldn’t feel like I was listening to my average mainstream hip-hop album without at least one completely out of place obligatory dancehall cut, but the likes of Mustard and Popcaan make sure that thirst is quenched. Where SZA’s performance felt nightmarishly bizarre and out of character for her, I can’t say I expected anything less heading into the track from Popcaan. He is borderline inaudible, and I continue to struggle to understand what his overly artificial vocal processing adds to his sound, as it all reads as inorganic and contentious. The sound isn’t any kinder to Meg, who, stripped of her usual edge and attitude, just comes off as one-note.
Fortunately, there are a handful of highlights where Meg manages to hit the audio equivalent of the g-spot, as she finds complementary value in gelling with her contemporaries. Continuing a particularly glorious tradition of back to back highlights, DaBaby and Meg attempt to one-up each other on the explicitly raunchy, ‘Cry Baby’. Bragging about their sexual encounters and body counts, the duo come off as sex fiends that live for the attention. It’s jam-packed with charisma, as the quirky presentation of it all leads to one of the most animated listens on the album. Sticking in a playful vein is the downright sinful, ‘Go Crazy’. Enlisting the help of some of the most notorious tongue and cheek artists, the likes of Big Sean and 2 Chainz turn the track into a one-liner fiesta. “Strictly raised by pimpin', not by simpin', show no sympathy”, is a particular stand out, as the trio clump together on this fun-loving, ticking time bomb of sexual tension.
Inconsistencies are one thing, beating a dead horse is another, and no track highlights Meg’s undisciplined nature more than ‘Body’. Whilst Meg makes no effort to conceal her confidence or sexual prowess across the album, I can’t help but feel that she crosses the line on this stomach-churning cut. Pampered with these supposed erotic moans, which quite frankly just come off as gross, what starts out as suggestive foreplay becomes this body worshipping nightmare. The tedious chorus is simply migraine-inducing, as it’s without question the single most annoying contribution to ‘Good News’ and quite possibly, her discography. I can’t, and nor do I want to make any sense of it, as a part of me fears I’d get lost in the barrage of it all.
One thing that remains clear as day on ‘Good News’, is that Meg hasn’t outgrown her intrigue to branch out and associate herself with other genres. It’s an issue that was rife on ‘Suga’, and isn’t any kinder on Meg, or myself when it winds up here. Whilst I appreciate Meg’s willingness to branch out, the last thing I wanted from ‘Good News’ was more of Meg’s awkward attempts to slot into the realm of r&b. I find cuts such as ‘Don’t Rock Me To Sleep’ laughably ironic as it feels like Meg’s sole purpose is to put me in a state of comatose given how dull and boring it is. There are a scarce handful of these awkward in-between where it feels as if Meg is sitting on the fence, far too indecisive to make a distinction. I can’t imagine any party being pleased with the chorus on ‘Work That’ which sticks out like a sore thumb given how goofy and out of place it is. Try as I might, I struggle to make sense of her undying, genre-bending fascination that almost always renders her unidentifiable as she sounds like a fish out of water.
Whilst Meg undoubtedly utilises everything at her disposal, I can’t help but feel there isn’t enough variation or ambition to warrant the bloated 17 tracks that make-up ‘Good News’. Sure, she is this exhilarating point of salience from the first, to the last track, as she effectively rules with an iron fist, I’m just left questioning if it was entirely necessary to include some of the more half-baked tracks. It’s a given that she comes off explosively on ‘What’s New’, but outside of what feels like a prerequisite, I’m not sure what exactly the track offers. ‘Don’t Stop’ also comes to mind. Between its hideous glitchy 8-bit synths, that I feel don’t exactly lead anywhere, and an out of place Young Thug appearance, it just feels like a recipe for failure. It all adds to Meg’s undisciplined nature, as I feel she truly does herself a disservice by not trimming back the fat and exhibiting her best work.
Whilst I went into ‘Good News’ eagerly anticipating Meg’s definitive breakout moment, I’m left with an almost identical sense of disappointment that erupted post ‘Suga’. Whilst I’m glad she really expanded her scope and the ambition ‘Good News’, I simply can’t ignore the fact that it’s just so hit and miss. Sure, Meg is undoubtedly on her A-game, but there are moments where it honestly feels like the album uses her salient stature as a scapegoat to try and hide its otherwise underwhelming arrangements. It feels like everything that works here, is only functional for so long, as those exact same elements eventually become a detriment that can often make ‘Good News’ feel like more of a chore than it needs to be.
Good News - Meg Thee Stallion - 6/10
The Hip Hop Lines of the 2010s
“Rap is the new rock ‘n’ roll! We the rock stars!” - Kanye West, BBC Radio 1 InterviewThe most defining line of rap this past decade is not from a song, but is from a Kanye rant. My feelings on Mr. West has changed over the years, and while I disagree with his recent statements, this quote from 2013 is still stands. Rap is the new rock. Rap is now the genre that is at the top. Rap is the genre full of the “bad influences” that middle America is too ignorant to actual look at. Rap is the genre with the bad words, the political statements, the party tracks, the nonsense, the soul, the spirit, the drug overdoses, the groupies, the strong women, the breakoffs into sub-genres, etc. After 40 years, Hip Hop music is the dominant genre and its influence is worldwide. We can’t be stopped.
“If I die, I’m a legend,” – Drake, LegendI remember when Best I Never Had dropped its music video and my sister called me into the living room to watch it on MTV2. Halfway through, I asked her, “Isn’t that the wheelchair dude on that show you like?” Who fucking knew that Jimmy from Degrassi would turn into the biggest star of the 2010s. Love him, hate him, he’s broken records in sales/streaming and he made a lot of money in the meantime. When Drake said this bar in 2015, there was some arguments, but he’s right: If he died at that position, his fans would force the culture to see him as a legend. And despite my issues with him, I can name three) strong reasons that makes his statement true. A toast to the Champagne Papi.
“Step on my neck and get blood on your Nike checks. I don't mind 'cause one day you'll respect - The good kid, m.A.A.d city” – Kendrick Lamar, good kidDespite other rappers being more popular than him in certain circles of entertainment, Kendrick Lamar has earned his position as the King of Hip Hop. From his rise under Dre to beating Drake in sales, Kendrick’s journey to the top was an amazing experience for listeners. In three fantastic albums, Kendrick cemented his legacy in the 2010s and until another rapper can outdo him, he holds the crown. (Plus, three great albums tends to throws you into GOAT talk). Put it this way: Kendrick Lamar is a better rapper than your favorite rapper. His “throwaway” album was great. His soundtrack album was great. And yes, MAAD city is the better song, but dammit, the song before it should get loved as well.
“I can’t relate to my peers. I’d rather live outside. I’d rather chip my pride than lose my mind” – Frank Ocean, SiegfriedThis applies to the previous three lines: At the start of the decade, Earl was rapping about sexual assault, Tyler was pissing every one off, and Frank was putting out projects at a steady rate. Oh yeah, they also were all form the same group, named “Odd Future Wolf Gang Kill Them All” which is connected to “Golf Wang” “Flog Gnaw,” and had a few members appear in the beloved “Gucci Gucci” music video with Kreashawn (more about that in another thread). The changes from 2011 OF to the standalone acts of Tyler, Earl, and Frank are crazy to review. Others have, so I won’t, but man I’m glad to have witnessed these three artist grow in and out of their music.
“I’m a fucking walking paradox” – Tyler, the Creator, Yonkers
“It hurt cuz I can’t keep a date or put personal time in, or reverse to the times when my face didn’t surprise you before I did the shit that earned me my term on that island” – Earl Sweatshirt, Faucet
“I'm just playing, but all good jokes contain true shit, same rope you climb up on, they'll hang you with” – J. Cole, Fire SquadI consider Cole the amongst Drake and Kendrick as the “Three Musketeers” of 2010s rap, at least popularity wise. The trio laid down so many good tracks. J. Cole fits a lot of what people wanted from a rapper after the ringtone-rap era. But, once he started doing it, it’s like people didn’t want it anymore. Folks called him boring, but everyone knew he could spit. In comes 2014 FHD, and boy, Cole cemented his place in the Big 3, and he’s pretty good at ball, too. While 4 Your Eyez Only and KOD split some fans apart, I liked the albums. He has pushed his image as a bigger brother in rap, or at least, a middle child, so let’s see what he can do in 2020.
“The kid that used to pitch bricks can't be pigeonholed” – Jay-Z, Family FeudIn the third decade of his (studio album) career, Jay has blessed us with another classic in the form of 4:44, expressing the maturity of a former drug dealer turned rappebusinesscomma man. Fanboying aside, Jay has taken up the role hip-hop’s dad. One that lectures you about what’s right from wrong at the end of a sitcom. Shout out to Uncle Phil, Carl Winslow, Pops, and even Dre from black-ish.FuckPillCosby Jay also collaborates and give shout outs to rising rappers he deems fit for the mic. It was a bit of a rocky start with MCHG telling people to appreciate art, but it took a retrospective of Shawn Carter and several guest features to remind people that Hov’s still alive.
“I’m beginning to feel like I’m a Rap god” – Eminem, Rap GodAnother legend in his third decade of rhyming. After the divisive Relapse in 2009, Eminem took on a different persona, or at least cut down on Slim Shady, until he wanted to promote a sequel. He has a “father of rap” role amongst the younger rappers of this generation, but it’s the dad whose jokes don’t always land well. For every Caterpillar verse or Chloraseptic Remix, there’s a Revival. He keeps doing those songs with [insert female pop vocalist] on the chorus that don’t land like they did on his first few albums, and yet, he’ll still give you a career just to destroy it in a rap beef. It’s like, we know he can spit, but he keeps releasing shit that proves otherwise. (I originally used a line from his 2011 BET Cypher, so go check that out )
“It's so different now, everything is so different now” – Logic, Till the EndIt’s like, we know he can spit, but he keeps releasing shit that proves otherwise. He keeps doing those songs with [“I’m biracial!”] on the chorus, but it don’t land like his first few mixtapes, yet, he’ll looks up recent Logic lyric . . . yet he’ll “suck a dick just to prove it ain’t that way”. . . Huh? I honestly Logic gets caught under pressure and the hate on social media gets to him. Here’s another white rapper that people say is killing mumble rappers and “saving rap.” Look, Logic and Em got skill, and they’ve proven so. If anything, their fanbase can be too much. White people really love white rappers, eh?
“I'm underrated, don't fit on nobody's playlist, If I ain't in your top 10 then you're a racist” – Mac Miller, Here We GoAnd all types of people really respect Mac Miller. From frat rap to philosophical lines to rapping about pussy to introspective lines about his drug habits, Mac gained a lot of respect from his peers. I know I said I can’t write a lot for everyone, but I’ll be unfair for Mac: he helped me better understand my own issues in life, namely any possible issues with my mental health and my thought process on certain destructive behaviors. He wasn’t my favorite rapper, but I loved listening to his shit. This lovable goof sadly passed away in September 2018, and it was arguably the hardest a celebrity’s death hit me. Partly because he was around my age, partly because he influenced my train of thought, as corny as some internet thugs believe that sounds. Thus, I did NOT pick one of the many lines that talk about him overdosing or dying before he turns 27. He will be sorely missed, by family, friends, and peers. Mac Miller is another example of a beautiful character arc, as much as the road was rocky and the end sucked. I really do hope people don’t just see him as an ex-boyfriend of Ariana Grande. . . R.I.P Mac Miller. Don’t do drugs, kids.
“Fuck it, mask off” – Future, Mask OffDon’t do drugs. Future’s influence on rap is something I probably cannot truly describe. From his cadence, to his subject matter, to his drug habits. He’s seen as a figurehead for toxic masculinity as well as someone hiding his some sad lines behind rattling hi-hats and neat beats. From autotuning his voice in the early years to collabing with Drake to give us a great time to be alive, to getting credited for being on Father Stretch My Hand pt 2, Future proved himself a staple in 2010s rap. It was hard to NOT hear him this past decade. . . Wait, that wasn’t Future on FSMH? He- . . .who? Desiigner? What?
“This ain’t a fucking sing-a-long” – The Weeknd, Crew LoveThe Weeknd gave his song to Drake for Take Care, but everyone fucking knows this is a Weeknd song ft. Drake. The Trilogy was some of his best work, and there some type of beauty in his tracks. It’s an R&B dude, but his lyrics aren’t soft. He’s talking about railing chicks and cocaine and shit. None of that between-the-sheets beauty. He’s fucking women on that island they got in their kitchens. And yet, he managed to break into the MAIN-mainsteam, getting kid awards for his drug songs. When will they learn, this ain’t a fucking sing-a-long.
“We don’t do the same drugs no more.” – Chance the Rapper, Same DrugsOriginally, I picked the opening bars form Pusha Man off Acid Rap. It’s one of my favorite projects from the 2010s (Can you tell I post on hiphopheads? Wanna watch this video essay on Tyler, the Creator and then bump some Griselda?) but, I think Same Durgs is a great metaphor. Chance talks about living a different life than an old friend, but it applies to some of his listeners. Many of us loved 10 Days and Acid Rap. But Chance can’t be that forever. He grew up from the kid who got suspended for 2 weeks. For as much as I don’t like The Big Day, he sounds happier. Plus, I’m not forced to listen to him.
“Mitch caught a body about a week ago” – Bobby Shurmda, Hot N---aSo, Bobby wasn’t the first, nor the last, but he’s a great example of this distinct trend in rap. Guy puts out song and blows up for it. I’m talking this shit goes viral. Music video is him and the homies. He’s talking about girls, women, cars, clothes, . . . oh yeah, and his crimes. Cops pull up, and they lock him up. Exhibit A. Exhibit B. Exhibit C is just going to be a song and not lead to an album. Bobby took a plea deal and after gracing us with the Shmoney Dance, was held up in Riker’s for the rest of the 2010s. This line, and others, were used against him and his team. Fun fact: this was one of the things I remember before it got big. A few friends of friends were sharing the music video via FaceBook, and I never guessed it would’ve blown up more than the other rising rappers I watched. Also, shout out to Bobby for dancing better than the women in his Bobby Bitch Music video.
“These bitches love Sosa.” – Chief Keef, Love SosaThis one I was late on. I didn’t hear Chief Keef until Mr. West put out the remix to Don’t Like. But you can bet your ass I heard his influence on rap this decade. Drill music was what all the kids wanted to hear. And I’ll admit, my best friend and I loved seeing kids our age making music. Joey dropped 1999, Chief Keef was half naked and toting guns, it was crazy seeing people who not only looked like me blowing up, but who were around my age. Keef’s attitude would help push rap into a sound for the mid 10s and is still being heard today.
“Who put this shit together? I'm the glue” – Travis Scott, Sicko ModeLa Flame provided a good spark for music this decade. I’d argue he has his own lane in rap, mostly centered around his sound, but the sound is gonna get tired one day. . . and that day ain’t tomorrow, that’s for sure. With three solid projects, including the long awaited Astroworld, Travis has achieved what many dreamed of: Being on pre-game playlists for both white AND black people.
“Twenty-plus years of selling Johnson & Johnson/I started out as a baby-faced monsteNo wonder there's diaper rash on my conscience/My teething ring was numbed by the nonsense” – Pusha T, NosetalgiaThe past decade has given Push a chance to showcase that he is more than a duo-rapper. Good mixtapes, great albums, and a few nice slaps in the face of certain rappers. He raps about many topics, despite the memes about him only rapping about coke (although he still raps about it). Thank God for all the great music. Everything is Pusha T.
“Influenced by Houston, hear it in my music/A trill n---a to the truest, show you how to do this” – ASAP Rocky, PalaceHe bes that pretty motherfucker, repping Harlem while experimenting with different sounds in his raps. Making strong strides at all points of the 2010s, Rocky proved his staying power in hip hop and in fashion. Although he got a cocky attitude, he isn’t afraid to shed light on what hurts him. Keep making music, Rocky, and I pray you find peace with all those around him who passed away.
“I ain’t sorry” – Beyonce, Sorry AND “Okay, ladies, now let's get in formation, cuz I slay” – Beyonce, FormationWho wants that perfect love story anyway? Sucks when you eat some of your words as Queen B, BUT, Beyonce is more than a cheated-on wife of a rapper. She’s her own person, her own icon, and despite the terrorizing fanbase, she’s a role model to many fans and other artists. This decade saw a rise in people fighting back against bigotry, and while she’s no Harriet Tubman, Beyonce carries herself with some respect, enough to be a dominant figure in black culture and sisterhood. Mad about the double feature? Oh well. Queen B can’t trip up
“Much cooler than the cool kids. Can you believe every night we do this?” – Swae Lee of Rae Sremmurd, PowerglideThe pre-games have never been the same. Two young brothers hit the scene mid 2010s and boy, has America loved ~Swae Lee~ these two. Perhaps not Black Beatles, but much more than “new age Kris Kross.” I must say though, bad bitches ARE a type.
“Name a n---a that want some, I’ll out-rap his ass, out-trap his ass” – 2 Chainz, No LieFrom Tity Boi to 2 Chainz, this dude managed to redebuted himself under a more advertisement friendly name (take notes, Mr. eXquire). And now, he don’t need Wayne pouring out his soul on a chorus to be remembered. I will say, revisit all his features from the past decade. I wanted to use one of them as a quote.
“Came out of jail and went straight to the top” – Gucci Mane, I Get The BagGucci’s home and it’s over for your Gucci clones. As you can tell, loads of people on this list influenced the rap playground this past decade, with Gucci doing the same. East Atlanta Santa spent years in jail (hasn’t stopped him for rapping) and came out a new man, or at least, a man running up the charts. He definitely running now that his lean belly is gone.
“Real n---a's dreams coming to fruition. Stumble but I never fall, leaning on my pistol” – Rick Ross, 3 KingsFat jokes from the early 10s aside, Ross really played a good role in rap music. BMF was big, I remember Diddy comparing him to Biggie ( yep ) and he always came through with good tracks. . . but then he rapped about drugging women. And on a lesser note, “Reeboks, I just do it,” is a weird fuck up, man.
I got a lot but want a lot more, yeah, we in the building, but I'm tryna take it to the top floor” – Big Sean, IDWFUA strong player in terms of popularity, Detroit’s biggest ass-man was able to give us quotables and showed some softer edges on tracks about family or being single.
“One's for the money, two for the bitches, three to get ready cuz I feel I finally did it” – ScHoolboy Q, BlessedTDE is more tHan Kendrick. In fact, tHere’s many well versed rappers in the crew, and ScHoolboy Q managed to pusH Himself more into the spotligHt. Now, He needs drop a collab witH Rocky, because Hands of the WHeel is STILL my most played track.
“Always be a real n---a, I never learned how to be nothin' but a real n---a” – The Game, 100Can you believe Born 2 Rap is his last album? After all these years, and here it is: The Game’s last project. And still, people say he name drops too much, but at least he’s in on the joke.
“Free the Carter, n---as need the Carter” – Lil Wayne, No ProblemsThis is cheating, as this is a guest verse and NOT a Wayne song, but it is important. After bad business tactics and after putting an end to stuntin like his daddy, it took Wayne years to finally have Tha Carter V get released. Goes to show that sometimes, it’s really the ones close to you that fuck you over. Top ten hip hop betrayals of all time. . .
“I ain't never need a man to take care of me” – Nicki Minaj, Truffle ButterHot take: Nicki gets a lot of underserved hate, or at least, misdirected hate. She definitely deserves bad looks for some of her antics, or her support (lack of calling-out) of sexual deviant, but at the end of the day, she truly made some great songs. There’s a ton of pop shit, but let’s not undersell her role in the game. Also. . . obviously. . . That fucking verse on Kanye’s Monster. I made the argument in a Daily Discussion thread before but. . . HOT TAKE: Nicki’s verse on Monster is a top 5 verse of all time in rap, fuck you. While Wayne helped take her to the top, for her to stay relevant and to still sell records for the whole decade on her own is a great feat.
“Ball so hard motherfuckers wanna fine me” – The Throne, N---as in ParisYep, Jay and Kanye get a second line here. Watch the Throne is debated about being a classic or not. My take: Whether you like it or not, this album is iconic for its influence, or at least, how many people referenced watching the throne all these years after. Collab albums are not new. Collab albums with Jay Z are not new. Some are loved), some want to be forgotten) but, it’s not everyday when Kanye can team up with his big brother. Well, at least it’s not happening these days. But for the moment, it was dope watching the throne get in their zone.
“Do it for the culture, They gon’ bite like vultures” – Quavo of Migos, T-ShirtExpecting a list of adlibs, right? Rap’s favorite triplet done flowed their way to the top. Constantly in people’s playlist, it took one rain drop, drop top, and the boys hit #1 on the charts, plus they’re hit day time television. Argue who’s the best, since it feels like the general consensus shifts around too much. It was Quavo when he was doing hooks and features, Offset when they hit #1, and now Takeoff for laying in the cut and always coming through.
“You say no to ratchet pussy, Juicy J can’t” – Juicy J, Bandz A Make Her DanceSomeone whose influence I think was overlooked a bit in the 10s. Three 6 Mafia’s legacy was proven this decade through samples, interpolates, and features. However, Juicy J shone in a lot of places, such as here, spitting one of my most quoted lyrics of the past few years.
“Me to rap is like water to raves” – Danny Brown, XXXYou know how people go out, party, drink, and turn their noses to water when water is gonna be the thing helping their asses? Yeah, that’s Danny. People hear the voice and instantly turn it off, but we need some straying from the norm. Also, his music ain’t that out there. It’s not like Death Grips. Plus, ignoring Danny means you’ll miss out on the best verse on 1Train. Yeah, I said it.
“ “Man, why does every black actor gotta rap some?” I don't know, all I know is I'm the best one” – Childish Gambino, BonfireHe grew up past the mixtape era of strong puns and punchlines. He also survived a hard rating on some of his early works. Because the Internet was dope and good lord Awaken My Love was beautiful. A talented man who can seemingly do it all. To be a bit controversial, I see him as this generation’s Jamie Foxx. Sue me.
“Push me to the edge, all my friends are dead” – Lil Uzi Vert, XO TOUR Llif3A figure in emo rap for all teens to look up to, Uzi was one of the artists to help push the genre in the last half of the decade, to the point where old heads got all sensitive about mumble rap. Who knew rapping about depression, sex, and suicide would top the charts?
“ Hopped up in my car Swag! then I drop my roof Swag! Wet like wonton soup. That's just how I do Swag!” – Lil B, Wonton SoupYep. Closing this out with Lil B. The exit is over here This decade, the internet went mainstream. As in, no longer was it something to do when you’re bored with TV or the PS3/Xbox/Wii. This decade, every day we’re using the internet, with several different social media accounts, blogs, news, etc. Videos of incidents are seen in an instant. At the very beginning of the 2010s, a young Brandon was blowing up on everyone’s radar. He was on WorldStar cooking, he was putting curses on KD (which actually worked), he’s been beefing with rappers and athletes, he’s been pissing of Myke C-Town, he’s been posting on Reddit, he was feature on Lil Wayne mixtapes, he’s been dropping his own mixtapes like a maniac, hopping on songs with Mac & Gucci & 40, he’s been creating memes before your mom knew what a meme was, etc. Him and Budden did what would become the norm before the norm became what it is now. Crazy to think. But yes, Lil B is getting recognition for his work. Based God truly came out and showcased what meme culture would bec-
What now? . . . whoa, whoa whoa. . . Jay Electronica dropping his album?! Woah
Well, that’s the list. Tell me who I missed. Ask me why there’s no Post Malone. Post better lines than the ones mentioned here.
Kendrick’s Control VerseThe real hot take here: Kendrick’s verse on Big Sean’s Control only an honorable mention? He called out his contemporaries and made it clear: He’s gunning for number one. It’s a good verse and it’s even better that he called people out by name, but most of the list are people he’s cool with.
“My parents’ were making the best when they were naked in bed” – Joey Badass,I really want Joey to be better remembered. I really wanted to include him in the main list. He’s actually in my top 5 of the decade.
“As a kid all I wanted was to kill a man” – Vince Staples, NateHere’s a link to that famous thread
“Don’t ever say that my music sounds like Ghost’s shit” – Action Bronson, Ron Simmons
“I was good on my own, that’s the way it was” – Rihanna, Needed MeLooking at her resume, Rihanna has a strong career for 2010 alone. Dance songs, pop songs, a dancehall(ish) track, rappers as features, features as rappers. Call her a bad bitch, a savage, just remember the game needs her. At least, her fans are begging four another album after the four year drought, so we need her to drop one more time
“Live fast, die young, Bad girls do it well,” – MIA, Bad GirlsHow the fuck y’all let this track NOT win video of the decade?
“Is it homophobic to only hook up with straight n---as? You know like closet n---as, masc-type? Why don't you take that mask off? That's the thought I had last night” – Kevin Abstract of BrockHampton, JunkyThe original sad boi, the original “emo rap”. Shout out to his comparison of himself to an orgasm.
“Don’t” – Bryson Tiller, Don’t
“Fuck your publication that say I'm a third wheel” – Flatbush Zombies, Palm Trees
“Might move away one day but I'm always gonna belong to the streets” – Freddie Gibbs, Thuggin
“By the beer, by ear, by boo what Yari saying?” – Isaiah Rashad, 4r Da Squaw
“Such a lost boy, caught up in the darkest I had. What's the cost, boy? Losing everything that I had” – Kid Cudi, 4th Dimension
“K to the I to the N to the G/Claim you the hottest, but I disagree” – Denzel Curry, UltimateDenzel is better than the memes from this track.
“I don’t dance now, I make money moves” – Cardi B, Bodak YellowCardi made big moves in the second half of the decade, arguably enough to be above HMs. She’s more than the one hit wonder many detracts tried to pin her as. If she started a year earlier, she’d be up there. I really want her to strive in the 2020s as well.
“Better recognize when I see you” – PARTYNEXTDOOR, RecognizeRelevant
“Kinda silly though, but I'm lyrical, Bet I put him in the dirt with the penny loafs” – A$AP Ferg, Work RemixR.I.P. Nipsey
“I bet I make you respect me, when you see the man dem are selling out Wembley” – Skepta, Shutdown
“Me, I try to leave the best for later, But Pusha tried to put me on the respirator” – Pharrell,
“They don't make 'em bar none, they don't make 'em real, they don't make it where I'm from, they don't take it here” – Nipsey Hussle, Victory Lap
EDIT: I dun fucked up, and totally forgot Young Thug, who played a big part in the decade more than half this damn list. Please, share your favorite Thugger lines, I personally like his feature on Sacrifices the most but that’s not his own track.
Also, the obvious fuck up: Fuck Donald Trump.