'Testing' is Eager to Find a New Sound in Hip-Hop, but Not New Ideas.
The Skepta-assisted "Praise the Lord" is pure hip-hop gold, an eargasm that embodies what Rocky does best: boast about himself.
Like Kanye West, A$AP Rocky is another narcissist, but a pretty one. And he's jiggy—don't forget. Testing is Rocky's I'm-a-90's-boy-with-Harlem-swag-and-model-exes psych-rap album that infuses the same sticky, distorted, feverish psychedelia he explored on At.Long.Last.A$AP.
On Testing, the title confirms the same static friction bellowing under the surface of nearly every song, with Rocky mumbling his most emotional and honest bars; meaning Rocky talks about how hot he is and the occasional adversity he faced on his way to the top, or as he proclaims, "I put New York on the map." Before who specifically, Rocky? His bravado is commendable since no other rapper sounds like him—that much can be said.
But his range is starting to show. Rocky can talk about two things well: his model girlfriends and his clothes. He's not an intellectual; his music isn't the type to win a Pulitzer Prize, though it's emblematic of his style and charisma as a young MC. What he lacks in substance, he makes up for in pure swag. He has the voice of a rapper, a cool and collected braggadocio that excuses moments where he seems incapable of going deeper. He remains on the surface, quite literally summarizing his childhood and rise to fame. The connective tissue between Rocky as a young drug dealer to a Dior-wearing fashion icon is disconnected, leaving the limbs of the album frail and malnourished. The look is there. The vibe is there. Now think of a Rocky who actually tells a story, says something more profound than what hair color and sexual orientation he prefers his ever-growing collection of women.
The Skepta-assisted "Praise the Lord" is pure hip-hop gold, an eargasm that embodies what Rocky does best: boast about himself. The production is clean, sexy, jiggy, and sounds like a 90's banger—everything you'd want in a rap song. Skepta's voice is a delight, his accent adding a rush of energy to the chorus. Rocky samples Moby, an unlikely choice for a Harlem rapper, but it speaks to his eclectic tastes; his vision—he's shown in everything from his music, fashion, and acting—isn't black or white.
"Hun43rd" is a dizzying kaleidoscopic vision of what rap could become if artists were willing to deviate from sounds traditionally heard in mainstream music. It's oddly beautiful as a composition: It grates at the ear, right before it drops into a woozy, luminous bubble where Rocky details the rhythm and spirit of his Harlem neighborhood. Those moments feel and sound so good, you forgive Rocky for his botched attempts at enlightened political discourse ("My newest President a asshole / I guess that's why I'm leaving turd stains.") Our political climate is certainly disappointing, but it shouldn't cause incontinence. Go see someone for that, Rocky.
The feature roster on this project is impressive: Frank Ocean, T.I., Diddy, Tyler the Creator, Kid Cudi, FKA Twigs, and several others lend their voices, creating a performative fabric around the album, a weird collaborative project that lacks heart in the songs that need it most. "Purity," is a strong close and maybe a look into a new Pretty Boy Flacko, one who has something more to say.
Shaun Harris is a poet, freelance writer, and editor published in avant-garde, feminist journals. Lover of warm-toned makeup palettes, psych-rock, and Hilton Als. Her work has allowed her to copyedit and curate content for various poetry organizations in the NYC area.
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The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.