Don't let your Boomer family get you down.
Thanksgiving has always been about food.
We suffer through the awkward small talk and often anti-climactic football games for the sake of the meal that awaits us at the end of the day, and even then that "meal" is representative of ethnic cleansing and genocide. But there are a few other pros that lay outside of gorging yourself on mashed potatoes. The holiday always falls on a Thursday, which means you always have a four day weekend. Black Friday is also the following day, so despite whatever infuriating experiences you may have on Thanksgiving with your family, you can at least rest easy knowing you can go out and buy enough stuff to numb the pain.
These reasons alone are enough to warrant celebration. So while you clench your jaw through what is almost guaranteed to be a painfully long afternoon, why not curate some music to help elevate your mood and remind yourself that a four day weekend of relaxation awaits?
"Thank U" By Alanis Morrisette
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The answer is...kinda.
Machine Gun Kelly surprised everyone when it was announced that his pop-punk project Tickets to My Downfall debuted at number one on the Billboard 200 this week.
The project sold over 126,000 copies and is followed in close suit by other punky records such as Juice WRLD's Legends Never Die.
As BLM protests continue to swell across the country, along with an overall "burn this house down" type of attitude, Tickets to My Downfall thrived this week because of its timing more than its content. The album didn't necessarily bring anything new to the pop-punk genre. Produced by Blink 182's Travis Barker, MGK wore the drummer's influence directly on his sleeve for the project's entirety.
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Another Beautiful Woman Falls Victim to the "Pete Davidson Effect": Megan Fox Is Dating Machine Gun Kelly
He's just so...ew.
Machine Gun Kelly, a convincing Eminem knock-off and "actor," has supposedly been sighted with actress Megan Fox.
The pair were seen driving around Calabasas on Friday, before returning to Fox's home.
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This isn't about either of them.
Eminem's spats with other stars are a big part of Hip-Hop lore, but Nick Cannon is sick of his sh*t.
Since 1999, Marshall Mathers has had 14 extensive feuds with rappers and entertainers and insulted countless other figures in pop culture. A battle rapper at heart, he's an emcee who thrives amid conflict. He once rapped about how conflict "gets his dick harder than arithmetic." His surprise Kamikaze album was, in this sense, a return to form. Released in 2018, Kamikaze revitalized Eminem's waning career after the lukewarm reception of 2017's Revival, 2010's Recovery, and 2009's Relapse. Fans had long demanded he return to his sh*t-talking ways. So on Kamikaze, his battle rapping roots were on full display as he attacked a multitude of other emcees, the Mumble Rap subgenre, radio host Charlamagne Tha God, and Donald Trump. Since Kamikaze's release, Eminem's beef has begun to stack up in an almost gimmicky way. Still, his latest feud with Nick Cannon feels particularly disquieting, mainly due to Eminem's fervent obsession with Cannon's ex-wife, Mariah Carey.
Fat Joe, Dre - Lord Above (Audio) ft. Eminem & Mary J. Blige www.youtube.com
During a guest feature on Fat Joe's 2019 single, "Lord Above," Eminem took yet another shot at Nick Cannon and rekindled his claim that he and Mariah Carey had dated. While the two pop culture figures hash it out in what is the most tepid rap feud of the decade, it's worth noting that almost 20 years later, Eminem still wants Carey to be discredited and overall has not changed his chauvinist attitude towards women.
Throughout his entire career, Eminem has always stood by an alleged fling he had with Mariah Carey. His initial mention was a feat of braggadocio, referring to Carey as his "lover" and "wife" in 2002's "Superman." Carey was quick to deny the affair, saying that the pair had merely shared a few phone calls. Since her denial and subsequent diss track, Eminem has made discrediting Mariah Carey a side project, devaluing her at random instances in his music career and reaffirming his side of the narrative, calling Carey a "f*cking liar," among other things. Nick Cannon's marriage to the starlet in 2008 only ramped up Eminem's harassment. "Nick Cannon better back the f*ck up," he raps on "Bagpipes from Baghdad," "I'm not playing, I want her back, you punk." He divulges an everlasting lust for Carey, calling her both a "wh*re" and a "c*nt," while explaining how badly he still wants her. Carey responded with a song called "Obsessed," featuring the line, "Why you so obsessed with me? Boy, I wanna know."
Mariah Carey - Obsessed (Official Video) www.youtube.com
The hit song prompted an even more aggressive response from Eminem, whose track "The Warning" graphically describes sex with Carey. He continues to hurl insults at her for denying their romance, while subsequently threatening to release nude photos and intimate voice mails from the singer to prove his point (the latter of which, he actually did, although Carey denies the voicemails are hers.)
But Eminem's misogyny goes back years before he met Mariah Carey. Christina Aguilera first noted Eminem's violent views towards women in 1999, when Eminem married his longtime girlfriend Kim Mathers. The marriage was done in secret and came after years of Eminem "slinging violent lyrics about her in his earlier work," said Billboard. Aguilera put the rapper on blast, exposing Eminem's secret while warning women about domestic abusers. Eminem has since continued to bite back at Aguilera, most recently in 2018, when during a 10-minute freestyle called "Kick Off," he rapped: "F*ck Christina with a plastic spoon, while I bump some G-funk and blast some Snoop, cause her double-g cups are massive, huge! It's fun for me to just grab a boob, plus my penis got an attitude, my f*ckin Weiner is in a combative mood."
During a 2003 feud with Benzino, the former The Source Editor-and-Chief released "Foolish Pride," an unreleased Eminem song wherein the young emcee can be heard disparaging black women. "Black girls only want your money cause they're dumb chicks," Eminem raps. "Black girls are dumb, and white girls are good chicks." He proceeds to call black girls "wh*res" and "bitches." The blowback was immediate and diffused the beef almost immediately. Eminem apologized and said he made the track about an ex-girlfriend when he was young, "stupid," and angry.
Regardless of the apologies he's continued to shell out, Eminem has dedicated a countless amount of bars to disparaging women. A few years after the "Foolish Pride" blowback, Eminem was caught in a feud with rapper Canibus, and in his subsequent diss track he wrote, "So I stabbed him twice. Kept jabbin', Christ! He won't die! This guy's like a battered wife!"
Eminem - Foolish Pride (Racist song) (READ DESCRIPTION) www.youtube.com
After his initial spat with Mariah Carey and Nick Cannon, Eminem was embroiled in yet another feud with rapper Limp Bizkit, and released a diss track called "Girls," wherein he compared the rapper to a "p*ssy" girl. In November of 2019, an unreleased Eminem feature surfaced, wherein the rapper can be heard siding with Chris Brown over Rihanna following Brown's infamous assault of the pop star. "Let me give my two cents, of course, I support Chris Brown. I'd beat a b*tch down too if she gave my dick an itch now." A representative from Eminem issued a statement saying that he rewrote the lyric in question and that "obviously" he and Rihanna have a great relationship.
Eminem's entire discography is interwoven with lyrics of this nature, and his insensitivity has continuously landed him in hot water over the course of his entire career (the LGBTQ+ community also hates him. He most recently sparked outrage when called Tyler, The Creator a "f*ggot in 2018). So as the temper-tantrum between Nick Cannon and Eminem drags on, it's important to remember that nobody wins, especially not the fans.
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The 29-year-old emcee trolls his haters on refreshing new album
Logic is done with hate and negativity.
On the title track of his latest release, Confessions of a Dangerous Mind, he raps, "That's why I keep flowin', that's why I keep perserverin' / Even when I'm hearing I'm a bitch, I'm a fag / I'm a motherfuckin' hypebeast, I ain't black in the slight least / I ain't good enough, I should quit, I should kill myself / ''Cause you'll never be Kenny' / 'You'll never be better than Drizzy or Cole' / 'You're losing your hair, you're too fucking old' / These are the comments I'm readin' on Twitter right now / That made me depressed and they pullin' me down / I'm trying to swim but I think I'm'a drown / So I'm'a turn my feelin' into a sound / And play it when nobody else is around."
This opening track sets the tone for the scathingly honest, self-aware, introspective, and devil-may-care attitude that Logic adopts throughout the rest of the project. On Confessions, his sixth studio album, we see a different side of Logic – one that has been notably missing from his more recent releases, and one that often leads to good music (especially in hip hop) – and that is the side that doesn't care what you think. This sentiment manifests itself not only in the album's lyrical content but in how much fun Logic appears to be having on some of these songs.
He's assembled a motley crew of features, too, with no regard to how pigeonholing rap elitists may perceive them. In addition to the Eminem feature on the chart-topping "Homicide," there are also special guest verses from Gucci Mane, YBN Cordae, G-Eazy, Wiz Khalifa, and none other than Will Smith. If nothing else, this features list feels a little antagonistic, as if Logic might be trolling us a little bit. Or, more accurately, Logic seems to be trolling the armchair hip hop critics who will, no doubt, find plenty to complain about when they hear Will Smith rapping with his characteristically buttery old-school flow in 2019; when they find out that the emcee who controversially dubbed himself Bobby Biracial has chosen to feature the other two biggest white rappers in the game on his album; and when they hear Logic dabbling in trap with Gucci Mane on the funky ode to ballin', "Icy." His goal on Confessions may be best summed up by a line in the second half of "Mama / Show Love:" "I'm pushin' 30, my man, it's time to have fun."
In addition to addressing his haters and focusing on doing things his way despite all the criticism, Logic weaves a couple other tangible through lines into this album. On songs like "Wannabe," "Mama / Show Love," "Lost in Translation," and "BOBBY," he goes in on the trappings, difficulties, and stresses that come with fame. On songs like "Pardon my Ego," "Icy," "COMMANDO," and "Still Ballin'," he flaunts his material success. And on "Clickbait," "Cocaine," and "Homicide," Logic flexes his muscle as a cultural critic, satirizing the current state of hip hop, as well as touching on addiction (both to drugs and social media).
Although these themes are all clearly present on Confessions..., together they make the album feel a little bit scattered – as if there was a definite attempt to create a thematically cohesive project, but it never quite came together in the end. The individual songs never really coalesce to become something greater than the sum of their parts in the end. Which is perfectly fine; a great album certainly does not need to be thematically cohesive; however, you get the sense that a concerted effort was put forth to produce an album that was, and so it registers as falling slightly short of what this album seems like it wants to be.
That being said, there are definitely some great cuts on this record. The production – provided primarily by longtime Logic collaborator and executive producer, 6ix, along with !llMind, DJ Khalil, Keanu Beats, Shroom, Bregma, Haze, and others – is on point from the first track to the 16th, with little to no filler. We probably could have done without Will Smith's paternal lecture on "Don't Be Afraid to be Different" (although it was still kind of fun to hear him rap again), and there are definitely a couple of tracks that are more forgettable than others.
Even so, Confessions of a Dangerous Mind is firmly rooted in hip-hop (which fans will likely find refreshing after Logic's brief foray into alt-rock and pop for his last album / the soundtrack to his book, Supermarket). And, at the end of the day, even though the emcee is taking a relatively carefree approach to his music, both in terms of the subjects he's tackling and with whom he's collaborating, he is still carefully crafting his songs, bar by bar, and it shows – in the amount of thought put into his lyrics, and the exacting precision of his flows.
Dustin DiPaulo is a writer and musician from Rochester, New York. He received his MFA in Creative Writing from Florida Atlantic University and can most likely be found at a local concert, dive bar, or comedy club (if he's not getting lost somewhere in the woods).
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The Dirt is set to his Netflix March 22nd.
Apparently, people will care about anyone's life as long as someone makes a movie about it.
Upcoming Mötley Crüe biopic, The Dirt, is set to be the latest of its kind to infect the American people with glorified ideas of musical genius being inextricably linked with dysfunction. Based on the 2001 book by the same name, the movie is set to be released on Netflix on March 22.
Machine Gun Kelly will play the bands founding member and drummer, Tommy Lee, with Douglas Booth as Nikki Sixx, Iwan Rheon as Mick Mars, Daniel Webber as Vince Neil, while Pete Davidson will appear as Elektra A&R exec Tom Zutaut.
Watch the first trailer for the movie below.
The Dirt | Official Trailer [HD] | Netflix youtu.be
While Mötley Crüe's cultural significance is undeniable, one still has to wonder: why now? Hasn't the destructive, hard partying, irresponsible rocker story been played out? We all know how it goes: a young, talented band rises to fame, they're overwhelmed by the attention and lifestyle, their partying starts to reap negative consequences, and they're forced to confront their own behavior and either succumb to their vices, or change. Blah, blah, blah we know this story. At least with the 2018 movie Bohemian Rhapsody, there were points of interest beyond rock n' roll culture, and audiences were invited into the complicated life of Freddie Mercury. What can we learn from the life of Tommy Lee that hasn't already been dissected to death in the tabloids?
It's possible that The Dirt will surprise us and bring audiences something deeper than expected, but with all the important stories worth telling, why waste time on this?
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