Freedom of Speech? Depends On Who Is Listening

"I believe the Federal government has grown out of control, threatening the Rights, Liberties, and Property of the People. This is being done at the Executive, Legislative, and Judicial level. This is in direct opposition to the Constitution and the Founding Fathers vision for the Federal government. Because I believe this, today I exercised my right as a Free Citizen, and did not visit the White House. This was not about politics or party, as in my opinion both parties are responsible for the situation we are in as a country. This was about a choice I had to make as an INDIVIDUAL."
~Boston Bruin’s goalie Tim Thomas on why he didn't make the customary Stanley Cup Champion’s trip to meet the President.

Freedom of Speech, one of the hallmarks of a progressive and civilized society, is an interesting specimen. This cornerstone freedom that allows me to blab incessantly on this blog is the same freedom that allows white supremacy groups to spew hate and burn crosses at leisure. Its range of influence is well documented and undeniable. Freedom of Speech can spawn revolution. It can also just piss people off. My personal stance on the topic has always been the same: I may not like what you have to say, but I defend your right to say it. The problem is, many others are not so understanding. The potential for conflict due to passionate stances on hot button issues – politics, religion, and race to name a few – has led to an often unspoken rule: In certain institutions you are not so free to speak. One of those institutions is the workplace. The other, as the recent infatuation with a certain fullback quarterback has made abundantly clear, is sport.

Sport tries diligently to make itself as marketable to as wide a variety of people as possible. Sport does this by striving for neutrality. Regardless of your race, color, creed, religion, socioeconomic status or political allegiance the spirit of competition is something everyone can rally around. In the face of the ever-present issue of race, sport prides itself in its inclusiveness. Personal views on those hot button issues are avoided at all cost in an attempt to not alienate money fans. So when an athlete suggests a book you should read or openly expresses his displeasure with the government like Bruin’s star Tim Thomas did, the sports world is shaken and uneasy – just like your office when the secretary starts dogging Mitt Romney in the break room.

I hear scores of athletes (and celebrities in general) talk about using their celebrity as a platform to speak out about the issues important to them. With each interview, locker room Q&A, and post-game presser, athletes have a captive audience of millions, some of whom admire these mere mortals with a religious-like fervor. And alas, most athletes walk the company line. They say all the right things and the only feathers they look to ruffle are those of the opposing team.

But every now and then, they defy the unspoken rule. They scoff in the face of the status quo and actually use that celebrity as a platform. With the sports world all aflutter, endlessly questioning whether or not “this is the place” for such a statement of personal belief, these individuals defiantly tell the world that million dollar contracts cannot buy their silence. Is this not what the First Amendment intends to support? Are we saying that such a basic freedom is only available to those who don’t make others uncomfortable? By shunning these people, aren’t we saying that one has the right to speak freely only as long as his audience is small and inconsequential? That once the stage becomes too big the message must become more sterile, so as to not rock the boat? I dare say yes, we are.

Of course, for prefessional sport leagues this wide inclusivity has a direct effect on their bottom line. If we alienate a group of people we lose their money. It’s just that simple. But when the media and fans condemn these guys for speaking their mind, I question why everyone is so uptight. People worry about others “forcing” their beliefs on them. I find that laughable. If you are strong in your own beliefs and the other person is respectfully expressing theirs, there should be no problem. He has the right to shout his beliefs from the rooftops. You have the right to disagree. That’s the beauty of it all. But just because his view is controversial, doesn’t mean he shouldn’t be able to express it. If you agree with Tim Thomas, that’s fine. If not, that’s okay too. But I respect a man who is willing to openly stand behind what he believes in and respectfully exercise his right to free speech, even if the status quo says “this isn’t the place for that.”

The Six (Week of January 23, 2012)

This week's installment of The Six has turned into a throwback addition of sorts.  Blame for three of these selections can be squarely placed on Rock Band, my church pastor and our country's dependence on petroleum.  I'll explain later...

The City Aint The Same Without You
The Foreign Exchange ft. YahZarah 
from 2010’s Authenticity

Anyone who knows me well knows that I am a huge fan of the rap group Little Brother.  After the trio became a duo, and then the duo parted ways, Phonte' Coleman linked up with Dutch producer Nicolay to form The Foreign Exchange.  Their sound has evolved drastically from the hip-hop heavy debut Connected to the smooth, mellow electro-soul of Authenticity.  "The City Aint The Same" is the last track on the album and arguably my favorite.

Gimme Shelter

The Rolling Stones

from 1969’s Let It Bleed

I heard this song on a commercial the other day and it immediately reminded me of one very simple truth that I had long forgotten:  When it comes to this song on the video game Rock Band, NO ONE is nicer than me on lead guitar.  The Stones do a pretty good job with it too.

Fly Together (Remix)

Red Cafe ft. Trey Songz, Wale, & J. Cole

from the 2012 mixtape Hells Kitchen

A rather addictive little ditty.  Mr. What Else, Ralph Folarin, and Fayettenam's Finest almost make me forget that Trey Songz is on this track... Almost.

Too Late For Goodbyes

Julian Lennon

from 1984’s Valotte

All I was doing was pumping gas.  Minding my own business.  This song comes blaring over the speakers and now, several days later, I'm still humming the hook.  And just when I thought prices inching towards $4/gal was all I had to fear at the pump.  Guess I'm just a sucker for a harmonica break...

If U Scared Say You Scared
(Practice Session)

Static Major

Unreleased

This cut is simply a practice version of this lesser known track and the sample used in this Drake number.  The truth is, I may actually like this unpolished studio version better than its other incarnations. 
Rest In Peace to Static Major.

Across 110th Street

Bobby Womack

from 1972’s Across 110th Street Soundtrack

My pastor made a Bobby Womack reference in church yesterday - I know that sounds odd, but it all made since - and this is the first track I thought of.  It's also the track for the opening sequence of one of my favorite movies.  Before there was swag, there was soul.

The Six (Week of January 16, 2012)

I’ve decided to further share my musical randomness with a new weekly post I’m uncreatively calling “The Six.” The plan is to weekly post six songs that are on my mind at the time. There are times where I’ll post that “new new” – a phrase I’m sure no one uses anymore – but generally, the tracks will just be songs that have caught my attention, had me reminisicing or simply won’t get out of my head. I have a fairly eclectic musical palette, so you should find a veritable cornucopia of decades and genres represented. So without further ado…

I Can't Go For That (No Can Do)

Hall & Oates

from 1981’s Private Eyes

Blame one of my friends on Twitter for planting this seed. This song has been in my head all morning. Plus Hall & Oates are the most soulful white dudes alive behind this guy.

Perfect Symetry

B.o.B. ft. 2 Chainz

From the 2011 mixtape E.P.I.C. (Every Play Is Crucial)

It’s one of my favorite songs from one of my favorite mixtapes of late. And between this and Jeezy’s Superfreak, this 2 Chainz character is foolishly entertaining.

More Than You'll Ever Know

Boyz II Men ft. Charlie Wilson

From 2011’s Twenty

Boyz II Men is back, this time with Uncle Charlie in tow.

Over My Head (Cable Car)

The Fray

From 2005’s How To Save A Life

I’ve always been a fan of the single How To Save A Life and didn’t realize until recently watching some countdown show that this gem was by the same guys and on the same album. Maybe I’ll give the album an honest listen now…

Break My Heart

Estelle ft. Rick Ross

From the upcoming 2012 album, All of Me

Estelle was on a recent episode of The Game and I could’ve sworn they were playing this song in the background of her scene. I’m at the mall the other day and I hear it again, but before I can bring up Shazam! to confirm, the song ended. Random Google searches lead me to this ditty. And eventhough I’m not completely sure this is even the track, Estelle deserves some love.

Still Aint Forgave Myself

T.I.

From 2001’s I’m Serious

I tweeted some time back that this may very well be my favorite T.I. song. Maybe that statement was hyperbole but to say it’s in my top 5 is not. I really like this song.

Wrestlemania Radio

I have two somewhat guilty pleasures: One is the day-long consumption of sports talk radio. The other is a car-wreck-like intrigue in professional wrestling. I’m much less guilty about the former than the latter. Millions of Americans choose daily to subject their ears to the nauseating cocophony that is sports talk radio. Loud, uber-critical know-it-alls who consider their 2006 fantasy football championship their “greatest athletic achievement.” They have no idea what it takes to be a professional or collegiate athlete, coach a team, run a franchise, or do more than sit on their couches and declare that if they were being paid millions of dollars to “play a game,” a concussion, four cracked ribs, and a herniated disk would never keep them from suiting up on Sunday. Sure it wouldn’t. And those are just the callers. The hosts of these talk shows can be so grating to the nerves, one might forget the obvious option of changing the station and opt for an 80 mph, Thelma and Louise-inspired trip off a cliff to stop their incessant babbling. And yet, I listen. Every day. All day long. Popular urban radio in my city sucks, so to avoid hearing the word “swaggu” for the umpteenth time, I choose sports talk as my lesser of two evils. But millions of adult males tune in to sports radio. My other guilty pleasure is a lonely, more embarrassing cross to bear.

I have been a fan of professional wrestling since I was a kid. I have since grown from a boy who enjoyed the larger-than-life personas and spirit of “competition” to a man who is intrigued by the back stories and behind-the-scenes politicking that drive the professional wrestling business. I analyze gimmicks. I predict plot lines. I ponder why the company is giving Wrestler X the “push” (being promoted heavily) and not the seasoned, more charismatic Wrestler Y. Honestly, I’ve become a bit of a nerd about it all. And while driving to a meeting the other day listening to a particularly brash sports talk host, I realized that the attraction to both vices isn’t coincidence. Sports talk radio’s use of the professional wrestling formula is about as obvious as a Hulk Hogan pulled punch.

Professional wrestling is built around the classic battle between good and evil. In professional wrestling lingo, good guys are known as “Faces,” short for babyfaces. Bad guys are called “Heels.” Historically, Faces are just and virtuous. They always greet the fans with a smile and chastise the baddies for their wicked, wicked ways. Heels come to the ring with scowled expressions, belittling all onlookers. As crowds boo, the Heel pompously struts about the ring. “I expect that reaction from idiots like the people in (insert name of current city). You guys suck just like (insert name of current city’s professional sports team).” Interestingly, Faces and Heels often have equally large fan bases. Some fans simply always side with good. Others just love cheering for the badass. Sports talk radio hosts seem to assume their own “gimmicks” – some Face, some Heel – and play to their listening audience in a fashion that could make WWE-owner Vince Mcmahon take notice – and then likely find a way to buy them out, monopolize their product and waterdown a good thing. (Insert roll of eyes by author)

Dan Patrick, Scott Van Pelt, Mike and Mike in the Morning – all Faces. Let’s have fun and talk about sports. Of course there is the occasional influx of snark, but sarcasm is the spice of life. These guys have developed a following based on having a good time and not built on insulting athletes or the endless ridicule of guys who foolishly call nationally syndicated radio shows and predict the Bobcats will make the NBA Finals.  Although the guy who does this deserves a little ridicule, no? This kumbabya approach to sports talk radio draws in quite the following. They play to those who like to play fair.

Jim Rome, Colin Cowherd, Mark Packer – all Heels. They’re smarter than you. They’re cooler than you. They have no problem screaming it from the rooftops. You should be lucky they’ve mercifully allowed you to hear them speak for a few fleeting hours each day. This is less a minute-by-minute description of their shows than a summation of the overall tone of their acts. Some folks are gluttons for punishment. I am. I listen to Cowherd and Rome daily and wait anxiously for the moment a caller says something idiotic. It’s at that moment that I channel the great thespians Method Man and Redman and their cinematic masterpiece How High: “Get hiiiiiiim!” Rome is the best for these moments. Once he’s done with said idiot caller, he releases his minions callers on the poor soul and the piling-on ensues. No ref to stop the fight. No corner man to throw in the towel. Beautifully brutal.

This isn’t fully limited to radio hosts. ESPN personalities are notorious for playing to the crowd or getting good “heat” to use another wrasslin’ term. They systematically provoke the masses. When inflammatory statements and fanbase baiting are no longer enough, some simply resort to yelling and talking over people to ruffle feathers. It’s this gentleman’s specialty.  Skip Bayless' heelish antics (his LeBron hate at the forefront) are the primary source of his popularity and arguably the sole reason anyone watches Cold Pizza First Take.  Jay Marioti was Around The Horn’s resident Heel until he and girlfriend had that little altercation.  They’ve got a couple of Faces floating around – we see you Woody Paige – but by and large, the Heels prevail.

Maybe the fact that these sports personalities have chosen sides should come as no surprise.  After all, this Face/Heel concept is fundamental to the very field these guys study – sport is all about sides being taken, lines being drawn, competition and assertions of dominance. Sports radio and analysis is marginally a matter journalist integrity or the absence of bias. At its core, it is a simple matter of entertainment. Save the unbiased reporting for Outside the Lines and E:60. At the end of the day, sports talk has to give you a reason to come back. Their ratings depend on it.  And, as is the case with professional wrestling, whether you come back to yuck it up with the Face or lividly disagree with the Heel, the fact is, you come back. It’s been working for wrestling since “strong man bouts” were merely carnival sideshows, and it’s just as effective for sports talk radio today.

Mr. Cuban Goes To Washington…Anyway.

"It’s bulls**t by the league not to schedule it.  I figured I’d do it myself since the league wasn’t smart enough to figure it out. How can you be that stupid? All you’ve got to do is when you’re putting in the scheduling software, say Dallas at Washington, yes.”

~Mark Cuban, on the NBA not scheduling his 2011 World Champion Dallas Mavericks’ customary visit to the White House.

I earnestly believe that Mark Cuban is good for basketball and great for professional sports. Some believe that owners shouldn’t make it “about them.” That they should be seen and not heard. That they should support their investment silently from the climate-controlled comfort of their owner’s suite. I’d bet that the folks of this belief also relish in the purity of baseball before steroids and think touchdown celebrations are “classless.” And they’re probably old and no fun. We live in a looser, attention-driven society today and Cubes, a mere 53-years-young, is an example of the attention grabbing behavior you can expect from relatively young money. Cuban is vocal, sometimes to a fault – an almost $2,000,000 fault based on fines levied by the NBA for Cuban exercising his First Amendment right to piss people off – but no one can deny his loyalty to his franchise. While other owners seem to view dealing with their team as an inconvenience (yes, Your Airness, I’m talking about you), Mark Cuban is delighted to get his hands dirty, all while making winning a priority and allowing profit to play a somewhat secondary role. Some guys have yet to find that balance. Cuban gets into it with the league. He gets into it with players. Hell, he gets into it with players’ mothers. And though many of his actions are extreme, sometimes uncalled for and occasionally inappropriate, he has managed to add depth to the NBA experience; allowing the play on the court to occasionally become the backdrop for his front office antics. It’s like professional wrestling without the scripted finish. Mark Cuban doesn’t mind cutting up a little. And that’s probably why the league “mistakenly” didn’t schedule a Mavs game in DC so the team, fearless leader in tow, could visit the White House.

It is customary for the champion of each of the four major professional sports leagues to visit the White House sometime during the following season and meet the President. That visit is typically scheduled when the team has a game in or around the Washington, DC area. In a typical, 88-game NBA season, each team plays every other team in the league at least twice: once at home and once away. With the abbreviated schedule adopted by the league this season due to last fall’s lockout, the Wizards are not scheduled to host the Mavericks this year, so Dirk and the fellas won’t be in the neighborhood to drop in on Barack and Michelle. It appears that Mark Cuban sees this omission as a slight and takes it personally. And based on his track record with Commissioner David Stern, the presumption that the oversight was intentional may not be too far-fetched. See, Mark Cuban is like the friend who’s behavior is hilarious until you’re around strangers – then it’s kind of embarrassing. Or the friend who is unapologetically outspoken and is always on the verge of saying something that makes you cringe: “What? You were thinking it! I just say the things you’re too scared to say!” Yes, yes you do. And the last thing Stern needs is Cuban bending the ear of the POTUS, an avid basketball fan himself. Maybe it was an honest mistake, but Stern plays chess, not checkers. And if he’s willing to blatantly rig a draft lottery, I’m not sure I can simply chock this up to circumstances.

Mark Cuban is clearly over the top. He’s made himself as much a face of his franchise as 10-time All-Star Dirk Nowitzki – quite the feat in professional sports where the names and faces of a team are historically the multimillion dollar athletes, periodically the head coach and almost near the anonymous front office personnel. It’s this very bravado that has kept Cuban out of the straighter-laced fraternity of Major League Baseball owners. Whispers of potential ownership in several baseball teams abound, but his two most serious attempts – the Chicago Cubs and the Texas Rangers – both failed. If basketball has trouble making this guy lay low, baseball’s ownership elite would commit ritual suicide at the thought of Cuban in their high-and-mighty midst. Love him or hate him, Mark Cuban is good for sport. When Mr. Cuban does go to Washington – a trip he says he had arraigned for the team himself – I’m sure he’ll be on his best behavior. But even Cuban’s best is likely unsettling for the image-obsessed David Stern.

My Top 9 Albums Of 2011

I know.  There are clearly 10 albums listed below.  Hopefully my "logic" will clear up this discrepancy.  Anyway, these are my top picks of 2011.  You probably won't completely agree, but the more I think about it, the purpose of this post is really two-fold: to not only incite some friendly debate but also to put you on to an album or two you may not have checked out this year.  I hope this is effective on both fronts.  Well without further ado, and in no particular order:

J. Cole

Cole World: The Sideline Story
September 27th

 

I was wrong.  I openly and willingly declare that I was wrong.  I told several people, many of whom are probably reading this post, that J. Cole's debut album would not hold a candle to his highly praised mixtapes.  Can you blame me though?  The Warm Up and Friday Night Lights hold their own against the most popular studio albums of recent day.  And with Sean Carter as the label head, all bets were off.  I staunchly believed that Cole signing with Hov was not a good look.  It would appear, as things develop, that I'm headed towards 0 for 2 on J. Cole predictions.  Cole World was a very solid debut album.  We all know Cole is lyrically gifted, but the excellent production seemed tailor-made for his style.  This probably stems from the fact that he produced 12 of the 16 tracks on the album.  That Kanyean-style feat puts him in a league separate of his contemporaries.  Production, content, lyricism - Cole gave us a jewel this year.

Wale

Ambition
November 1st

I was really impressed with Wale this go ‘round.   2009's Attention Deficit?  Not so much.  It wasn't a bad album, it just never settled in with me.  Between AD and Ambition, Wale did 3 things that helped him make a giant leap in relevance:  Dropped the epic mixtape More About Nothing, signed with Rick Ross' Maybach Music Group, and got a feature on virtually any track he could get on.  Signing with Officer Ricky was far and away the best of those moves.  That smooth "Maybach music" sound that Ross has made his niche meshes seamlessly with Wale's style.  Ambition is fun, smooth, and lyrically underrated.  And here I was questioning whether MMG was the right fit for Wale.  Shame on me.

Adele

21
January 24th

What can I say about this album that hasn't already been said by virtually everyone?  Many of you may have been turned off by the throwback style of "Rolling in the Deep."  I won't hold that against you.  But if "Turning Tables" or lost love anthem "Someone Like You" don't move you in some way, assemble a search party for your soul as it is obviously missing.  In a music industry flagrantly void of substance with sexed-up cacophony as the encouraged norm, Adele gave us more than just a breath of fresh air.  With 21, she gave us a 48 minute escape to a place where honest feelings supersede the emotionless status quo.  And it felt so good.

Bad Meets Evil

Hell: The Sequel
June 14th

Most can probably agree that Eminem's last solo offering, Recovery, was his best collective work since 2002's The Eminem Show.  Most would also admit that '02 was the last time they listened to a complete Royce da 5'9" album - making the reaching assumption that they've ever listened to one at all.  Anyway, 2011 saw Marshall and Ryan restore the duo Bad Meets Evil and drop the fire that is Hell: The Sequel.  Em is in rare form, Nickel is holding his own and the production is as gritty and dark as you'd expect on an album titled Hell.  This album is definitely one of my sleepers of the year and lays a sturdy foundation for the resurgence of Shady Records.

Fabolous

The S.O.U.L. Tape
April 21st



Curren$y

Covert Coup
April 20th



I consider these albums a 2-for1.  Besides being released the same week, I rarely spin one without immediately following it with the other.  The soulful, laid back feel of these two discs gives them their allure.  Though many a Twitter debate has been forged over which album is better, I argue that each stands tall on its own merit.  Fabolous, though his studio albums tend to leave something to be desired, obviously has this mixtape thing figured out.  The ability to forgo concept for a limitless supply of punchlines plays to Fab's strengths.  Curren$y who, with the exception of ‘06's major label single "Where Da Cash At," has created an underground career - and subsequent cult following - off of mixtapes, gives us an Alchemist-produced studio version of a street album.  Most would look for more polish from an LP but Tha Hot Spitta knows where his bread is buttered.  The S.O.U.L. Tape and Covert Coup were the soundtracks I chilled to for most of 2011.

Jay-Z and Kanye West

Watch The Throne
August 8th

I have argued the merit of this album time and time again.  Production, top notch.  Lyrical content, first rate.  Hov and Mr. West could've very easily given us some rushed, poorly composed 15 track assortment of feature-riddled radio tunes.  The album still would've gone platinum and the tour still would've broken records.  But Jay and ‘Ye didn't short change the people.  They gave us an album with depth.  They gave us an album that exuded the fun they appear to have had making it.  Finally, and most importantly, they gave us an album that was far better than the first single "OTIS" indicated it would be.  I was told by some that the production on the album was too "different."  To quote the homie Phonte' Coleman, in response to someone calling his own album different, "that's the point."  I was told that the album wasn't as good as the previous Jay-Z collaborative effort, Best of Both Worlds.  I think the variety achievable when merging a rapper and a singer makes a comparison to Watch The Throne unfair.  Jay and Kanye did their thing on this album…and they didn't really have to.  You're welcome.

Big K.R.I.T.

Return of 4eva
March 28th

We now appear to be waist deep in the era of "the mixtape that is basically a studio album."  As the concept of the mixtape evolves and its impact more prominent, artists are now putting studio album effort into the street tape.  Such was the case with J. Cole's Friday Night Lights, and so goes K.R.I.T.'s Return of 4eva.  K.R.I.T. brought us back to good ‘ol southern hip-hop - ridin' clean, speakers quakin', holl'in at guls, all that jazz.  This album couldn't be more southern if you deep fried it.  At the same time, K.R.I.T. gave us a depth that is all but missing in today's rap from below the Mason-Dixon.  And that's what makes it so damn good.  Reminiscent of OutKast or Goodie Mob, K.R.I.T. oozed southern urban culture while managing to all but eliminate rap's customary body count.  The "King Remembered In Time" certainly got my attention and dropped what's arguably the best album from the South this year - and yes, I have not forgotten Tha Carter IV came out in this summer.

Drake

Take Care
November 15th

Yeah, yeah, I know.  Drake is softer than a goose down duvet.  And if you'd rather your rap artists reach through your headphones and rob you at gunpoint, Waka Flocka Flame still has a record deal.  But if, in a world of studio gangsters with not so much as a speeding ticket on their record, you seek sincerity, Drake gives you just that.  Drake is a conflicted, troubled dude and historically, the conflicted and troubled give us the most intriguing product.  No one, including myself, thought Drake's sophomore album would be softer than the debut.  We were wrong.  Drake has decided to save most of the "happy rap" for guest features and YMCMB collabos.  With Take Care, Drake takes those "soft" songs on Thank Me Later a step further, this time more transparent - a sign that he's more comfortable with his audience.  The gripes from the masses are rooted in Drake's affinity for less-than-traditional rap subject matter.  Get over it.  Having hurt feelings or openly regretting past mistakes should not be topics confined to the radio frequencies of R&B and classic soul stations.  Musically, Take Care is delightful, at some points equal parts infectious and haunting.  Drake's "open book" approach has in many ways given us rap's version of Adele's 21.  And I'm not even sure you can call Take Care a "rap" album, but what I am sure of is this: it doesn't even matter.  Dope.

Frank Ocean

nostalgia, Ultra
February 18th



As soon as I can put my finger on why I'm so drawn to this album, I'll let you know.  I had seen Frank's name floating around and knew that he was affiliated with Odd Future, and therefore with Tyler, The Creator.  And therefore I was understandably leery.  I mean, seriously, have you listened to Goblin?  I haven't been so mortified since the last Faces of Death movie I watched.  But Frank has a vibe much less morbid.  Luther Vandross or Teddy Pendergrass, he is not.  Vocals aren't necessarily what one might call Frank's strong suit.  But he stays in his lane, never doing too much and it works for him.  Nostalgia's strength is Frank's songwriting which tends to handle the typical fodder of RnB - make up, break up, heartache, love - with raw and sometimes disturbing results.  The production is enjoyable at best and while I'm not sure anything on this album is great, I still keep it in the heaviest of rotations.

Let me take a moment to address the Louisiana-sized elephant in the room that is the omission of Tha Carter IV from my list.  The album just didn't vibe with me.  That's not to say that it didn't certainly have its moments - "Blunt Blowin" goes hard - but overall I felt Wayne didn't bring it.  I felt the album as a whole was lazy and probably not fit to be part of the Tha Carter series.  Honestly, I wasn't a huge fan of Tha Carter III, but I respect the fact that Wayne seemed to put a lot of effort into that album and I fully understand that simply because I don't like something doesn't make it bad.  Even though the tracks on the Carter IV are probably more my speed - with the exception of that God-awful "How To Love" - I contest that IV is the worst of the Carter albums.  Wayne nation can now feel free to stone me for my treason.

Drake & 2Pac: 2 Peas In A Conflicted Pod

Drake’s Take Care.  What we’re presented with is a strong dichotomy:  On one hand we have an album filled with an emotional transparency typically reserved for R&B singers and ballardeers.  We have a man mourning lost loves, eulogizing the person he used to be, and lamenting the price of fame, openly questioning whether or not it’s even worth it.  On the other hand, we have rap sticking with what got it here: misogyny, excess, and wallowing in the spoils of stardom.  On one track Drizzy is drunk dialing an ex and hating on her current man ("Marvin’s Room") or sorrowfully ending a relationship that’s run its course ("Doing It Wrong").  Then one track later he’s “too strung out on complements, overdosed on confidence” ("Headlines") or proudly declaring that all he cares about is “rap and b****es” ("Under Ground King").  It’s this dichotomy that has so many people undecided about Drake.  Most, if honest with themselves, cannot deny that Drake is a talented artist and that they probably, even if shamefully, enjoy his songs about the lifestyle that being famous affords him.   Their shame is rooted in the fact that this same talent spends a lot of time talking about women that immaturity or fame caused him to let slip away.  Conversely, there is a portion of the listening public, that appreciates an artist making music about “real life” stuff, even if that stuff is sensitive, filled with emotion, or outside the typical subject matter of that particular genre.  Let’s be real: if Drake was a country singer, these “emotional” topics would be par for the course but since it's rap, we can’t go there…  Whatever.  The point is, Drake is a walking contradiction that speaks to opposite ends of a spectrum almost simultaneously.  What's funny is that many of the same folks who condemn Drake for his ever-present conflictions, laud another artist who was historically guilty of the same offense.  Before Drizzy gave you track after track of fence straddling, 2Pac made a legendary career of it.


One doesn’t even have to look at Pac’s entire catalogue to see the contradictions in content.  You can simply look at his greatest hits.  If Disc 1 contained "Hit ‘Em Up," "Hail Mary" and "How Do You Want It," Disc 2 would easily include "Brenda’s Got A Baby," "Dear Mama" and "Keep Ya Head Up."  For every "Wonder Why They Call You B****" there’s a "California Love."  Tupac would plead with Black folks to rise above adversity only to revelle almost giddily about “riding on his enemy’s” one track later.  And he seemed to be equally empassioned by both causes.  Tupac was extremely emotional in his music.  It is that emotion that has endeared so many to his legacy.  He was far from a clever wordsmith.  His gift was his rare ability to make you truly feel what he was saying.  Futhermore, fans praise Tupac for his ability to convey grossly opposing subject matter with equally raw emotion.  And although the subject matter is different, Drake, in his own “softer” way, is doing the same thing.  Equally as torn.  Equally as passionate.  He loves fame just as Pac loved being a badass.  Drake also bemoans the fallout of fame, just as Pac bemoaned the state of the Black community – no doubt caused in part by the same “badass” violent content in a large part of his own music.


This dichotomy made Tupac that much more compelling a figure and increases Drake’s intrigue as well.  I dare say, our best artists are conflicted ones.  They take this personal tug-o-war – in Drake's case, the allure and backlash of fame – and wear it on their sleeve.  Their imperfect indecisiveness - their commitment to blatantly opposing ideals - is what makes them relatable, because we too have moments where opposing forces pull with equal strength.  Drake's dance of gratitude and regret is relatable.  As was Pac's battle between angst and optimism.  This kind of conflict only adds to an artist's allure, because this kind of contridiction proves that that seemingly untouchable, larger-than-life superstar is just as conflicted as we are.