yeah, so, the NFL cut a check to MIA for her to perform. at that time, they apparently had a meeting of the minds regarding the nature of her performance and the standard to which it would be held--to which she signed. she then breached the contract. i don't think the arbitrator will spend more than 5 minutes on his/her reasoned opinion but will thank the Lord for the rest of the year that the NFL was stupid enough to contract MIA and MIA was stupid enough to give a half-assed middle finger.
these guys make me ponder the plausibility of the existence of an alternate dimension in which Einstein developed the theory of relativity at 16 to only then become a community college instructor.
most bands will never have a song or song title as good as The Agony of Laffitte. yet for Spoon it was a toff off track that could have easily disappeared forever.
there was an news post before Michael_ Bogart'd this comment thread. i think it curious that Moz cancelled the tour after multiple restarts that took place in the East and West coasts. I may be wrong, but it is particularly telling that this tour was cancelled JUST after Moz performed in DC at a venue that allegedly never had a rock performance.
Anyway, motherfuck this self-absorbed, egotistical whiny bitch. and that was directed at Michael_.
Moz is starting to alienate me as a fan, but for different reasons than those highlighted in this article. i get that he is "sick" and his mother was allegedly sick...i get that. i get that those events caused him to miss scheduled shows in my city (twice). but what i don't get is that every time he kicks off his tour, he adds more shows that invariably wear him out. leading him to postponing previously scheduled shows.
too bad he isn't as interested in honoring his scheduled shows as much as he is in pushing his vegan/vegetarian agenda.
yeah, Prince was the best. and it was fucking raining, no less. like, Beyonce could've only topped that if an actual halo descended upon her whist singing Halo.
sorry to interject, but he was literally writing a novel.
like honlads, i've fallen into a vortex of FJM interviews and i've yet to be letdown. he was hands-down the most enthralling figure in music this year. he's a revelation live and has got a big voice. it's almost like Sinatra if he'd gotten way into the Beat scene. he's smart in interviews, and brought a shiny, polished production to some pretty dark and subversive lyrics.
entertainer of the year.
Saul WIilliams said it in Black Stacey
Now here's a little message for you, all you baller playa's got
Some insecurities too, that you could cover up, bling it up
Cash in and ching ching it up, hope no
One will bring it up, lock it down and string it up
Or you can share your essence with us, 'cause everything about you Couldn't be rugged and ruff and even though you tote a
Glock and you're hot on the streets
If you dare to share your heart, we'll nod our heart to it's beat
And you should do that, if nothin' else, to prove that
A player like you could keep it honest and true
Don't mean to call your bluff but, mothafucka that's what I do
You got platinum chain then, son, I'm probably talkin' to you
And you can call your gang, your posse and the rest of your crew"
labcabin was a big one for me and Jay Dee's production might be my favorite of all his stuff.
i might be drunk on nostalgia, but i feel like the storytelling, rhyming, and production of the caliber found on those two albums is lacking today. like, Passing Me By is, in part, a pretty tender story of a kid's crush tinged with a allusions to underworld activities of 'her man'. who does stuff like that now? this article references Kendrick Lamar about 10 times and it feels out of place, i've given his stuff a few spins and the only thing i would compare it to production wise is a Paul Wall album. i def wouldn't compare it to Pharcyde or this album. which brings me to my last thought, i've tried over the years to reconnect to hip hop but i just can't do it. it's too dark and depressing and coded in slang i can't follow. back in the day there were plenty of albums like Bizarre Ride that were playful and soulful with top-notch production. now it is hollow and gaudy and every track has a high hat drop section that feels like it came off a casio preset. i said it.
if you squint, it's as if Morrissey is wearing the same shirt as the one he wore on the cover of Bona Drag. like, he was sliding into it 20+ yrs later to make sure he could still wear it...like when i don the old prom tux.
i don't think you're following me. it is just as hard for an unemployed lawyer to make it in New York (assuming that the "urban environment" Droste is talking about is NYC) as it is for an artist (whatever that means). controlling for only successful attorneys in NYC and saying that it is easier for successful member of that profession to make it in NYC isn't a very useful statement. it's the same as an unemployed attorney looking at all the members of the Dakota Co-op (who've traditionally been artists) and saying "it's a lot harder to make it in this city as an attorney than it is as an artist." when the real issue is that it is hard in general to make a comfortable living in NYC for a member of any profession.
I think it is telling that most of the longer posts on this thread apologize for the post's content bec it was typed while at their day job. It seems pretty clear to me GB isn't a pop band, so expecting the fruits of pop to flow from their jazzy pop songs doesn't follow. I mean, I like GB and went to a school whose mascot was a Ute and it still took me four to five listens before I got Sleeping Ute. It isn't a paradox to me that they aren't rolling in the dough. Also, Brooklyn is expensive.
"who said they'd get back together, because they'd never, they'd never, who said they'd get back together because they'd never." --Morrissey's Publicist
No, they're unemployed lawyers. You become a lawyer when you pass the bar. Just like a dr becomes a dr when he/she passes their boards. Just like when a CPA passes the CPA exam. You have the title irrespective of your employment status.
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