This week, I review — in descending order of quality — BØRNS’ Blue Madonna, Maxo Kream’s Punken, Berner‘s The Big Pescado, Dave East’s P2, Lil Skies’ Life of a Dark Rose, Camila Cabello’s Camila, Stefflon Don’s Hurtin’ Me, HoodRich Pablo Juan’s Hood Rich, and Money Man’s Grow God:
In yesterday’s Drake-filled post, I promised to explain why I felt the need to qualify labeling his new two-song Scary Hours as an “EP.”
In the scary hours of Friday night — AKA after midnight, technically Saturday morning — Drake released his new “EP” (an explanation for those quotes coming at a later date) Scary Hours, which basically continues More Life’s brand of groove over two more songs.
Hot take: Every production that plays on Broadway for an extended period of time should be REQUIRED to provide tickets to Tony Awards voters.
Sometimes fascinating failures inspire more thoughts to explore than straightforward successes. Such is the case for the SpongeBob SquarePants Broadway musical, a show that indirectly touches upon a wide range of subjects regarding the state of theatre (and other topics). In the coming days, I’ll excavate some of these ideas in a series dubbed The SpongeBob SquarePapers:
Sometimes fascinating failures inspire more thoughts to explore than straightforward successes. Such is the case for the SpongeBob SquarePants Broadway musical, a show that indirectly touches upon a wide range of subjects regarding the state of theatre (and other topics). In the coming days, I’ll excavate some of these ideas in a series dubbed The SpongeBob SquarePapers:
Writing about Emimen and Lil Wayne in the same week — is it the mid-naughts up in here (up in here)?!
Hi, my name is, what? My name is, who? My name is — *chika-chika* — another white dude who first fell in love with rap thanks to Eminem.
Slipping in just under the calendar year wire, NO_ONE EVER REALLY DIES is one of 2017’s best albums.
Pressure stands as a testament to the fact that Jeezy still goes hard as fuuuuuuuuhhhhhhhhhh.
Write All Nite 