In 2006, a Jay-Z, 36, has made his long-awaited return to rap music after a brief but celebrated “retirement.” In kingdom come, the self-proclaimed greatest rapper alive attempted to strike a balance between club anthems and mature musings. Critical opinion was divided, with rap fans taking aim at its final song, “Beach Chair,” where the once-great pimp discussed impending fatherhood while Coldplay’s Chris Martin serenaded him in the chorus.
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Sixteen years later, another generational talent marked his 36the birthday announcing a new album. However, the first responses to His lost, Duckthe collaboration of 21 wild, have been defined by their alleged mockery of Megan Thee Stallion. “This bitch is lying about the shots but she’s still a stud/She doesn’t even get the joke but she’s still smiling,” he raps on “Circo Loco,” which builds over a slowed-down, choppy sample of Daft Punk’s “One More Time.” . The Texas rapper isn’t the only one being insulted by Drake. Other unconfirmed targets on the album include hitmaker DRAM (“Try to bring me the DRAM/He don’t know how we do ‘Cha Cha Slide'”), Serena Williams’ husband Alexis Ohanian (“Serena, your husband is a groupie”), and even Brooklyn newcomer “Munch” Ice Spice (“She’s 10, trying to rap, it’s good quiet”).
But it’s the furious reaction to the “stud bar” in particular: Megan’s anguished tweets in responsea claim by Lil Yachty that Drake’s words are a standard misogynistic joke about cosmetic surgery and not a specific reference to the Megan/Tory Lanez shooting, all while innumerable gossip decode Drake’s intentions – that threatens to overwhelm His lost. The controversy is reminiscent of angry reactions to Kendrick Lamar’s comment. mr moral and the great climbers earlier this year, notably the violent “he said-she-said” argument “We Cry Together” and her transphobic confessions on “Auntie Diaries.” The difference is that Lamar treated listeners to an uncensored therapy session and misjudged his level of empathy. Drake’s mistake is that he unwittingly reveals himself to be a self-centered jerk who refuses to grow up.
His lost It shouldn’t have turned out this way. His initial promise was to deepen a partnership that has produced such highlights as 2018’s “Sneakin'” and this year’s “Jimmy Cooks.” Drake’s sharp, outspoken Canadian tones pair favorably with 21 Savage’s deadpan delivery and Atlanta-to-London inflections, and the latter’s homicidal yet distinctly fantastical worldview contrasts sharply with a superstar who goes out of his way to present his expensive toys, his European vacations and their erotic adventures as real. -adventures of life Plus, Drake and 21 Savage are just the latest to try a familiar hip-hop magic trick: rappers as charismatically sexist scoundrels, charming the world with nonsense about big-assed jerks who did them wrong.
The album opens promisingly with “Rich Flex,” where 21 Savage opens with a threat to “smash your butt.” It’s a decent introduction that allows you to dodge the impropriety when he asks, “I know you’re on your period, baby/Can you suck on it?” In general, 21 Savage sounds great on these opening tracks, especially when he uses “On BS” for funny lines like “She wo n’t / Wear no panties ’round me even if she could / Gave out / Plenty spankings” even that”. he understood. ” That song is one of a handful of His lost numbers that the two find by clicking in tandem. “I get on your song and make you sound like you’re the show,” 21 Savage raps. “I get into your song and make a label think they need you, really,” Drake replies.
inexplicably, His lost then it becomes a Drake album. He takes most of the main verses and 21 Savage is reduced to a supporting role. Some songs are just Drake himself. (21 finally gets a solo performance near the end of the album with “3AM on Glenwood.”) His lost abandoning the 21 form of smack talk as a playful, revealing exercise, his tone shifts to Drake’s toxic petulance. He complains in the otherwise revealing “Middle of the Ocean” about the disappointing results for honestly it doesn’t matter, a foray into club music that he released earlier this year. He opines on “I Guess It’s Fuck Me”, “The demons I recognize / Most of them have pretty eyes, boobs and some plans to survive.”
Then there’s “Hours in Silence,” a nadir that finds him rapping: “His stomach is fucking flat/He’s getting that shit in his stomach somehow/The fat must have gotten into his ass somehow/I don’t even ask him What is it”. up / She says shit is natural / I don’t care if she’s making it up.” Eventually he falls into a self-indulgent croon: “You were lost on me.”
It’s hard to explain how a missed mistake can turn a magic trick into a disaster. Drake has made withering comments about women’s bodies before, remember “New boobs, dots still showing?” from 2012’s “The Ride”? He’s said dumb things about athletes’ partners before, like Vanessa Bryant in Rick Ross’s “Stay Schemin’.” He’s picked up too many issues with rival rappers to recite here.
But there’s a gloom this time around, and it’s not just the sloppy sequence and unpredictable quality that ranges from clear standouts like “Pussy & Millions,” where the so-called “treacherous twins” team up with Travis Scott, to aimless scum like “Major Distribution”. Drake’s 2015 collaboration with Future, what a time to be alive, was equally lopsided, but the carefree happiness of the two encouraged them to overcome their structural problems. They conjured up a gleefully lit vibe that Drake and 21 Savage can’t match. His lost.
Yes, Jay-Z, 36, caught a lot of “Beach Chair” jokes. However, recognizing that he was not making out with women in the showers and ordering the girls in molly to undress more, he freed himself to grow as an artist, leading to post-retirement classics like american gangster Y 4:44. Every hero’s journey is different, and it’s unclear where Drake will evolve after the singular misfire that he is. His lost. Does he even care?
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