It’s a pretty big deal to be called “the greatest” by possibly the biggest rapper in the world right now. A pretty big deal for most people anyway. This is a guy who can drop a surprise Untitled Unmastered album that debuts at number 1 on the Billboard 200 just under a year after he dropped his sophomore album To Pimp A Butterfly, which earned him 11 Grammy nominations and 5 wins. King Kendrick Lamar is a proud and outspoken performer and a lyricist who is not afraid to speak the truth. He is changing the game and doing so without overkill album launches and endless Twitter rants.

https://www.youtube.com/watch?v=Z-48u_uWMHY

In a new interview with The Coveteur, Kendrick discussed his fashion influences and things that inspire him which included New Orleans rapper, Lil Wayne.

Kendrick says “we was just huge, still to this day, huge Lil Wayne fans. Lil Wayne is the greatest. Not only because of his music but also because of the culture he puts behind it. It was a big part of what he was talking about, so we always hold Lil Wayne in high regards.” He continues “To be a part of it the same way he was a part of it years later is just a great feeling.”

As a closet Lil Wayne fan I am nodding enthusiastically in agreement.

Weezy F know he dat.

You can read the full interview here.

Image: Bossip

Words by Luke Benjamin

Lil Wayne is the newest face of Samsung, appearing in three recently released spots alongside actor Wesley Snipes. The Louisiana rapper is the ambassador for the newest iteration of the Galaxy, the S7, and examines its waterproof capabilities with a short champagne shower.

In the other ads, Wayne and Wesley Snipes fool around with the phones new virtual reality feature, birthing elephants, canoeing, and generally palling around. The commercials are pretty hysterical, and sadly, probably better than Lil Wayne’s recent musical output.

Though the spots are blissfully short, Lil Wayne’s acting chops are undeniable, his charisma easily shining through in his gravelly lines. In fact, some, not me, may even suggest that Weezy’s performance is comparable to that of his former Cash Money running-mate and hip-hop acting GOAT, Drake.

Drizzy of course, was one of the stars of this years Super Bowl ad bonanza with his Hotline Bling inspired T-Mobile spot:

The former child star and Degrassi actor is easily comfortable in front of the camera, with a quick smile and calm demeanor. Not to mention, the boy has some range, as his SNL hosting resume shows.

At this point, you may be wondering where Lil Wayne and Drake’s acting turns rank in the great pantheon of rapper commercials, well let’s go to the tape.

In our review of the esteemed art that is hip-hop commercials, it’s only right to start with maybe the most iconic rapper of the 2000s, Kanye West. ‘Ye’s acted on a number of occasions, but I’d bet few remember his classic 2004 Boost Mobile ad with Ludacris and The Game:

The Where Ya At spot is probably the only time in the history of Boost Mobile that they’ve been associated with anything cool, and the nostalgia of popped polo Kanye is priceless. More than that though, is the high level of unintentional comedy that comes with three multi-millionaire rappers trying to look hard while trading bars into flip-phones. Kanye’s sheepish face when he decides to “keep the beat for himself” is everything. 9.5/10.

Next, I’d be remiss if I didn’t include this criminally underrated gem from 2015:

https://twitter.com/juviethegreat/status/613446004851892224

Yes, that is Juvenile hawking appliances in 2015. The former Hot Boy seems to have fallen on leaner times, but his commitment to pushing washers and dryers in this twitter video is downright inspiring. Though arguably more low-budget than the other offerings in this overview, Juves work is lovably imperfect, with the sound of humming refrigerators partially obscuring his companions pitch. 10/10

Alright, so before I call it quits, and watch that Juve The Great masterpiece like twelve more times, there’s one more ad that has to be mentioned, Jay Z’s 2003 Heineken spot:

This last commercial is masterful for countless reasons, but to list a few:

1. Pre-Bey Jay

2. That Jay-Z chooses a Heineken after turning down fridges full of champagne

3. Vintage Rocawear

4. The use of “Excuse Me Miss”

5. Jay nonchalantly forgetting or ignoring his girls request

So, yeah this one is a winner. 8.5/10

In conclusion, Juve had one of the best commercials of all time! ALL TIME!

Image: Phandroid

Originally published on Indie News

Kendrick Lamar – untitled, unmastered.

A surprise release, untitled, unmastered. is a collection of eight Kendrick Lamar tracks that are as lyrically and musically captivating as anything he’s released. As the title explains, each track is untitled and unmastered, with the only information provided being a date of the original recording. It’s most likely these tracks were part of the To Pimp A Butterfly sessions during 2013 and 2014, with two (untitled 3 and untitled 8) having been performed on late night television.

Like TPAB, untitled, unmastered. incorporates elements of jazz, funk, soul and hip-hop, with Lamar’s social and political commentary present throughout. The book of Revelations and the apocalypse crop up on album opener untitled 1, the effects of greed are broken down on untitled 8, first performed on The Tonight Show Starring Jimmy Fallon, while the hazy and violent Jay Rock featuring untitled 5 is Lamar at his melodic best over the psychedelic jazz instrumentation.

Verdict: Any words I write don’t really do this album justice, as it deserves to be dissected and discussed at length, which I’m sure it will. Just know that untitled, unmastered. confirms that Kendrick Lamar is the most important figure in hip-hop, and quite possibly music today.

[youtube https://www.youtube.com/watch?v=oS0geQsfcHk]

2 Chainz & Lil Wayne – ColleGrove

Last week we discussed why we believed ColleGrove would be awful, and while the teaming of 2 Chainz & Lil Wayne isn’t a complete failure, it’s not something you’ll be spinning on high rotation.

As a whole, ColleGrove feels much more like a 2 Chainz album devoted to praising Wayne, as evident by the somber opener Dedication. That’s not to say Wayne doesn’t hold his own at times, delivering one of his better verses in ages on Section and sounding revitalised on Bounce, but his contribution feels like that of a bit player, popping up here and there to lend support. While the chemistry between the two varies from great to terrible, it’s the 2 Chainz solo cuts like 100 Joints and Watch Out that really make ColleGrove worth a listen.

Verdict: Gap filler until 2 Chainz drops his third album.

[youtube https://www.youtube.com/watch?v=fB_W7wzk3Xw]

Santigold – 99c

It feels like an eternity since Santigold released her sophomore album Master Of My Make-Believe. In that time the musical landscape has continued to evolve at a rapid pace and many of her contemporaries have struggled commercially (I’m looking at you M.I.A.), but with third release, 99c, Santigold has created a tropical pop paradise that shouldn’t be overlooked.

While the album arrived without much fanfare, 99c is pure unadulterated pop from the get go. Album opener Can’t Get Enough Of Myself is a song about self-absorption and promotion in the social media age, and much like the album’s cover, is bright and loud, with Santi as the vocal point. Rendezvous, Who I Thought You Were and the hand clap featuring Banshee are all throwbacks to Santi’s earlier work, which isn’t a bad thing at all. My favourite is the slinking Who Be Lovin’ Me, a slow trap influenced duet with warbler iLoveMakonnen.

Verdict: Santigold makes it three from three with 99c.

[youtube https://www.youtube.com/watch?v=i0PD1nVz0kA]

Yung Lean – Warlord

The fact Yung Lean has released a second album is a remarkable feat in itself. It could have been easy to write the Swedish youngster off as a joke, but over the past few years he and his Sad Boys crew have cultivated a rabid fan base that spans the globe off the back of Lean’s pop culture filled raps and strange delivery, and his crew’s murky and downtempo production style.

Warlord – a surprise release – is everything you’d expect from a Yung Lean record. Almost entirely produced by Sad Boys Yung Sherman and Yung Gud, the album is full of the usual spooky, hypnotic beats (Eye Contact, Immortal), but also finds Lean experimenting with trap (Shanty You Know What It Do, Highway Patrol) and heavy electronica (Hoover). There’s even a pop song (AF1s), or at least as close to pop as you’ll get from Lean.

The guest spots are kept to a minimum, with Lil Flash (on album highlight Fantasy), Ecco2k (AF1s) and Lean’s good friend Bladee (appearing on the touring tale Highway and drug anthem Hocus Pocus) contributing noteworthy verses, with Lean’s lyrical content focused firmly on early 00s nostalgia and drug culture.

Verdict: He’s not for everyone, but Warlord is another excellent release from Yung Lean.

[youtube https://www.youtube.com/watch?v=YTD0yiEUl8A]

Image: Consequence of Sound

There aren’t many positives to take away from a Kanye West inspired rant, unless it’s an absolutely stellar verbal barb from Amber Rose, or a timeless hashtag (#wizwearscoolpants anyone?), but as these show, every now and then there is a hidden gem to come from Ye’s fiery Twitter fingers.

This week’s rant was a brief reception however, with news that we would finally be receiving a self titled project from Collegrove, the collective name for Lil Wayne and 2 Chainz. Alongside a release date slated for this Friday, we were also treated to album art which depicts 2 Chainz adorned with Weezy’s signature tattoos.

Now let me be frank. I have no expectations for this project. In fact, I believe that it will ultimately prove to be awful: a collection of throwaway tracks that do little to boost the discography of either artist. Here’s why.

It’s no secret that Lil Wayne has fallen off in a major way. Usurped by his own protege in Drake, and falling out with his mentor in Birdman have just been the start of Weezy’s perils.

It was not long ago that Wayne was the dominant force in hip-hop, even garnering mainstream praise for the stellar Tha Carter III with the New Orleans native collecting a slew of Grammys.

Nowadays Wayne has failed to reinvent his style, and despite a few highlights in 2015 in terms of features for Drizzy and Big SeanWayne has failed to deliver even one solid project in the past few years.

2 Chainz on the other hand is a different beast altogether. He doesn’t take himself too seriously and has seemingly accepted his role as comedic relief in hip-hop. If you don’t believe me just peep his latest music video:
[youtube https://www.youtube.com/watch?v=cG21b8Kx2DI]

2 Chainz is often resigned to a repetitive style in the form of hooks and catchy ad-libs – hardly the skill set desired to dominate a project in its entirety. The two artists have teamed up together in the past, but the results have generally been lacklustre.

It’s fair to say that if Lil Wayne isn’t snapping on these beats, 2 Chainz is hardly the rapper to carry the project solely on his shoulders.

That being said, I am certainly hoping deep down that Wayne can offer a return to form, and that 2 Chainz realises that it is not often that he will get the chance to team up with Weezy, and delivers a motivated and inspired performance.

P.S Please don’t make this a Tidal exclusive Wayne, we know how well THAT works.

[youtube https://www.youtube.com/watch?v=Jx2raP3P3FQ]

Image: The Source

Lil Wayne is about to be sued by his own lawyers.

In an unusual twist, TMZ report that Wayne has come under fire from his own legal team. The filing relates to the rapper’s prolonged and bitter dispute with Cash Money Records CEO Bryan ‘’Birdman’’ Williams.

The lawyers are suing Lil Wayne after alleging that they are still owed some US$375,000 in fees for their initial services. However, if they think it’s going to be easy getting any money off Lil Wayne, they’ve got another thing coming.

The New Orleans rapper had been involved in a drawn out fight with his label, after angrily stating that it was withholding the release of his long prolonged album Tha Carter V. The lawsuit filed by Wayne was for a whopping $51 million.

The album in question’s release had been slated for release as far back as October 2013, with it’s failure to materialise becoming something of a Guns N Roses/Chinese Democracy-esque phenomena for the new generation. In February this year, Wayne announced the imminent release of a Free Weezy Album. It was announced it would arrive before Tha Carter V and contained plenty of vitriol aimed at ‘’Birdman’’. The release came as an exclusive to streaming site Tidal, of which Wayne was now a partner of.

Wayne is a hugely successful recording artist having sold over 100 million records worldwide. However, this isn’t his first legal dispute in relation to money. This news comes fresh in the wake of his house being raided in early November, after he failed to pay outstanding debts to a private jet company. At that time it was the latest in a long string of alleged unsettled payments to producers and concert promoters.

Watch Lil Wayne’s live version (without music) of his exclusive Tidal track Glory below:

[youtube https://www.youtube.com/watch?v=RNyMTckdahY]

Police have raided Lil Wayne’s Miami Beach mansion due to outstanding debts owed to a private jet company.

In September of this year, Lil Wayne and his label Young Money Entertainment lost a lawsuit after failing to make regular $55,000 (U.S.) payments on his private jet lease – he owed over $2 million in the suit, in addition to $200,000 in lawyer and court fees.

The Miami-based Signature Group, who leased Lil Wayne the private jet, even had the aircraft customised for his particular preferences, such as satellite phones, a custom bed, and medical equipment.

After Signature Group’s legal team was able to prove to a county judge that there were assets inside the waterfront house, the judge authorised the break in.

The rapper’s house, in which he was not residing at the time, was raided last Tuesday, with police seizing artwork from Weezy’s reported $30 million collection.

Lil Wayne used Twitter to comment on the raid, remaining thankful for his family in this time of inconvenience:

Lil Wayne’s previous troubles with the law include cancelling three shows after receiving an advance $100,000 payment for them, failing to pay a producer for his services, and a whole bunch of unpaid royalties cases.

Something magical happens when you partner a pissed off musician with an opposing attorney, who will stop at nothing to get the answers they want. News came out this week that the Blurred Lines deposition videos had been made available, showing off Pharrell Williams and Robin Thicke in a rather different light to that which we normally see. It’s as entertaining as it is intriguing, so we did a little digging. Here, we’ve taken it upon ourselves to compile three of our favourite musical depositions, and portray what happens when the cracks start to show after one too many questions.
 
Pharrell Williams: “I’m not comfortable”
 
This video is quite simply cringeworthy. If you can bare to stand a good 20 minutes of awkward silence broken only by monotonous answers, this is the video for you! The video came to light back when Robin Thicke was still basking in his fifteen minutes of fame, and when Blurred Lines was taking radio airwaves by storm. Controversy surrounded the release of the Pharrell produced track, with legal action brought against the duo by the owners of Marvin Gaye’s estate, claiming glaring similarities between Blurred Lines and Gaye’s Got to give it up.

The interview centres around Pharrell’s musical knowledge; his ability to read and write musical notation, in an attempt to determine whether or not the similarities were coincidence or perhaps something a little bit more sinister. While Robin Thicke sounds like an absolute douche during his deposition, Pharrell takes more of a ‘deer in the headlights’ approach.

The deposition reaches a crescendo when the production whiz decides that answering every question with “I’m not comfortable” is a foolproof legal defense. After watching this video several times, I’m still unsure whether or not Pharrell can read musical notation, or whether he even knows himself. Perhaps Mr Williams should just stick to modelling ridiculous hats as opposed to gracing the courtroom with his presence.

[youtube http://www.youtube.com/watch?v=0lhlLqAosNA]
 
Justin Bieber: “Don’t ask me about her again”
 
This deposition has it all. From Bieber fixing his hair directly facing the camera, subtle winks to the audience as if he already knew the tapes would be leaked to TMZ, to an angry outburst following a series of Selena Gomez questions, Bieber delivers the goods. The line of questioning originally centred around the actions of Beebs’ bodyguards, alledgedly lashing out at paparazzi by any means necessary. Justin goes so far to even call the lawyer grilling him “Katie Couric”, an investigative reporter on US television.

This video surfaced at the height of worldwide Bieber hatred, when pissing in mop buckets and spitting on fans was just all part of the daily routine for a worldwide pop superstar, and is a far cry from the rejuvenated image that has restored Justin to the top of the musical ‘nice’ list. At the time, this was simply fuel to the fire; the public portrayal of a sarcastic and bratty popstar all but solidified opinions right across the world.

It’s incredibly tempting to reach through the screen and smack the smug look off his face as he proceeds to tell the lawyer that he can’t remember if he has ever been to Australia, and that the name “Usher” only sounds familiar.

You can almost spot the moment when Bieber’s Selena Gomez buttons are pushed just a bit too much, as he repeats ‘Don’t ask me about her again” over and over, with a piercing glare that would leave even the most hardened lawyer quaking in their boots.

[youtube http://www.youtube.com/watch?v=emsLrZg160s]

 

Lil’ Wayne: “What’s your name again? That’s a stupid ass question”
 
While Bieber and Pharrell are rather surprising characters to give off some attitude, you would never put it past Lil’ Wayne to stick it to the man, and boy does he deliver. This video surfaced back when Weezy was at the height of his powers, and his time was spent in better places than beefing with Young Thug. When asked if he performed at a 2008 Virgin Music concert, Weezy delivers quite possible the greatest answer ever recorded at a deposition:

” I don’t know, but I know I did perform at this BADASS bitch birthday party recently, she was crazy, stupid thick.”

Wayne goes on to argue that he had no idea that his album Tha Carter III was the best selling album of 2008, stating that having memory of such a feat is open to personal interpretation. Enjoy an example of just one of the sarcastic responses that the New Orleans rapper provides:

Lawyer: “How would you describe your image in the media?”

Weezy: “How would I describe my image in the media? I wouldn’t describe it.”

Lawyer: “Well how would you describe it if you had to?”

Weezy: “I don’t have to.”

Taking things one step further than the other aforementioned musicians, Wayne stays true to his street cred in the form of some heavily veiled threats, informing the lawyer that the presumed security guard standing next to him “Can’t save you in the real world.”

Just as proceedings are drawing to a close, Wayne feels the need to just remind the lawyer of his threat from earlier, but covers his tracks in foolproof fashion.

Weezy: “He can’t save you.”

Lawyer: ‘What does that mean?”

Weezy: “I was talking to myself.”

Flawless.

[youtube http://www.youtube.com/watch?v=UT5wi07X4AM]

 

There are some things on the internet that you didn’t know you needed until you find it. If you only look at one infographic for the rest of your life, make it this one.

From the makers of Which rapper has the largest vocabulary? comes an interactive map of the most successful rap labels since 1989, sorted by their popularity in various locations throughout the US.

It might come as no surprise that Def Jam takes the top crown, with 152 tracks charting, and a grand total of 48 Def Jam artists featuring on the charts, which really highlights the diversity that has been prevalent within the label for the past few decades.

Young Money comes in at number two, a result that is perhaps the best indicator of the ways in which the music industry has evolved. The label has supplied 83 tracks amongst only 9 artists. No prizes for guessing who they are.

While Def Jam has been a constant since 1989, Young Money had its first track chart in 2009, which speaks volumes of the euphoric rise of Lil’ Wayne and his rap empire, and the obscene amount of money that Birdman must have been raking in.

One of the most fascinating aspects of the infographic is a representation of just how loyal each state is to their own respective artists, and the importance of aligning a label with a state as part of the rap game itself.

Each state has it’s own bastion, and a label which represents the sound and style of the artists. Grand Hustle (Featuring B.O.B, Meek Mill and Travis Scott) reigns supreme in Atlanta, while Young Money is a constant within Weezy’s home town of New Orleans, thanks mainly to the work of Drake, Nicki Minaj and Tyga.

While no longer operating as it used to, Roc-a-fella Records claims the New York crown, with none other than Jay-Z and J Cole calling the label home.

It will be interesting to examine in the next decade or so whether new labels will begin to rear their heads, such as the OvO empire that Drake is building, or if the mainstays of the rap game will continue to reign supreme.

[youtube http://www.youtube.com/watch?v=TsMMuXZZUm8]

 

Action Bronson has found himself at the centre of a veritable shit-storm when a bunch of angry Canadians trawled through his back catalogue to unearth the appallingly titled B-side Consensual Rape. Because of the existence of the song (which has never been performed live) Bronson’s NXNE performance on public property was cancelled. Whilst the title is undeniably crap, the songs actual lyrics are relatively tame for a rap song. Consensual Rape begins with the muttered words “fucking drug shit, do the drugs…” which subtly hints that a) this is probably not a person to be taken too seriously, and b) if you’re offended by drug use, Bronson is probably not going to be your cup of decaffeinated tea. Rap is a genre known for being controversial, for being shocking, and for being inextricably bound up with crime. But even still, some lines still manage to offend more than others. We count down the top 8 most controversial rap lyrics of all time.

canadians-south-park

1. “Tire marks, tire marks, finish line with the fire marks/When the relay starts I’m a runaway slave…masterIggy Azalea, D.R.U.G.S

If there’s an institution in the universe that white people generally take great pains to distance themselves from; it’s slavery. By the same token, there’s an unwritten rule of Public Relations that you should never invite your audience to draw comparisons between yourself and slave owners. This probably goes double if your whole career is dogged by accusations of cultural appropriation. So when Iggy Azalea referred to herself as the “runaway slave master,” Mayor Rob Ford’s spin team shook their heads with pity.

But this was a freestyle rap yeah? A gifted freestyle rapper can’t control the Pentecostal words that come out of their mouth. At it’s worst it’s just a very twisted Freudian slip. Wrong. The song samples a Kendrick Lamar B-Side, Looking for Detox in which K-Dot raps “tire marks, tire marks, finish line with the fire marks, when the relay starts I’m a runaway slave.” In a touching piece of “homage” Azalea samples the song and re-uses the same opening line from Kendrick. Except she alters it very, very slightly by changing it to “SLAVE-MASTER.” So what Iggy has done here is stolen the work of a black man, put a tasty racist twist on it, and then presented it as her own. It’s like a racist aptronym. The dictionary definition of “cultural appropriation” should just be the YouTube URL to this song.

Azalea manages to make a song titled D.R.U.G.S controversial for a slavery reference.

2. “If you don’t judge my gold chains/I’ll forget the iron chains” – LL Cool J, Accidental Racist

Where to begin with this sonic abortion? In an extremely misguided attempt to repair race relations, Nashville singer Brad Paisley seeks forgiveness for his “accidental racism” – a sentiment shared by my grandfather. Paisley is acutely aware of how offensive his Confederate flag t-shirt might appear. But he doesn’t wear it to honour the Confederate legacy of driving a nation into Civil War to preserve the right to hold black people in bondage. No. He wears it because he’s a Lynyrd Skynyrd fan. A band that very occasionally uses the Confederate colours and motifs in some of their artwork. Fair enough. And I suppose he wears that white hood with the two eyeholes cut out simply because he’s a man that appreciates privacy and the feeling of fine bed linen against his face. Paisley is sick of the bigotry. He’s wrongfully judged by his appearance, and not by his “progressive” sentiments that echo the absolute pointlessness of trying to make amends such as: “it ain’t like you and me can re-write history, our generation didn’t start this nation” and “it ain’t like I can walk a mile in someone else’s skin.”

Sadly, whilst Brad Paisley is the real villain here he’s not (yet) a rapper, and is outside of our crosshairs. In 11 bars of absolute dribble, LL Cool J manages to make The Klumps look like Dr. Cornel West. LL laments the bigotry black people have to suffer: “just because my pants are sagging doesn’t mean I’m up to no good.” But yet he who is without sin cast the first stone, because LL isn’t innocent either – “so when I see that white cowboy hat, I’m thinking it’s not good.” However, he reaches a compromise, and he won’t judge Brad for his symbol of a separatist nation that would rather be literally dead than without slaves, if Brad doesn’t “judge my do rag.” Fair.

It’s done even less to repair race relations than this famous interracial duet in which a black man was also a puppet.

3. “‘Bout to put rims on my skateboard wheels/ Beat the pussy up like Emmett Till” – Lil Wayne, Karate Chop (Remix)

Good taste is maybe not something you’d expect from a man with diamonds permanently affixed to his teeth and the ‘ESPN’ logo tattooed to his arm – but Lil Wayne’s line in the ‘Karate Chop’ remix still managed to be fish-market odious. In this poetic gem Wayne Carter graciously lets the degradation of women take a backseat to the brutal murder of a civil rights icon, and still manages to throw in a mention of his skateboard as well for good measure.

Emmett Till was of course the teenage boy who was murdered in Mississippi after allegedly flirting with a white woman, and who helped galvanize the Civil Rights Movement. The Till family sent Weezy a letter showing their disgust for his lyrics “Not only are you destroying the preservation and legacy of Emmett Till’s memory and name, but the impact of his murder in black history.” They also took umbrage with Wayne’s insensitive zeal with the female sex organ “… along with degradation of women,”

Of course the reason why Wayne’s lyric is so offensive is because if it weren’t for the death of Emmett Till, Weezy would have probably been unable to purchase his 16-year-old daughter Reginae a Ferrari. Oh, and he said “beat up the pussy”!??

Reginae's actual Ferrari.

Reginae’s actual Ferrari.

4. “Fuckk the F.B.I. and fuck all the Army troops/Fighting for what, bitch? Be your own man” – Soulja Boy, Let’s Be Real

Soulja Boy is the artist who perpetually pushes boundaries, causes us to question what we often take for granted, asks the tough questions and is prepared to tackle the controversial issues of the day did Crank Dat.

Soulja Boy is not known for his politics, and as such people were decidedly pissed when a guy with controlling interest in the Bathing Ape Company thought he would throw in his two cents on the Iraq War.

And if you’re part of the select group of impressionable US servicemen who find themselves regularly swayed by the content of rap lyrics, chances are you’re still not going to be convinced by a guy who’s actual Wikipedia page describes his music as “vacuous and insipid.”

5.“I really think the war on terror is a bunch of bullshit/Just a poor excuse for you to use up all your bullets/How much money does it take to really make a full clip?/9/11, building 7, did they really pull it? – Lupe Fiasco, Words I Never Said

If you want a surefire way to look like a dumbass, publicly declare your support for a conspiracy theory.

Words I Never Said was Lupe’s middle finger to Atlantic Records, which touched on controversial political topics like September 11, government fiscal policy and the occupation of Gaza. It was considered so ‘edgy’ and ‘subversive’ that it was adopted as a pseudo-theme song by hacker group Anonymous.

For a singer to simply name-check the issues on pages 1-5 of today’s newspaper doesn’t make you Bob Dylan. This is more We Didn’t Start The Fire than Imagine. It’s got a lot of this about it –

https://youtu.be/TLEK0UZH4cs

Lupe has long walked a tight rope between genius and idiot. And this one firmly falls in the latter category. “Obama didn’t say shit” says Lupe “that’s why I ain’t vote for him, next one either.” Encouraging voter apathy amongst black populations isn’t generally regarded as a social good….

6. Little gay-looking boy / So gay I can barely say it with a straight face-looking boy / You witnessing massacre like you watching a church gathering taking place-looking boy”– Eminem, Rap God

Eminem made a name for himself with shocking homophobic lyrics, but managed to throw off the suggestion that these were genuinely held sentiments when he performed with Elton John at the 2001 Grammys. Further, Eminem has always maintained that he has never used the word “faggot” to refer to a person’s sexuality, but was rather a word used in the Detroit rap-battle scene to mean a “punk or a bitch or an asshole.” That may be so. But this line on Rap God delivered at age 40 is fairly unequivocal. The Gay vs. Straight thing sort of makes that fairly clear. C’mon man.

7. “I swear that bitch Rita Ora got a big mouth/ Next time I see her might curse the bitch out/ Kicked the bitch out once cause she bitched out/ Spit my kids out, jizzed up all in her mouth and made the bitch bounce.” – A$AP Rocky, Better Things

Oh man. Did he really just say “spit my kids out”? What’s more insulting is Rocky’s painful backtracking in interviews, in which he sort of half-qualifies his comments, and then ends up saying something even worse. “She got me into a lot of trouble but I just want to clarify, this isn’t me saying ‘don’t go listen to Rita Ora‘ or that she’s a terrible person… I didn’t say the pussy was whack,” he said. Yeah guys, it’s not as if he said “the pussy was whack”, which is obviously the absolutely worst thing he could have said, and which would have entitled Rita to be offended.

At one point he tries to pass off the lyric as the dying wish of mentor A$AP Yams, saying, “that was one of the joints that I feel like a I recorded before Yams passed that I knew he really loved.” I’m sure wherever Yams is now, he’s touched that he’s been remembered through a moving anecdote of one person’s inability to ingest A$AP Rocky’s genetic material. “To Rita Ora and her fans – keep going, you’re still beautiful baby girl, just next time keep your mouth shut and I’ll do the same.” Yuck. Of course Rocky has taken the high road here, where Rita Ora had no discretion. Rocky is a man of intense privacy, not one to put his relationships in the public sphere.

8. “Put Molly all in her champagne she aint’ even know it/ I took her home and I enjoyed that she ain’t even know it” – Rick Ross, U.O.E.N.2O

For those who don’t know, Rick Ross was an actual former state prison guard, before becoming a rapper and taking the name of an actual living drug king pin. It’s the kind of 180 that would make Tony Hawk blush. Given that Rozay ranks just behind the Talented Mr. Ripley for people who have built success on a foundation of pure lies, you sort of have to take everything he says with a pinch of his finest fictional blow. He’s not exactly credible; if you ain’t even know it. So when Ross said on that same song, “I’m bout to get you fucked niggas whacked,” there weren’t riots in the street. Because it was yet another example of the kind of fake boasting that even Brian Williams would think pathetic.

But the date-rape line was more offensive than copping an up close glimpse of Ross’s inked-up man-mammary – because, like, what if he’s not joking? Obviously there’s a fine line between humour, braggadocio and real life. So the general rule of thumb is that if you want to keep your Rebook deals, and keep peoples food from retching up their oesophagus, axe the date-rape lines – this could have been very easily achieved given that absolutely nothing in Ross’s verse rhymed, meaning it could have literally been replaced with ANYTHING. Abysmal.

Lil’ Wayne is riding high on a resurgence in popularity right now. After seemingly fading out of the minds of hip hop heads, Wayne has begun his ascent back into the rap game, with the release of a new track, Glory, released exclusively on Jay-Z’s Tidal streaming service. Although there would seemingly be less excitement regarding a Weezy track as of late, 2015 has provided several of his best lyrical performances in recent memory, from his features on Tyler the Creator’s Smuckers and A$AP Rocky’s M’$, to Big Sean’s Deep. Wayne’s dispute with former label mate Young Thug has also kept the former hottest rapper in the game on our radars, as he has engaged in a public feud over the rights to the use of “Tha Carter” in album titles, subsequently leading to Young Thug’s mixtape release of Barter 6.

It would seem that Lil’ Wayne is attempting to fulfil his quota of Tidal exclusives, in an attempt to generate more publicity for the much maligned streaming service. Sadly however, a musical “exclusive” these days is only really exclusive until someone can be bothered to rip the audio to another website, so give or take five minutes? Glory is a hard-hitting, in your face track that does not disappoint, and takes us back about five years ago when Lil’ Wayne was indisputably the hottest rapper in the game. It feels as though for the first time in years, Wayne is actually trying again, and is not simply phoning in features and delivering lazy lyrical performances. The beat is loud, booming and pulls no punches. It would also be amiss for Wayne to not deliver some of his trademark puns, and boy does he deliver. “Holy shit/ I’m God’s manure”. If lyrics like that do not highlight Wayne’s resurgence, nothing will.

Check out Glory in its full glory here.