The Dangers Of Normalization

It goes without saying that 2020 has been one of the darkest years in recent memory for a myriad of reasons. A nightmarish mix of incompetent presidential leadership, a global pandemic, and continued police brutality due to foundational systemic racism have defined the first six months of the new decade. While I don’t think it’s a bad thing to look for the best in any given situation, I’ve noticed a troubling trend of large issues being ignored until they reach a boiling point, or more recently, just accepting the absurdity of everything around us as a “new normal” when, in reality, there is nothing normal about what is happening. The onus is on us to make a change for the better.

Whichever methods Donald Trump used to swindle millions of Americans to support him in 2016 don’t seem to be working so far in 2020’s campaign. Recent polls collectively reflect that soon-to-be Democratic presidential nominee Joe Biden is beating the incumbent president on both a national level and in the key swing states which will likely end up deciding the results of November 3rd’s election. We must remain vigilant and active, though, and learn from the mistakes of the 2016 election, in which many overestimated the polling data and decided not to vote. The president’s recent attacks on dreamers and DACA, the LGBTQ+ community, and unfathomable ambiguity when discussing COVID-19 and police brutality are sickening and un-American. This can’t become normal.

While our leadership continues to fail us, the coronavirus pandemic is continuing to spread uncontrollably in many states such as Florida, Arizona, and Texas. These recent spikes have led said states to regress their reopening plans, and there doesn’t seem to be an end in-sight as there are still individuals disregarding guidelines such as social distancing and mask-wearing. At the time of writing this, 127,986 Americans have died from the virus. This is because of an unspeakable mishandling of the pandemic from the president and his administration, who infamously claimed in February that cases would shortly be down to 0. Just because the virus is continuing to spread doesn’t mean it needs to keep spreading. If we follow the guidelines and listen to healthcare officials, we can slow the spread and manage the virus. What is happening now is simply unacceptable. This can’t become normal.

Speaking of unacceptable is the fact that Breonna Taylor’s killers still haven’t been charged for murder. It’s unacceptable that black Americans are incarcerated at more than five times the rate of white Americans. It’s unacceptable that police officers receive so much funding, yet so frequently abuse their power and fail to uphold the oath of protecting and serving their citizens. It’s also unacceptable that, for many, the Black Lives Matter movement was simply a trend which served as a means to virtue signal to their followers that they’re “woke”, but then return to not giving the cause any more thought. Whether one decides to post about these causes on their social media or not doesn’t necessarily reflect the advocacy and activism they partake in, but failing to advance a movement which is striving for equality and justice for black Americans at all is unacceptable. We can’t just pretend that everything’s okay. It isn’t. This cannot become normal.

Despite the circumstances we are in, we don’t have to accept what is happening as normal. We are able to love one another, educate ourselves, and advocate for rationality all while rejecting the status quo which has led us to this troubling moment in American history. The only way forward is upward toward a future of science, compassion, justice, rationality, and equality for all. Criticizing aspects of this country doesn’t mean you hate it, it means you love it and you want to make it better, because what is happening now isn’t working, and it can’t become normal. Thanks for reading.

Album Review: Punisher - Phoebe Bridgers

On her sophomore album Punisher, Phoebe Bridgers candidly establishes her artistic voice by depicting an array of sentiments from absolutely chilling to heart-warming. After enjoying aspects of her debut album Stranger In The Alps but seeing plenty of room for improvement, I was delighted in Bridgers’ maturation as a songwriter in a mere three years. The relatability with which Bridgers delivers reflections on solitude, sadness, and uncertainty is magnetic and compelling. While there is still slight room for improvement, I’m ecstatic and shocked that Bridgers is already delivering such an extraordinary album so early-on in her musical career.

“DVD Menu” opens the album instrumentally and ambiently, which is something I’m usually not fond of to open projects, but in this case, it sets the tone and mood for the tracks to come hauntingly. Lead single “Garden Song” follows, discussing the necessity to resist negative thoughts in order to manifest what one really wants in life. Even for a relatively upbeat track, this song’s lyrical content is conflicted and emotionally complex, just as its singer is. “Kyoto” initially sounds like an upbeat indie rock track, but is really discussing always wanting to be somewhere else, a concept not exclusive to Bridgers, but interesting nonetheless. I hear the influence of Weezer in the strained delivery here, which is a compliment in my eyes.

The album’s title track Punisher changes pace as Bridgers offers an after-dark contemplation of herself, those who inspire her, and the city she lives in. “Halloween” features some of my favorite lyrics on the album, such as “I hate living by the hospital / The sirens go all night / I used to joke that if they woke you up / Somebody better be dying”. In reality, though, this song is just as heavy and downright depressed as any before it on this project. “Chinese Satellite” speaks to me more than any other track on this album, as it discusses one’s complex relationship with belief and religion in a way I’ve never heard before. Specifically, the lines “Because I think when you’re gone it’s forever / But you know I’d stand on the corner / Embarrassed with a picket sign / If it meant I would see you when I die”, which is just a jarringly honest sentiment. “Moon Song” beautifully conveys a struggling relationship and the impossibility of providing another person’s happiness for them, although it is instrumentally one of the more understated and forgettable songs on the album.

“Savior Complex” is essentially a lyrical sequel to “Moon Song”, as it discusses the desire to want to fix someone else, or at least relate their pain to your own, which sounds strange, but is actually fairly common. “ICU” is one of my favorite songs on the project, as it beautifully explains the resistance to finding the right person, almost denying that happiness is possible after accepting, at the very least, a mundane life, if not actual depression. “Graceland Too” is a more traditional folk track, at least sonically, but the lyrical content comes off as repetitive to me, and besides the outro segment, this song could’ve been scrapped. “I Know The End” is one of the strongest closers in recent memory, as it jam-packs a variety of ideas and styles into a single track seamlessly. This apocalyptic fantasy indicates to me that Bridgers still has so much to say and so many ways left to say it. Bridgers’ closing screams are bone-chilling and terrifying, certainly a juxtaposition to the overt sentimentality found throughout this project.

Sometimes albums just catch me by surprise. While this album isn’t necessarily timely in the traditional sense as RTJ4 was in directly discussing prominent social issues, Punisher feels like it has been in the works for a very long time, as these topics which many relate to are discussed so seamlessly. I was particularly impressed by how clearly and directly Bridgers was able to express complex ideas and themes on this album. I’m thoroughly impressed by this must-listen album, and I highly suggest you check it out as soon as possible. Thanks for reading.

Favorite tracks: “Garden Song”, “Kyoto”, “Punisher”, “Halloween”, “Chinese Satellite”, “Savior Complex”, “ICU”, “I Know The End”

SCORE: 8/10

My Favorite Albums Of 2020 So Far

As we near the halfway point of what has been the longest year in recent memory, I’ve started reflecting on some of the great music which has been released so far in 2020. The albums featured here have all been added to my permanent library, and have been in heavy rotation, serving as great escapes from the chaos which has surrounded us recently. I’m sure more fantastic projects will be released by the end of the year, and that the end of year list will look very different, but regardless, these are my favorite albums of 2020 so far.

5. Reunions - Jason Isbell and the 400 Unit

My review of this album discussed both the highest and lowest points of a good Americana album in-depth. Since the project’s release last month, this project has aged fairly well, but the criticisms I levied against Isbell’s newest offering still stand. Some of the songs featured here are among Isbell’s best, but the album’s tone and pacing aren’t as cohesive as some of his previous projects. That being said, this is still a good and enjoyable listen, and the song “Overseas” still amazes me.

4. how i’m feeling now - Charli XCX

The fact that this album was made entirely in quarantine is still astounding. While not as polished or vibrant as her 2019 magnum opus Charli, Charli XCX was still able to put together a thoroughly impressive collection of tracks. The production is incredible on this project, and many of the songs here are songs I listen to frequently. Great music which aptly communicates the feelings associated with the COVID-19 pandemic.

3. Song For Our Daughter - Laura Marling

This is the only project on my mid-year list which didn’t get its own in-depth review on my blog. March and April were slightly tumultuous times, and unfortunately, this project got lost in the shuffle. Since then, though, I’ve been obsessed with this album. Laura Marling channels the sounds and emotions of Joni Mitchell’s album Blue, all while offering new perspectives and techniques which differentiate this beautiful album from others in an otherwise oversaturated singer-songwriter genre. This album isn’t perfect, but it is great, and for that reason it earns a score of 8/10 and a place on this list.

2. Fetch The Bolt Cutters - Fiona Apple

This rugged, raw, and relentless album still ruminates in my mind from the first listen I gave it. The subsequent listens have allowed me to further appreciate the nuances and hidden gems this project has to offer, which layer upon one another beautifully. Released not too long into the coronavirus pandemic, this album came at the perfect time, allowing us all to relate to the sentiment “I’ve been in here too long”. I still find that this album should’ve ended at its jaw-dropping climax, and that the final two tracks seem unnecessary, but overall, Fiona Apple succeeded yet again with this great album.

1. RTJ4 - Run The Jewels

Great music not only achieves the fundamental qualities which accompany a pleasant listening experience, but it also meets a moment’s needs, which is exactly what RTJ4 did upon its release. The national emergency we’re currently facing and have been facing for centuries has finally received a spotlight, but change is just beginning in this country. The murder of innocent black Americans at the hands of police is the most vile and repugnant example of the discrimination black Americans face on a systemic and regular basis. This project reminds us that black lives always have and always will matter. El-P and Killer Mike’s production, lyricism, and truth-telling on this album are unparalleled, and while there are a couple slow moments which prevent me from calling this project perfect, it’s damn close, and it is my favorite album of 2020 so far because of that.

Which albums are your favorites of 2020 so far? Which projects are you anticipating before the year ends? Make sure to let me know, and enjoy listening to these great projects through these difficult times. Thanks for reading.

Best Foot Forward: A Sneaker Series (Part 12)

As I stated in Part 11 of this series, I’ve been lucky enough to pick up some great sneakers this Spring. Variety is the spice of life, and because of that, I try to vary the sorts of footwear I add to my collection. The two pairs featured in today’s post are prime examples of quality craftsmanship and versatility in a color I had been meaning to add more of to my rotation: cool gray. Time to take a look.

Pair 1 (Left): New Balance 990 V5 “Castlerock”

From fashion week and designer lookbooks to couches and cookouts, New Balance has become a staple for any event, casual or formal. The 990 V5 silhouette is one of the most comfortable shoes in my entire collection, as its ultrasoft Ortholite insole provides maximum support without feeling too cushiony for long days on-foot. This “Castlerock” colorway can be dressed up or down, as its neutral gray blends in with any vibe. While some see these as dad shoes, I see this pair as an instant classic, and one I’ll be wearing very frequently for years to come, especially in the summertime.

Pair 2 (Right): Maison Margiela GAT Replica in Graphite

I’ve previously showcased my other pair of Margiela GATs on this blog, which I was fortunate enough to purchase in Chicago, Illinois a couple of years ago. That splattered pair is one I wear year round, and since then, I had been meaning to add another pair of Margielas to my collection. The pair that I recently picked up is made of quality leather and suede as opposed to my other pair’s canvas, which is a nice switch and demonstration of Margiela’s commitment to quality, luxury materials. This pair goes with just about anything and helps round out my rotation with another nice, all-gray pair of sneakers.

While I don’t plan to purchase any shoes in the immediate future, I’m sure more additions can’t be too far down the road for another installment of this series. I’m focused on quality over quantity at the moment, so the next pairs I purchase will certainly be worth sharing. Can’t wait until then. Thanks for reading!

While you’re here, check out this link to help the Black Lives Matter movement.

Album Review: RTJ4 - Run The Jewels

“Critics want to mention that they miss when hip-hop was rappin’ / Motherfucker, if you did, then Killer Mike’d be platinum” - Kendrick Lamar, “Hood Politics”, 2015

Rap music is important and transcendent. Not only does its sound and production appeal to the masses, particularly young people, but it can be used as a vehicle to address and advance issues such as injustice, equality, and prejudice faced by millions, particularly giving a voice to the voiceless. To Pimp A Butterfly is the perfect example of a masterfully crafted rap album which discusses a wide variety of issues, and on it, Kendrick Lamar makes reference to one half of increasingly iconic rap duo Run The Jewels. Recently, Atlanta native Killer Mike has been a voice of reason, articulating the frustration of millions of black Americans after the continuation of police brutality and murders across the country. Dropped at the perfect moment, Run The Jewels continues their streak of releasing timely and relevant, hard-hitting rap music with the release of RTJ4. It’s exactly what we need right now.

The album’s opening track and lead single “yankee and the brave (ep. 4)” sets the tone for what is to come on this record. Its high-tempo and hard-hitting instrumental pairs perfectly with El-P and Killer Mike’s aggressive lyricism, indicating that no holds will be barred on the upcoming tracks. This proves to be true, as the following “ooh la la” and “out of sight” return to a classic Southern hip-hop sound featuring contributions from Greg Nice, DJ Premier, and 2Chainz. These tracks feel like the beginning of a revolution, an ushering in of chaos in response to a broken system which has failed its subjects.

The next two tracks, “holy calamafuck” and “goonies vs. E.T.” are just as impressive sonically, but are a slight decline in substance from the tracks coming before them. Besides criticizing and resisting mainstream media’s role in sometimes spreading disinformation and fear, these tracks are slightly more braggadocious and prideful than they are a commentary on the world around them. The next two songs, however, are one of the biggest one-two punches on a rap album in recent memory.

“walking in the snow” is a heartbreaking listen, especially when considering it was recorded in November 2019, months before the murder of George Floyd. Killer Mike’s entire verse is absolutely masterful and insightful, but the lines “And you so numb you watch the cops choke out a man like me / And ‘til my voice goes from a shriek to whisper “I can’t breathe”” are particularly crushing. This wasn’t simply an eery foreshadowing of the violent murder of George Floyd, but instead this line demonstrates the perpetual nature of police brutality in the United States, as the line was written to reference the murder of Eric Garner, who was killed similarly just years prior. These are systemic issues which have plagued black Americans for centuries, and Killer Mike is able to articulate that chillingly. The following track “JU$T”, written in collaboration with Pharrell Williams, features one of the most relevant and vicious choruses in recent memory, as Run The Jewels identifies the unjust irony of black Americans using money with the faces of former slave-owning presidents. Two absolutely incredible tracks.

“never look back” is one of the slower moments on this project, almost a calming down after the intensity of the two previous tracks. The themes of letting go of one’s past in an effort to build a brighter future are interesting, but the track gets lost in the shuffle to me. The following “the ground below” features an electric guitar riff which accompanies a killer bass, setting the stage for El-P and Killer Mike to metaphorically fight for their lives, all in style, as Killer Mike beautifully politicizes this track with the genius lines “Not a holy man, but I’m moral in my perversiveness / So I support the sex workers unionizing their services”. So good.

“pulling the pin” is a relentless takedown of capitalist American society, and sets up the album’s closer “a few words for the firing squad (radiation)” perfectly. The final track emphasizes the importance of giving a voice to the voiceless, as Killer Mike and El-P reflect on their journeys to their place in the rap game. Black empowerment is a consistent theme throughout this project, and that continues through the end of this album with brutal bar after brutal bar which encapsulate these issues perfectly.

So there we have it. Hopefully Kendrick Lamar’s 2015 declaration that Killer Mike should be platinum comes to fruition with the release of RTJ4, one of the best in this series of collaborative albums. In times of unrest and disruption, we turn to level-headed voices to beautifully articulate how we’re all feeling, which at times can be hard to identify. This project came at the perfect time and in the perfect fashion, as we are ushering in a long overdue revolution which will culminate in equality and equal treatment for every citizen in this country. This is my album of the year so far, and I highly suggest you give it a listen. Thanks for reading.

Favorite tracks: “ooh la la”, “out of sight”, “walking in the snow”, “JU$T”, “pulling the pin”, “a few words for the firing squad (radiation)”

SCORE: 9/10