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Politickin': How The Rise Of Donald Trump Led To The Fall Of Efficient Politics

Foolery surrounding Donald Trump and others in the Republican party are taking away from the seriousness of American politics.

Around this time last year, no one could even fathom the fact that Donald Trump would be running for president. The two front-runners, Hillary Clinton, and Jeb Bush, kept the media speculating, asking will they or won’t they, when it came to running for the highest office in the land. Despite rising poll numbers, the emergence of Bush and Clinton troubled a lot of American’s as they feared that the office of the Presidency was just being used as a tool being passed between two dominant political families families. This speculation was soon overshadowed on June 16, 2015, when Donald Trump shocked the nation as he announced his candidacy for presidency.

However ridiculous his campaign may be, Trump’s success is largely due to the fact that people are fed up with the Washington establishment. Congress and the White House are constantly in a deadlock with no significant legislation being passed. Furthermore, the rise of the Congressional Tea Party has contributed significant in fighting within the Republican Party, taking down anyone who stood in their way, even those within their party.

With all the dysfunction going on in Capitol Hill, Washington outsiders such as Donald Trump, Ben Carson, and Carly Fiorina made their way to the main stage with rapid public support. They’re right: America is fed up with Washington. Congress’ approval rating is at the lowest it has been in years with no rise in sight. Political polarization has ruined our very fabric of effective government and the impact it has on everyday Americans.

However legitimate these sentiments may be, the rhetoric of these three outsider candidates are particularly troubling. Let’s take Carly Fiorina for example. Carly Fiorina is perhaps best known as the former CEO of HP. As CEO, she laid off thousands of workers and was viciously fired by the board of directors. Fast-forward to the 2015 Republican debate stage, Fiorina has continuously made false claims about an alleged Planned Parenthood video, claiming to see “a fully formed fetus on the table, its heart beating, its legs kicking, while someone says we have to keep it alive to harvest its brain.” Even though there is no actual footage of her claims, Fiorina stands by her statement, promoting lies about a company that millions of women depend on. Of course, Politifact rated her statement as “Mostly False.” So why continue to perpetuate lies? Well sadly, she’s not the only one.

Donald Trump has been known to say some ridiculous things on the campaign trail, but lately, his comments have been downright racist, false and unconstitutional. Let’s address some of these claims. First, Trump claims that on 9/11, he peeked outside his Manhattan window to see thousands of people cheering as the World Trade Centers tragically came crashing down. Despite the fact that many New Yorkers and New Jersey residents have called him out, along with the absence of empirical evidence that shows thousands of Arabs in New Jersey cheering as the Twin Towers fell down, he still stands by his allegations. Additionally, Donald Trump recently stated that he’ll ban all Muslims from coming into the country. This statement was so outrageous that it even prompted the White House to call for his disqualification. Added in with the fact that he called Mexicans “rapist and drug dealers,” and tweeted out false statistics of black on black crime (from a white supremacist organization), Trump has been widely popular with racist and xenophobic Americans who shiver at the thought of losing their power in this nation.

So why are these outsiders so popular? Well, for one, they provide ample entertainment for the American people. Candidates like Trump, Carson, and others have continued to make a mockery of American politics and play upon the fears of many of their supporters. Perhaps the biggest causalities are dealt to the legitimate candidates on both sides, as they have been overshadowed by the theatrics of Trump and his widely outrageous colleagues. For example, in 2012, New Jersey Governor Chris Christie had major momentum behind him in a bid for the U.S. Presidency. Today, he is lagging behind in the polls, unable to even make it to the main stage in the debates. This just goes to show how Donald Trump and politicians like himself are damaging the brand of the Republicans, politics, and America in general.

In essence, 2015 has been a year of political surprises. While legitimate candidates suffer in the polls, the rise of the Washington outsiders has made it considerably difficult to hear real solutions on how to combat the growing problems of unemployment, income inequality, police brutality, and more. Now, while it may be almost impossible to ignore the shenanigans of these Washington outsiders, Americans should do their part to go out to the polls in the primary elections to ensure that dignity and respect be restored to the American political process. Mawuena Sedodo

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Ed Buck And The Black Queer Lives That Don't Matter

The saying goes “history often repeats itself” but for those who are black and Queer, that history is often violent and unprotected.

A déjà vu moment for the LGBTQ community happened last week when reports surfaced of another black gay man dying in the home of wealthy Democratic donor Ed Buck. New and disturbingly fresh to some, the story isn’t only stranger than fiction but proves gay black men are fetishized in plain sight.

Let’s back up a bit. On July 27, 2017, police were called to the home of Buck in West Hollywood, Calif., where the body of 26-year-old Gemmel Moore was found unresponsive. The Los Angeles coroner's office would initially rule Gemmel’s death an overdose of crystal methamphetamine—a growing problem within the LGBTQ community. However, there was an immediate outcry from the black queer community, as the narrative between Moore and Buck raised more questions than answers.

Today would've been Gemmel's 28h birthday. Instead of celebrations and Instagram posts from friends, Gemmel's legacy in the public sphere is that of a sex worker—a stirring attempt to discredit his worth while subtly blaming the victim for his own death. We have seen this occur many times when discussing the LGBTQ sex worker community. Transgender women are also painted as such in stories to devalue their worth. Far too often, sex workers endure victim blaming and shaming. A societal standard that contributes to the notion that sex workers are partly liable in their own deaths because of “risk” involved with the industry, intersected with mainstream views about sex work, not fitting standards or respectability.

Questions began to arise about why Buck, a 65-year-old white man, and social-political butterfly to Democratic party members like Hillary Clinton would have someone 39 years his junior in his home doing drugs. As more reporting by activist and journalist Jasmyne Cannick and others continued, a tale of privilege, wealth, and sexual exploitation became the new narrative of story many simply tried to bury.

Reports were coming out from other young black queer men who had dealings with Buck, many of them detailing his drugging of them with meth by needle—a technique called “pointing.” Entries from Gemmel's journal were also published by Cannick, revealing just how much pain and madness he was subjected to, including Buck, reportedly getting the 26-year-old hooked on drugs for sexual pleasure.

It is not easy to live at the intersection of being Black and Queer. It’s a double marginalization where we often find ourselves devoid of allies. On one side we have our own community which like all others, deals with homophobia. That homophobia often times bleeds into social justice work around black queer people. People who feel race should come first and be the only concern.

Black queer people are often fighting for others who would never fight for them. We have been conditioned by white supremacy to fall prey to respectability politics that makes us see anything other than cishet as an attack against our own community.

Despite the painful evidence, media began doing what it does with most black victims—painting them as the deviant and the abuser as the one being victimized. Gemmel was painted as a drug-addicted sex worker, an attempt at dehumanizing his value.

The views of sex work in the United States intersected with Gemmel being from a marginalized community was a tactic that saw many blaming the victim, rather than the manipulative predatory Buck, who was being protected by his wealth, whiteness, and proximity to those in power.

Following the LA coroner’s report, social media outrage eventually forced the LA Sheriff’s department to give the full investigation into the matter that it deserved. Unfortunately, after several months of getting statements and going over the evidence, the LA prosecutor's office refused to indict Buck, leaving the family and black LGBTQ community feeling hopeless that Gemmel would ever get justice.

However, last week news broke that a second black gay man by the name of Timothy Dean was found dead in the home of ...Ed Buck. This time around, media coverage was immediate as multiple major outlets covered the story about the 55-year-old victim, a significant change from the first death. With circumstances surrounding the incident much like the first time, the story was hard to ignore with national coverage happening almost immediately. Responders arrived at Buck's home to find Dean unresponsive by an apparent overdose.

Immediately, Buck’s lawyers issued a statement removing him of all culpability and once again blaming the victim for his own death. “From what I know, it was an old friend who died of an accidental overdose, and unfortunately, we believe that the substance was ingested at some place other than the apartment,” said Seymour Amster, Buck’s attorney. “The person came over intoxicated.”

With this being the second occurrence of death at his home, investigators were more eager to look into the situation—as was the media who showed up to the home of Buck that evening looking for comment. What most were greeted by was outraged citizens, many of whom were from the black queer community that has remained steadfast since last year.

Dozens of activists and community members protested in front of the home of Buck following the second death. During the rally, several citizens spoke out including Cannick. She challenged several city council members who showed up to the rally about how disengaged and harmful they had been the first time this happened, and how their support now was questionable at best. This is an important sentiment in the story because much of Buck’s protection came in the form of those he donated too, on both a micro and macro level.

When the first death occurred in his home in 2017, politicians refused to release statements about the situation. There were some rumblings from GOP members, but only because he was a donor to the Democratic Party, not because of who the victim was—partly why the buzz died down as media coverage went away.

For his political allies, there was too much at stake. With President Donald Trump creating more turmoil between the major political parties and the #MeToo movement surrounding the behaviors targeting those in Hollywood, there seemed to be limited space to care for black life–an aspect we’re used to these days.

On a micro level, these same city council members who accepted funds from Buck in the past were silent in the first death. Not wanting to ruffle feathers with the wealthy donor, choosing allegiance to secure funding over the life of Gemmel Moore. But now, the political climate has changed. In November of 2018, the Democratic Party took back the House of Representatives, all about removing any shielding Buck may have from the party. Once word broke of a second death, those who were silent are now issuing statements and sending money back that was donated by Buck.

Black lives, in general, are not protected in media nor community. White people are more concerned about preserving power and privilege then every affording us equity and justice. This sentiment bleeds into the white queer community, which has also helped to oppress black queer people.

Most recently, comedian Ellen DeGeneres spoke up on behalf of a community she did not belong to offer forgiveness to Kevin Hart for his comments about the gay community. However, when it is someone from her own community causing harm to black queer people, (ie: Buck) she like many other white queer people are nowhere to be found. It only adds to people who love to partake in our culture while turning a blind eye or aiding in our oppression.

This is a challenge to all communities witnessing the atrocities that black queer people are facing in this country. Your silence has become complicity in our death. It should not have taken for a second dead body to be found at the home of Ed Buck for people to join in solidarity with us. We have experienced this type of violence against our community for far too long with no justice in our plight.

Ed Buck is using his wealth, class, and power to manipulate black queer men who are vulnerable. Men who are sex workers or struggling to make a livable wage to sustain their own existence. Men who are already caught up in the meth epidemic and fall prey to sexual exploitation in return from drugs. How many more lives must be lost before a stop is put to this?

In the coming days, it will be more important than ever that media coverage does not let up and continues to press the LA Sheriff’s Office to not commit the same mistake twice. If black lives truly matter, then we must be more vocal and fervent in our fight when they fall among the most marginalized. This is a continuing story, one that we will not only cover but see through till the end—an end that looks like justice for Gemmel Moore, Timothy Dean, and the black queer lives that continue to go unprotected.

George M Johnson is a journalist and activist living in Brooklyn NY with features in over 40 publications including Vibe, Essence, VICE, and Buzzfeed. His debut YA memoir “All Boys Aren’t Blue” is scheduled to be released January 2020 through FSG.

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2018 In Hip-Hop: A Year Of Quantity Over Quality

No matter who ranks in your Top 10 living hip-hop faves, they almost certainly released music this year. From young stunners and new jacks to career spitters and grizzled vets, rap poured down in proverbial buckets, dousing listeners Friday after Friday, with not infrequent ghost showers during select weekdays and weekends, too. Whether you vibe with the lyrical miracles or rage along with the screamers, your Spotify account got one hell of a workout in 2018.

Many rap listeners interpreted all this as an embarrassment of riches, the irrefutable evidence of hip-hop as the prevailing genre of the digital age. Stans collectively reveled in the new album smell of their chosen faves like J. Cole and Nicki Minaj, while emergent contenders including Cardi B and Brockhampton amassed major fan bases around the very existence of their full-length projects. Indicative of this recorded overabundance, LPs from consensus G.O.A.T.s shared release dates with fresh mixtapes by popular upstarts and emerging SoundCloud kids, as was the case when Lil Wayne’s long-awaited Tha Carter V arrived in the same frame as Logic’s Young Sinatra IV and Lil Gnar’s Gnar Lif3. Bruised by a critically panned comeback record late last year, Eminem applied shock tactics by releasing Kamikaze without warning, stunning the dueling chart toppers of Drake’s double-album Scorpion and Travis Scott’s Astroworld.

Collaborations, particularly high profile ones, proved more common and competitive than ever, with the Kanye West-helmed Nas project Nasir arriving the very same weekend as Everything Is Love, a surprise album from erstwhile rival Jay-Z co-headlined by Beyoncé herself. Buzzworthy trap climbers Lil Baby and Gunna tag teamed their way into the Billboard 200’s upper rung, making them essential guests on what seems like dozens of subsequent singles, albums, and mixtapes for the remainder of the year. One week brought the intergenerational codeine swap meet of Future and Juice WRLD while another partnered up cloud rap survivor Curren$y with Midwest lyricist Freddie Gibbs. Producer showcases exploded the phenomenon altogether, with Metro Boomin’s Not All Heroes Wear Capes obsessively collecting Hot 100 hit-making rappers like coveted Pokemon critters. Hell, even The Diplomats got back together.

Further magnifying matters, some record labels made sport out of being prolific. G.O.O.D. Music kicked off a much ballyhooed six week experiment of successive mini-albums with imprint president Pusha T’s DAYTONA and wrapped with Teyana Taylor’s buzzworthy dark horse K.T.S.E. With less fanfare and, admittedly, a more reliable schedule, Quality Control Music has kept the autumn on lock with new full-lengths and EPs from its stable of talents including Lil Baby and Lil Yachty along with solo sets from two of the three Migos.

Event albums begat event albums begat even more event albums. That blockbuster spirit inevitably manifested as actual movie soundtracks, often with key rappers as executive producers. Mere months before winning the Pulitzer Prize for Music for last year’s DAMN., Kendrick Lamar turned the Black Panther soundtrack into a glorified Top Dawg Entertainment compilation. Coupled with the fanfare around the Afrocentric comic book film, it shot to the top of the Billboard 200. Coinciding with an altogether unwanted reboot of the 1970s cult exploitation flick, Future’s Superfly featured a dozen of his songs, comprising about half of the record’s total run time. Less effective in the category were soundtracks for the Rocky Balboa Cinematic Universe’s Creed 2, helmed by Mike Will Made It, and the Pepsi Max brand extension vehicle Uncle Drew, which included good enough tracks by A$AP Ferg, G-Eazy, and Wiz Khalifa.

At times, things got kinda weird, as should be expected when dealing with such creative profusion. Snoop Dogg compiled a whole gospel album, with appearances by notable vocalists Kim Burrell and Marvin Sapp alongside ones from his usual suspects Daz Dillinger and Uncle Charlie Wilson. Channeling his inner Clarence Carter, the Baton Rouge native Boosie Badazz dropped an hour’s worth of relatively conventional blues tunes, a decidedly hard left turn away from his typical trill fare. Zaytoven brought out pop icon Usher for an eight-song tribute to Atlanta, Lupe Fiasco concocted a movie-length audio fantasia about African slaves who survived sinkings by adapting to undersea life, and Tyga outed himself as a possible furry with the cover art to his pre-comeback flop Kyoto. Even Golden Age godhead Slick Rick slid into Mariah Carey’s (!!!) mentions with a low-key verse for her Caution highlight “Giving Me Life.”

While there’s no disputing that 2018 delivered in terms of quantity, quality was much harder to come by. More often than not, it seemed like labels and rappers were dumping hard drives worth of material onto the market, inundating listeners with a supply that obviously outpaced demand and our capacity to receive. In addition to the Superfly soundtrack and his WRLD On Drugs collab, Future dropped the Zaytoven-produced Beastmode 2, another eleven songs for DJ Esco’s Kolorblind, and features for everyone from Freebandz affiliates Doe Boy and Young Scooter to major label pals DJ Khaled and Rick Ross. Migos and Rae Sremmurd needlessly crossed the hundred minute mark with their sequels Culture II and SR3MM, each overstuffed with the unsubtle intent to game the weight given to digital consumption in both Billboard and the RIAA’s respective unit sales methodologies. The same went for Drake’s Scorpion, the latest blatant attempt by the streaming scofflaw to make every full play of his album count as 2.5 plays.

Say what you will about any of these aforementioned albums right now, but when it comes time to rank them in your iTunes record collection few if any will rise above as catalog contenders. Everything Is Love obviously brought excitement in that first weekend, but it assuredly won’t supplant The Blueprint, Reasonable Doubt, or The Black Album the next time some blue-checked Twitterer poses the question. Despite The Carters’ status in music, the ephemeral thrills of their record undeniably evaporated barely two weeks later when Scorpion arrived to crowd the conversation. Barely a month later, Astroworld finally hit. A week passed then Minaj’s ˆ came, followed a couple weeks later by Kamikaze.

The relentlessness of such a schedule, which obviously included dozens more projects from hip-hop artists with comparatively less fame, leaves scarcely any time to even attempt to fully appreciate these records. Apart from the most fixated of stans, who treat their factional fandoms with all the gravitas of reality show melodrama, the majority of listeners hopped around and sampled the wares at the streaming platform of their choice, perhaps weighing in online with glib one-listen reviews to demonstrate that they’d paid at least a modicum of attention. While so many rappers ruled the Billboard charts week after week, much of that success proved short-lived, with steep second week declines making the road to RIAA gold and beyond all the longer. Though problematic faves like 6ix9ine and XXXTentacion fueled hits off their legal woes and controversies, most artists found themselves quickly crowded out by the next wave of releases seven days later.

A lot of lip service has been paid to the shortness of attention spans in the social media era. Yet even if we weren’t all consuming our information in short-form videos and pithy tweets, the day still only lasts 24 hours, and only a fraction of that time can reasonably go towards listening to music. That may have made manageable EPs and sitcom-sized outings by Vince Staples, Young Thug, and others all the more enticing, but again the overall volume and steadily heavy flow of new material soon negated those projects too.

With only two New Music Fridays left in the calendar year, the amount of remaining 2018 releases continue the taxing trend. Last week brought albums by Kodak Black, Method Man, and Vic Mensa, while this one promises records by 21 Savage and A Boogie Wit Da Hoodie. A hip-hop soundtrack for animated feature Spider-Man: Into the Spider-Verse is also on the way. Last minute surprises drops can’t be ruled out either, though Kanye’s twice-delayed Yandhi appears more idle threat than promise at this point.

Amid all the glut, admittedly, were some beautiful and memorable works. Noname’s coming of age word jazz odyssey Room 25 earned righteous acclaim, and the untimely passing of Mac Miller added greater gravity to his Swimming album. Hopefully something that dropped over the last 12 months connected with you enough to have staying power in your listening life. But looking back, 2018 felt like some sort of capitalist con, a calculated group effort to keep us dependent on streaming platforms backed by corporate tech giants at home and abroad. Back in the day, when sales meant physical media purchases rather than shorthand calculations guesstimating the value of a song play online, the industry wouldn’t have dared to unload this much music all at once. Now, however, they’re incentivized to force feed, leaving rap music listeners perpetually stuffed but somehow never ever satisfied.

RELATED: Debate Us: The 30 Best Albums of 2018

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For 2018’s New Music, Shorter Was Sweeter

Being a music fan in 2018 meant feeling like there were literally too few hours in a day to keep up. Blockbuster albums like Culture II, Tha Carter V, and Scorpion dominated charts and conversations with runtimes that crept well past an hour. It’s hard to blame the creators when more tracks equal more streams, which equal more zeros on a royalty check, even if quality control slips. Yet, some of the year’s best releases deliberately bucked this trend, opting instead for short runtimes and maximum impact. Rather than queue up an album that risks fading into sonic wallpaper around minute 65, why not opt for two plays through a concise collection? Call them albums, EPs, or projects, but the best hip-hop of 2018 kept it brief.

Kanye West’s G.O.O.D. Music conglomerate defined itself through short albums this year, and label president Pusha T kicked off five weeks of releases with his third solo album, DAYTONA. At just seven songs and 21 minutes, Pusha returns to the essence of his music: the grit and glory of selling cocaine. He drops quotables like ”This is for my bodybuilding clients moving weight, just add water, stir it like a shake.” In an interview with Vulture, Pusha described the G.O.O.D. Music strategy as an antidote to bloat, saying, “I only like two songs off of each album these days anyway.” From the exhilarating guitars of opener “If You Know You Know” to “Infrared” lurking at the end of the tracklist like a jump scare closing out a slasher flick, DAYTONA is utterly unskippable.

Pusha also popped up on a remix for Chicago rapper Valee, one of G.O.O.D. Music’s latest signees. Though his project GOOD Job, You Found Me arrived before the label’s whirlwind summer, it anticipated their brevity with six songs in 14 minutes. Split between new songs and years-old singles, GOOD Job shows off Valee’s loping whisper flow over subterranean beats, a style that is already infiltrating the rest of the culture via various loosies. Short songs are a key part of that style. The rapper told Billboard that he took notice of friends’ short attention spans when they started talking over the second verses of the top songs on Worldstar. “People don't have three minutes to listen to one song by one person,” he said. “You get a minute and a half because they need to give the next person a minute and a half.”

G.O.O.D. Music continued their seven-track album streak each Friday this June, to mixed results. Teyana Taylor emerged from label purgatory with K.T.S.E., showing her soulful voice’s skill on moody sample noir and brassy runway house. Kanye and Kid Cudi made good on their decade of collaboration with Kids See Ghosts, indulging their psych-rock influences without overstaying their welcome. The less said about the releases from veterans Nas and West himself, the better, but the fact that all five albums dropped as announced is impressive enough.

Other marquee names reaped more successful work with short runtimes. The Weeknd dropped My Dear Melancholy, six tracks in 21 minutes, without warning two weeks before his headlining Coachella slot. The singer born Abel Tesfaye successfully fuses his widescreen pop ambitions with the influential dinginess of his early Trilogy on tracks like “Wasted Times,” which teeters on the edge of an all-out house beat but prefers to luxuriate in the tension of anticipation.

In October, Usher released A, 27 minutes of eight tracks produced entirely by Zaytoven. The producer’s gospel trap piano is fertile ground for the singer to salute their shared Atlanta roots, bolstered by features from Future and Gunna. Mr. Raymond sounds transcendent doing heartbroken vocal acrobatics over twinkling keys on “Say What U Want.” Remind me again why the Pepsi and NFL brain trust picked Maroon 5 for the halftime show in Atlanta over a homegrown hit factory like this man?

Up-and-coming artists also took advantage of short runtimes to show off the depth of their work while keeping streamers’ attention. Hammond, Ind.’s Vince Ash dropped his debut Do Or Die this spring, and he only needs 21 minutes to convey his reality in the modern rust belt. Denzel Curry dropped TA13OO, his first album since his inclusion on XXL’s 2016 Freshman Class, this July. Though the final runtime surpassed 40 minutes, the Floridian spitter released his latest in four- or five-track portions over three days in order to reinforce the album’s three-act Light, Gray, Dark concept.

No artist epitomized the short album trend more than Tierra Whack, whose debut album Whack World is 15 songs in 15 minutes. Whack ping-pongs between genres, making room for country twang kiss-offs and TV channel metaphors over organs and 808s. Each minute-long song was accompanied by a music video, and taken together, they’re a window into a world equal parts influenced by Missy Elliott and “Dr. Seuss.” Whack World is perfectly formatted for Instagram, which Whack has acknowledged, and it’s impossible to succumb to other distractions while watching. “I’ve seen people drop their first projects where it’s like 17 songs, and I don’t want to hear that sh*t,” Whack told Pitchfork. “And, to be honest, when I’m listening to new albums, I’m only listening to the first 30 seconds before I know if I like it or not.” By shoving a surplus of talent into a short span, Whack has garnered spots on numerous best of 2018 lists as well as co-signs from legends Lauryn Hill and Andre 3000.

Freddie Gibbs came up dropping lengthy mixtapes full of major label recordings in the early ‘10s, but this year he opted to release two shorter projects instead. In June, he released Freddie, 10 songs in 25 minutes. Though the Pendergrass cover and informercial announcement promised smooth R&B, they only foreshadowed the hilariously profane “FLFM (Interlude).” The rest of the project is dope dealer slick talk over unstoppable beats designed to shred speaker cones. “Hundred kilos in my trunk, I might get death row,” Gibbs raps over a riff on the “Boyz-N-The-Hood” beat, with incarcerated L.A. rap hero 03 Greedo sneering like Eazy-E in his prime.

This Halloween, Gibbs released Fetti, nine songs in 23 minutes of collaboration with Curren$y and producer The Alchemist. The trio says they recorded the album in just two days, and the result feels comfortably low-stakes. Alc’s murky sample chops are a perfect middle ground for the two MCs to flex upon. Fans have been clamoring for more of this trio since 2011’s “Scottie Pippen,” and Fetti justified the wait with cuts like paranoid pop “The Blow.” “You look at where music’s at right now and if you get a project that got like 17 tracks on it—and it’s not takin’ away nothin’ from nobody—but 95 percent of the time I’m only gonna like like six or seven tracks on there,” Gibbs told Complex last year. “I want you to have somethin’ that you could hit repeat, I want you to keep playin’ this sh*t back-to-back-to-back-to-back.” On Freddie and Fetti, Gibbs has never sounded more fun. The question isn’t whether to replay his projects, but which one to start with.

Long Beach rapper Vince Staples leapt into rap’s upper echelon in 2015 with his double-disc debut Summertime ‘06, but last month’s FM! fits 11 tracks into just 23 minutes. The album is designed as a broadcast, with voiceovers from L.A. radio legend Big Boy and his Neighborhood and interludes teasing new songs from Tyga and Earl Sweatshirt. The songs swirl together like collapsing waveforms as uncredited features from Ty Dolla $ign, Kamaiyah, and Jay Rock play for a scant few bars.

The beats on FM! draw from summertime strains of West Coast hip-hop dating back to NWA and E-40 (another uncredited guest). It’s jarring at first to hear Vince spit his brittle street raps over these textures, closer to radio rap than ever before, until you realize that the tropes of street life are already dominating airwaves. Vince is telling the same story, he’s just skipping the superfluous window dressing that gets rap singles played on actual radio stations. It adds up to a commentary on the voyeurism inherent in hip-hop’s popularity, exemplified by the Google Maps surfing white teen in the “FUN!” video. In that regard, FM!’s quick runtime may be a sly self-deprecating punchline, like even he can’t sustain the fantasy of ubiquity any longer.

In the three and a half years since his last album, Earl Sweatshirt had only dropped three verses. His interlude on FM! was tantalizing for fans, 20 seconds of Earl showing off a newly jiggy flow. When Some Rap Songs dropped last Friday, it was immediately clear that the FM! snippet was a feint. Rather than ride Vince’s rap radio knocks, Earl submerged himself into a stew of loops ripped straight off wax. He emulates MCs like MF DOOM and Mach-Hommy as he wades through a stream of consciousness made murky by 24 years of life. “If you lame and you broke and you waiting for co-sign, I take a plate to go, bread I could break with my bro,” he raps. “Noose on my neck is gold, tell me how you been faking the whole time?”

Because Some Rap Songs is 15 tracks in 24 minutes, the only dissenters from its critical acclaim have been fans who had hoped for more music after years of waiting. But it’s ridiculous to feel slighted by an album this deliberate. In an interview with Vulture, the rapper explained that, like the understatement title, the album’s length is part of its artistry. “I hope what people take away is…I guess just brevity,” he said. “I’m always trying to whittle this sh*t down.” His latest is like reading a poem scraped together from a novel. You can feel the music pass through you in less than half an hour, or play each track five times over just to catch each syllable against the lurch of the loop.

If Billboard’s top 200 albums are any indication, behemoths like Scorpion and Culture II aren’t going anywhere. For artists of a certain popularity, feature-film length albums are an easy way to mine the streaming royalty gold rush. Of the shorter projects of 2018, only The Weeknd and West managed to crack the top 50. Releasing short projects this year was evidence of an artist’s faith in their vision and in their audience’s taste, even if it means sacrificing easy commercial gains. Whether incorporating brevity into a high-minded concept or simply trimming the fat, the best albums this year showed that shorter is sweeter.

RELATED: 25 Hip-Hop Albums By Bomb Womxn Of 2018

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